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World’s Largest Golden Tiger Sculpture: world record in Gainesville, Georgia

By in Sculpture

World’s Largest Golden Tiger Sculpture: world record in Gainesville, Georgia
Gainesville, Georgia, United States– Located in a small park in Gainesville, Georgia, the massive sculpture of Brenau University’s mascot, the Golden Tiger, was created by Greg Johnson in 2013 and funded by Ike Belk, a fan of the university’s sports teams; the tiger is named Lucille after the wife of a former president of Brenau; it stands eight feet tall, 14 feet long, and weighs over a ton, thus setting the world record for being the World’s Largest Golden Tiger Sculpture, according to the WORLD RECORD ACADEMY.

Ruth Asawa: Solid Form Meets Thin Air

By in Sculpture

Ruth Asawa: Solid Form Meets Thin Air
The sculptor of sublimely coiled wire helped erase boundaries between art, craft and the decorative arts. A long-awaited show of drawings at the Whitney explores her luminous connections.

Áak’w Rock expanding to three stages

By in Native

Áak’w Rock expanding to three stages

Last Tuesday, Qacung Stephen Blanchett, NeilgaKoogéi Revels, Taylor Vivic and five staff members were seated around the conference room table at the Juneau Arts and Humanities Council offices working on last-minute details for the second Áak’w Rock Festival.

But the meeting, which touched on everything from staging elements to travel plans for the musicians coming to town, wasn’t an unusual occurrence.

Aak’w Rock festival organizers meet on Tuesday at the Juneau Arts and Humanities Council office. Pictured are NeilgaKoogéi Revels, in red, then Reggie Schapp to her right, followed by Rob Stephenson, Taylor Vidic, Zac Pease, Qacung Blanchett, Kathleen Harper and Phil Huebschen. (Meredith Jordan/Juneau Empire)

Aak’w Rock festival organizers meet on Tuesday at the Juneau Arts and Humanities Council office. Pictured are NeilgaKoogéi Revels, in red, then Reggie Schapp to her right, followed by Rob Stephenson, Taylor Vidic, Zac Pease, Qacung Blanchett, Kathleen Harper and Phil Huebschen. (Meredith Jordan/Juneau Empire)

The group, centered by Blanchett and in various configurations, has been preparing for the Sept. 21-23 festival for at least 18 months. The festival runs every other year, opposite Sealaska Heritage Institute’s biennial Celebration event.

The much-anticipated Áak’w Rock festival this year has expanded mightily from the virtual inaugural festival in November 2021. There were 14 artists that year, 11 of whom came to Juneau to record.

This year’s Áak’w Rock will feature 24 bands comprised of 70 individual performers on three stages: Centennial Hall Convention Center, Elizabeth Peratrovich Hall, and the Juneau Arts and Culture Center building, said Revels, project director for Áak’w Rock.

“It’s an amazing opportunity for Juneau, which will see big-name acts in incredibly intimate settings,” said Revels. “Áak’w Rock is bringing a full music festival experience, including an artists’ market, food trucks, beer gardens and community space to interact with the artists.”

Headliners include Snotty Nose Rez Kids, The Hallucination and Ya Tseen.

Ya Tseen, an Indigenous rock band headed by Nicholas Galanin, a Tlingit and Unangax̂ born in Sitka, is among the featured artists at this year’s Áak’w Rock Festival that starts Thursday, Sept. 21. (Photo courtesy of Ya Tseen).

Ya Tseen, an Indigenous rock band headed by Nicholas Galanin, a Tlingit and Unangax̂ born in Sitka, is among the featured artists at this year’s Áak’w Rock Festival that starts Thursday, Sept. 21. (Photo courtesy of Ya Tseen).

The tribes and JAHC are equal partners in the event, said Blanchett, who works as creative director of Áak’w Rock and education director for JAHC. This year’s budget is about $500,000, with about $100,000 of it used to pay the artists.

“Payment is important because so often Indigenous artists are underpaid for the music performances,” said Revels.

The festival is a team effort, Blanchett said.

“The idea was born from a meeting between myself and President Richard Peterson in late 2019,” he said, referring to Central Council of the Tlingit and Haida Indian Tribes of Alaska President Richard Chalyee Éesh Peterson. “We discussed the possibility of the Tlingit and Haida and JAHC partnering on something significant within the arts and culture field, and we landed on creating a festival.”

The community took to the concept immediately, he said, with various people serving on the committee for the first event and volunteering in other ways. The group “included artists, culture-bearers, and community leaders from several sectors of the southeast community,” said Blanchett.

Qacung Blanchett is less forthcoming about the role he has played in the creation of the Áak’w Rock Festival.

“He is a great organizer and great at bringing people together,” said Revels. whose full-time job is special project manager for the chief operating officer of Tlingit and Haida. “Qucong has made the dream happen with the full support of President Peterson.”

The idea for an Indigenous music festival goes back a lot farther than 2019, said Philip Blanchett, his brother.

“This is Qacung’s dream, his work,” he said. The two partnered together in Pamyua, a band first formed in 1995, which is also playing at the festival.

Pamyua blends Inuit drum/dance melodies with R&B vocal styling and arrangements presented through music and dance. It was also a platform to share Indigenous knowledge and history.

By the late 1990s Pamyua was established and touring, but when the brothers were home they worked in cultural education at the Alaska Native Heritage Center in Anchorage, Philip Blanchett said.

“It was a great place to dream of things to have in the community, to uplift our community, to showcase our community, like what we do with Pamyua, but do it in festival format.”

But efforts to get a festival started in Anchorage didn’t get very far.

“Anchorage is a tricky town. Sometimes it’s really difficult to get different parts of the community talking with other parts of the community,” said Phillip Blanchett. “I don’t know what it is, but it didn’t work.”

It was after Qacung moved to Juneau that everything shifted with the idea, Philip Blanchett said. “He really appreciated the community. There was a go-to attitude when it came to cultural inclusion.”

But his brother also had knowledge of both elements needed for Áak’w Rock to come together. “He was in touch with the local Indigenous culture and community, and he was working with the arts and culture community.”

Watching Áak’w Rock come together has been gratifying, Philip Blanchett said. He took “a lot of residual pride” in seeing the virtual production in 2021. “It built upon the essence of Pamyua, but had spread farther with other artists and in engaging the much wider community.”

This year has been “exciting,” he said. “We all know this needs to happen, but it wasn’t until I saw the lineup with my own eyes — I know a lot of these musicians — that it really hit me.”

The momentum is huge but it isn’t because the time has come, it’s because it’s overdue, Phillip Blanchett said. The festival promotes Indigenous music and artists, but it also provides something of real value and depth to the community.

“The greater community gets to benefit from all of this beautiful effort, all these expressions of ceremonial art and music and prayer,” he said. “This is what it means to honor the past, right now in the moment — where you can see what it means to the future.”

Know & Go

What: Áak’w Rock Music Festival

Where: Centennial Hall Convention Center, Elizabeth Peratrovich Hall, and Juneau Arts and Humanities Council

When: Sept. 21-23

Cost: Day passes are $75; three-day/weekend passes are $150. Two weekend passes are available for $250.

Tickets: https://aakwrockfest.com/tickets

Youth Jam: Sept. 20, 6-9 p.m., Elizabeth Peratrovich Hall. This event is sponsored by Goldbelt Heritage Foundation and free to the public.

• Contact Meredith Jordan at meredith.jordan@juneauempire.com or (907) 615-3190.

Royal photographer reveals the unexpected shoes the late Queen wore underneath her robes

By in Photography

Royal photographer reveals the unexpected shoes the late Queen wore underneath her robes

Royal photographer Julian Calder has revealed the behind-the-scenes preparations that were involved with getting the late Queen ready to be photographed.

The portrait connoisseur told HELLO!’s A Right Royal Podcast, which you can listen to below, about the surprising footwear that the late Queen wore for the Chief of The Chiefs portrait. The monumental photograph was snapped on the grounds of Balmoral Castle back in 2010.

Bid farewell to the idea of dainty little shoes; Queen Elizabeth had replaced satin with stompers whilst treading the grounds of her beloved Scottish residence.

“She was wearing walking shoes underneath her robes,” Julian tells HELLO!.

He recalls the late Queen’s agreement to the portrait, which came under the condition that the robes stay dry. “She said, ‘Right, we’ll do this. But make sure that the robes don’t get wet.’ So with her blessing, we went off and we did it.”

Queen Elizabeth II wearing her Coronation gown© PA Images
September 8th marked the first anniversary of the late monarch’s death

And indeed, Julian and his team went to great lengths to ensure the protection of the royal robes. Hidden from the camera’s eye is a sheet which paved an invisible platform for Her late Majesty, keeping her safely separate from the Scottish dewiness.

Julian tells HELLO! of the challenge of finding an accessible landscape for the late monarch whilst also ensuring it fulfilled its fundamental purpose.

Prince Charles and Princess Anne being pushed on a swing by their father, the Duke of Edinburgh, with their mother Queen Elizabeth II looking on, in the grounds of Balmoral.© PA Images
Prince Charles and Princess Anne being pushed on a swing by their father, the Duke of Edinburgh, with their mother Queen Elizabeth II looking on, in the grounds of Balmoral

“When you’re doing a figure in landscape, the figure must dominate the landscape. But the landscape has got to be very sympathetic with putting the figure in there.

“And it all worked.”

Indeed it did, with Queen Elizabeth II captured in a striking vow of strength and authority whilst she radiates beneath layers of emerald green.

King Charles and Queen Elizabeth II© Getty
King Charles with his mother Queen Elizabeth II in green during the Platinum Jubilee Pageant in June 2022

“She wanted to see it,” Julian says. “She looked at everything, but she didn’t quite understand why she’s standing there in the road. I think in the end she accepted it, that it was a significant portrait, and slightly different from most of the ones that she had done.”

Elsewhere, HELLO!’s royal editor Emily Nash talks about Balmoral, King Charles’ first summer there as monarch and why it’s such a special place for the young kids of the royal family.

Native species, Oregon City landmarks to grace art on public restroom

By in Native

Native species, Oregon City landmarks to grace art on public restroom
image

A beaver’s carpentry skills and a seal trying to capture a fish got the attention of Oregon City commissioners as the city selected two artists to design panels for the new Downtown Public Restroom.

Lucas Nickerson, an OC-based artist, designed the side panels, and Oregon resident Desarae Guyton designed an illustrated map for the restroom. Nickerson’s design will be displayed on three panels that includes a beaver using its teeth to carve a mini-Municipal Elevator.

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Sotheby’s lands $400mn Emily Fisher Landau collection

By in Art World News

Sotheby’s lands $400mn Emily Fisher Landau collection

Sotheby’s has announced it will be offering the $400mn-plus collection of about 120 works that belonged to the Manhattan patron of the arts Emily Fisher Landau, who died in March, aged 102. Two dedicated auctions, on November 8-9, both guaranteed, should give the art market a necessary boost after a weaker season before the summer break.

A longtime trustee of and significant donor to the Whitney Museum of American Art, Fisher Landau stands out as “one of the foremost female collectors of the 20th century”, says Brooke Lampley, global head of Sotheby’s fine art division. “She bought like a museum, as if she had its benefit of hindsight.”

Fisher Landau began collecting art in earnest after a jewellery theft from her New York home in 1969 resulted in a hefty insurance payout. Her collection at Sotheby’s spans major postwar artists — including Pablo Picasso, Mark Rothko and Georgia O’Keeffe — and more recent success stories, such as Glenn Ligon, Nan Goldin and Mark Tansey.

Sotheby’s top estimate by far is reserved for Picasso’s “Femme à la montre”, a bold painting of Marie-Thérèse Walter from the artist’s celebrated year of 1932, priced at more than $120mn. Fisher Landau bought the work in 1968 from Pace.

There are more works in the collection, some of which are being kept by Landau Fisher’s daughter, with others expected to come to market, though Sotheby’s could not confirm.

A charcoal sketch of the head and shoulders of a woman
‘Dora au chignon’ by PIcasso (1937) © Succession/DACS

Picasso is the star of a different sort of sale this season — that of the Dutch couple Pieter and Olga Dreesmann, who are offering 32 of the artist’s works on paper, ceramics and sculptures through Ward Moretti. The exhibition opens in London on October 9, before travelling to the gallery’s new space in Paris and then to New York, where co-founder Emma Ward has rented a gallery on the Upper East Side for the show (November 6-18).

The earliest work in the collection is a drawing of Picasso’s friend and fellow young artist, Carles Casagemas (1899-1900), used as the image alongside the sitter’s obituary after he died by suicide in 1901. A sheet-metal sculpture, “Tête d’homme barbu” (1962), is the latest work in the exhibition, with other highlights including an unusually tender drawing of Dora Maar from 1937, bought from the sitter’s estate in 1998. Such intimate works “could get lost in an auction environment”, Ward says.

The Dreesmanns say they are selling the works to “begin a new chapter in our lives as collectors”, something they have done before, with the £25.3mn sale of their Dutch Old Master paintings in 2012. Their Picasso collection is valued at more than $40mn, Ward says, with individual prices ranging from $12,500 to $3.5mn.

Two canvases depicting dancers in various poses all wearing black dresses
‘Dancing Ostriches from Walt Disney’s “Fantasia”’ by Paula Rego (1995)

Christie’s has landed Paula Rego’s majestic two-part pastel “Dancing Ostriches from Walt Disney’s ‘Fantasia’” (1995), which it will offer in London next month with an estimate of £2.2mn-£3.2mn — it would mark a record public price for the Anglo-Portuguese artist. The work was originally commissioned by London’s Hayward Gallery for its 1996 Spellbound: Art and Film exhibition.

Rego used her favourite model, Lila Nunes, for the ballet dancers, who come across as “deeply human and rooted, with a real physical presence”, says Tessa Lord, Christie’s interim head of postwar and contemporary art. Rego is a relative rarity at auction, partly accounting for what Lord describes as her being “slightly undervalued” on the public market. Her record stands at £1.1mn, made in 2015 for “The Cadet and his Sister” (1988).

An apartment in Paris that will be used as a gallery space
The first international outpost of Stuart Shave’s Modern Art gallery in a Haussmann-designed building on Place de l’Alma, Paris

Stuart Shave will open the first international outpost of his Modern Art gallery in Paris, joining the incoming Hauser & Wirth and Mendes Wood in the French capital next month. Modern Art’s 2,000 sq ft, second-floor space will be in a Haussmann-designed building on Place de l’Alma in the city’s central eighth arrondissement.

Shave says that the move has been in the planning for a few years — “most of my artists don’t have representation in Paris” — but that it wasn’t a Brexit-motivated decision. The aim is for the Paris gallery to “complement” what he is doing in London, given the proximity of the two cities, he says. The UK capital, where he has two galleries, is “still the best city in the world for contemporary art”.

Each location will function very differently, Shave adds — the Paris gallery will host about three shows per year, versus more than a dozen in London, and will be by appointment only. He opens on October 16 with a group show including Eva Rothschild, Mohammed Sami and Sanya Kantarovsky. Modern Art is not joining this year’s coinciding Paris+ par Art Basel fair as, Shave says, “I am really mindful about what we take on.”

‘Collision’ by Savannah Marie Harris (2023)

The London gallerist Jonny Tanna, founder of Harlesden High Street, is behind what he is calling a “new non-fair”. Minor Attractions groups 20 galleries across two locations in Soho and London Bridge during Frieze week (October 10-15). Tanna says that the non-fair aspects include free entry and a more informal, socially focused event. “We’ll put up the works and have a party,” he says. Tanna compares the vibe to the recently founded, and well-received, Basel Social Club.

Tanna’s inspiration came from his own experience of the art world, which he joined after battling what he describes as “a gambling problem for 10 years”. Volunteering in galleries afterwards, he initially found “a lot of snootiness in a world that was hard to navigate” and set out “to do the opposite and erase elitism”.

Tanna is, however, delighted that Harlesden High Street has been accepted into the hallowed halls of this year’s Frieze London. Here, he will present a project that replicates the set of the US programme The Junior Christian Science Bible Lesson Show, a long-running community TV show that used puppets and songs to spread the word to children. It will have works by recent graduates Hamed Maiye and Mattia Guarnera-MacCarthy (under £10,000), as well as the artist — and the show’s puppeteer — David Liebe Hart. Tanna will also show in the London Bridge venue of Minor Attractions (called Cornershop), with the painter Savannah Marie Harris (£6,000-£12,000).

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Dermott native a T2 resident artist

By in Native

Dermott native a T2 resident artist

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TheatreSquared, a regional professional theater at Fayetteville, welcomes three renowned American playwrights as Artists in Residence, including one from southeast Arkansas.

Artists are Dermott native Candrice Jones, along with Satya Chavéz, and Jonathan Norton.

TheatreSquared announced a commissioning project featuring the three distinguished playwrights. As part of this project, each playwright will embark on a creative journey to craft a brand-new, original play that will explore a diverse array of themes, perspectives, and experiences, according to a news release.

CANDRICE JONES

Jones is well known to Northwest Arkansas audiences, who watched her critically acclaimed play FLEX bloom at the Arkansas New Play Festival in 2021 and, later, receive a full production during the 2021/2022 season.

This summer, FLEX was performed on the Lincoln Center stage in New York City, where it was called a “slam-dunk New York debut” and named a “Critic’s Pick” by The New York Times, according to the release.

“Jones’ background as a poet, educator and playwright combine to create sharp, beautiful, and realistic worlds and characters in plays that sear both mind and spirit,” according to the release.

The southeast Arkansas native has been honored to have been a fellow at Callaloo for poetry at Brown University and in London. She has also been a VONA Playwriting Fellow and a CalArts MFA Critical Studies recipient, according to https://pwcenter.org/profile/candrice-jones.

“Candrice is an Arkansan playwright and is going to continue to cultivate stories about Arkansas people,” said Dexter J. Singleton, TheatreSquared Director of New Play Development. “A person who has those roots, is homegrown, and continues to explore Arkansas stories is wonderful.”

SATYA CHAVéZ

Chavéz is an Indigenous Mexican-American, queer, Chicago-based multidisciplinary artist who is known for their musical compositions and narratives that delve into complex cultural intersections.

Chavez’s award-winning work has garnered critical acclaim for its exploration of identity, immigration, and social justice. The San Francisco Chronicle called them “a quintuple threat performer,” while the Chicago Reader noted their work is “stunningly beautiful, both visually and aurally,” according to the release.

Last season, they were the recipients of Chicago’s Joseph Jefferson Award for Best Original Music in a Play for their play Refuge.

JONATHAN NORTON

Norton is a Texas-born playwright.

“Northwest Arkansas audiences will remember him from the 2023 Arkansas New Play Festival, where his hilariously poignant script I AM DELIVERED’T was workshopped. That show is already scheduled to receive a co-production at both Dallas Theater Center and the Actors Theatre of Louisville early next year,” according to the release.

Norton’s plays frequently shed light on the lives of marginalized communities, highlighting their struggles and triumphs.

“Jonathan brings that Southern charm and insight to his work at all times,” said Singleton. “I think a big part of this commission is having the opportunity to introduce our patrons to writers who are writing about the South, and the activity, culture, and social issues that people explore as Southern Americans.”

THE PROJECT

The theater’s artistic director is Robert Ford.

“Theaters like T2, which center new work, are always looking for the next Death of a Salesman, or the next brilliant comedy, or soaring musical, that captures some essential aspect of now,” Ford said. “Because, deep down, we know that’s the very best thing we can offer to our world. Commissioning allows us to get in on the ground floor of that ‘offer to our world.’ Absolutely no one can predict the impact of a particular play or playwright — but what an amazing privilege it is to send the invitation, take the risk, and spark the telling of a story that no one has told before, that no one has seen.”

Shannon Jones is executive director of TheatreSquared.

“Collaborating with these three artists is incredibly exciting and is the start of what we hope will be a long-lasting relationship,” said Shannon Jones. “We’re thrilled to contribute to the continued growth of the American theater and share the voices of these playwrights with our community and beyond.”

  photo  Candrice Jones from Dermott is among three playwrights recently announced for a new project at TheatreSquared, a Fayetteville theater. (Special to The Commercial/TheatreSquared)
  

Tamron 70-180mm f2.8 G2 Preview: Portrait Photography Love!

By in Photography

Tamron 70-180mm f2.8 G2 Preview: Portrait Photography Love!

It’s undeniable that Tamron stands out as perhaps the best 3rd party lens maker of our time — especially if you’re a Sony photographer. Today, Tamron is announcing that the new Tamron 70-180mm f2.8 G2 will cost only $1,299 when it launches in October 2023. You’re bound to wonder why they went with this focal length. When we reviewed the previous version, we realized that we truly didn’t miss the extra 20mm. With higher-megapixel cameras available today, you might feel the same about the Tamron 70-180mm F2.8 Di III VC VXD G2. However, there’s also a chance you might want even more!

I’m going to start this preview of the lens out by stating that this is an incredible lens for anyone that needs to shoot portraits on the regular — and that’s a big part of the necessary understanding. This isn’t a lens necessarily meant for shooting events unless they’re close quarters. With that said, I truly want to see a revival of the Tamron 70-210mm f4 for mirrorless cameras. Looking back at my review of that lens, I get a feeling of fondness for the images that I created with it. And with that said, I wish that Tamron would make something like it with an f2.8 aperture. Though even better might be a 150-300mm f2.8 lens to accompany their excellent 35-150mm f2-2.8. In fact, I’m not sure you’d need the new Tamron 70-180mm f2.8 G2 if you own that lens.

Tech Specs

These specifications are taken from the press release. The biggest change is the addition of vibration compensation:

Model : A065
Focal Length : 70-180mm
Maximum Aperture : F2.8
Angle of View (diagonal) : 34°21′-13°42’　(for full-frame mirrorless format)
Optical Construction : 20 elements in 15 groups
Minimum Object Distance : 0.3m / 11.8in (WIDE), 0.85m / 33.5in (TELE)
Maximum Magnification Ratio : 1:2.6 (WIDE) / 1:4.7 (TELE)
Filter Size : φ67mm
Maximum Diameter : φ83mm 
Length* : 156.5mm (6.2in)
Weight : 855g (30.2oz)
Aperture Blades** : 9 (circular diaphragm)
Minimum Aperture : F22
Standard Accessories : Flower-shaped hood, Lens caps
Mount : Sony E-mount

* Length is the distance from the front end of the lens to the lens mount face.

** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.

Specifications, appearance, functionality, etc. are subject to change without prior notice.

Ergonomics

The Tamron 70-180mm f2.8 G2 lens has a few key updates to it. The biggest one is the addition of a USB port on the side. But ergonomically, otherwise, it’s very similar to the older lens. There’s a zoom ring, a focusing ring, and a switch on the side. Like many of Tamron’s other lenses, it also has the silver ring towards the back.

Build Quality

The new Tamron 70-180mm f2.8 G2 is said to be weather resistant, just like the last one was. We haven’t taken it out into a heavy rainfall yet to test that. But we’re pretty confident that as always, we’ll find Tamron’s lenses to be even more durable than Sony’s cameras.

In the hand, this is a small and lightweight lens. It zooms in and out — and overall there isn’t anything that majorly stands out about it. The texture is pebbled just enough to give you grip — though you’ll mostly likely place your hands around the rubber rings instead. We can’t truly complain about this lens and how it feels.

Ease of Use

For the uninitiated, the Tamron 70-180mm f2.8 G2 has a USB port on the side for updating firmware. That’s a nifty feature that surprises lots of people. But otherwise, this lens is mostly a point and shoot affair. There are custom presets you can set and control on the lens along with a lens lock. This is bound to be one of the most straightforward telephoto zooms you’ll use. New photographers might really like that.

One of the biggest new features is the addition of vibration control for shaky hands.

Focusing

We tested the new Tamron 70-180mm f2.8 G2 at the Tuxedo Rennaissance Faire and had a whole lot of fun making images with it. We used the Sony a7r III and the Profoto B10 with it. The camera was set to human detection mode for eyes and face. The combo worked well together when taking portraits of people and overall, we didn’t face any glaring problems.

However, these tests were done in ideal lighting with the Live View Setting effect turned off. This is how Sony’s cameras perform at their absolute best when it comes to autofocusing in a variety of situations. This has even been confirmed to us by Sony reps. We have to test it with melanated people of color in low light to truly see how it will perform. That will be done in our full review to come.

Image Quality

Truly, I don’t care about pixel peeping. Nor did the people that I took portraits of! What they totally did care about is that they looked good. And the reason why I say that this lens is so great for portrait photography is because when paired with a 42MP full-frame sensor, you’ll see that it’s just sharp enough to not need major retouching with subjects. I say that this is the case even with a flash being used!

Is the lens sharp! Of course, it is! Is it so sharp that you’ll want to spend loads of time in post-production editing the skin? No way. In fact, we really don’t like sitting for hours retouching images. So if all you want to do is just shoot, then you’re in for a great time.

Here are sample images for you.

Unedited

Edited

First Impressions

So far, I’m really liking the Tamron 70-180mm f2.8 G2 for portrait photography. Though personally, I’m wondering a few other things about it. For example, how is it really standing out from all the other brands out there? Other brands have made very lightweight and small 70-200mm f2.8 lens. While this is even smaller and lighter while having a more affordable price, I still think it might need something else like a faster aperture or something like that.

Stay tuned for our full review to come.

High Museum of Art : A Long Arc : Photography and the American South since 1845 – The Eye of Photography Magazine

By in Photography

High Museum of Art : A Long Arc : Photography and the American South since 1845 – The Eye of Photography Magazine

As the first major survey of Southern photography in twenty-five years, this exhibition will examine that complicated history and reveal the American South’s critical impact on the evolution of the medium, posing timely questions about American culture and character.

Featuring many works from the High Museum of Art’s extensive collection, A Long Arc will include photographs of the American Civil War, which transformed the practice of photography across the nation and established visual codes for articulating national identity and expressing collective trauma. Photographs from the 1930s to the 1950s, featuring many created for the Farm Security Administration, will demonstrate how that era defined a new kind of documentary aesthetic that dominated American photography for decades and included jarring and unsettling pictures that exposed economic and racial disparities. With works drawn from the High’s unparalleled collection of civil rights–era photography, the exhibition will show how photographs of the movement in the decade that followed galvanized the nation with raw depictions of violence and the struggle for justice. Contemporary photography featured in the exhibition will demonstrate how photographers working today continue to explore Southern history and themes to grasp American identity.

A Long Arc : Photography and the American South since 1845
September 15, 2023 –J anuary 14, 2024
High Museum of Art
1280 Peachtree Street, N.E.
Atlanta, Georgia 30309
www.high.org

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