John Gafabusa, custodian of the Mutyona natural sacred site, points at a place of significance on Lake Albert. As Total Energies invests billions into oilfield development and acquires more land, Bagungu people worry about the impact on the the spiritual power of sacred sites
Photograph: Hajarah Nalwadda/AP
Can nature make you happier? Make you feel less stressed? Heal you? That’s the idea behind the nature photography by Todd Winslow Pierce at Vail Health.
“Research studies have shown that incorporating art, specifically nature scenes, in health care settings can have a positive impact on patients’ restoration,” said Amy Keller, vice president of the Vail Health Foundation. “At Vail Health, our Art Council collaborates with local photographers to showcase nature photos from our area in public spaces throughout our facilities.”
Pierce grew up in the valley and knows the landscape and wildlife patterns well enough to get the perfect shot to showcase it in an almost larger-than-life setting at Vail Health. The timing to be involved in this project worked out for Pierce as well as he had just finished reading up on the topic of nature’s restorative benefits.
“I had just read the book called “The Nature Fix,” by Florence Williams, that examines the benefits of nature on health and wellbeing, both physically and mentally,” Pierce said. “I already believed in the healing powers of the natural world from my own experience growing up here in the mountains, but the scientific and medical references throughout the book were really inspiring and sparked the idea about collaborating with Vail Health.”
In 2019, Vail Health started looking for permanent exhibit artwork for the new east wing, so it worked with Pierce to place a number of images in public areas as well as hospital and imaging rooms. During that time, Pierce was also developing a concept called Eagle Valley Wild, which is a nonprofit enterprise that provides professional photographic services to conservation organizations and initiatives in Eagle County. The project educates and inspires locals and visitors with compelling content to increase awareness, appreciation and protection of Eagle County’s land, water and wildlife.
“Although I couldn’t bring actual forests, waterfalls and wildlife into the hospital, I thought I could offer compelling imagery of all that in ways that could resonate with patients, staff and visitors,” Pierce said.
“We currently have 12 images on display at three different locations within Vail Health Hospital and the Shaw Cancer Center building,” Keller said. “These images will be periodically rotated to maintain visual variety in these spaces. The exhibit has received great interest from patients and staff, with many expressing their appreciation for the photography.”
Alongside the photos are extended captions that go into more detail about each photograph, whether it’s an elk herd in the Brush Creek Valley, the bighorn sheep in East Vail, or a black bear bathing in a small watering hole in Cordillera.
“The photo of the black bear in the water is a staff favorite,” Keller said.
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There are also scenery shots that are very soothing, such as the pond lilies in the Homestake Valley, the fall colors along the Eagle River, or the change of seasons in November on Homestake Creek after a storm has passed through. The large photographs make it almost seem like you are right there in nature.
Along with informative and inspirational exhibits, Pierce is continuing to develop relaxing video segments and creative outings for staff and patients as well.
“My goal with sponsors is to design true win-win relationships that of course help fund the project, but also provide unique benefits and opportunities for them that ultimately promote the importance of our land, water and wildlife in a way that’s informative, inspirational and honest, not preachy or depressing, but rather reveal and educate in a balanced way that evokes reflection, appreciation, affection and a subsequent desire for protection,” Pierce said.
Pierce said the positive feedback so far has been really encouraging and certainly helps drive him through a lot of the difficult and tedious work that’s involved.
“I really enjoy catching someone pausing to look carefully at the images, and I really enjoy it when they actually take a moment to read the extended captions,” Pierce said.
Surprising coincidences, charming moments, and quirky details—nothing seems to escape the lens of Tavepong Pratoomwong, an award-winning photographer based in Bangkok, Thailand. His passion for street photography has led him to capture slices of life that make you stop and think.
We’ve curated an inspiring and occasionally witty collection of Pratoomwong’s photographs. From the bustling streets of India to the captivating landscapes of Thailand, Pratoomwong’s camera is like a magic wand that turns ordinary scenes into extraordinary tales. With each click, he invites us to see the world through his perspective, finding beauty in the unexpected and joy in the everyday.
More info: Instagram | tavepong.com | Facebook | flickr.com
Leaning back in a comfortable chaise lounge with a cold, condensation-covered beverage in hand. In our opinion, there are few better ways to spend a warm summer afternoon than this idyllic setup. But as much as we don’t want to admit it, kids are heading back to school, vacations are winding down, and the season is coming to a close for most of us. We know that our time spent outdoors doesn’t need to come to a halt when the temperatures start to drop, but these 12 modern chaise lounges sure will keep us daydreaming until next June rolls around. (And several of them are currently on sale!)
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Sarah Malcolm stood in the Nuremberg archives in Germany this summer, looking for clues to her partner’s past.
A man behind a tall desk produced a scanned copy of her boyfriend’s great-grandfather’s resident card. It had two addresses. The archive worker told the couple that it looked like the family had left Germany because of the Nazis.
How did he know?
The residence card, the man answered, sported the letters “ISR,” indicating the family was Jewish. It also included a note. If the family left, the Nazis needed to be notified.
“It was a super meaningful day for the both of us,” Malcolm, 35, said. “I was so excited that my boyfriend got to learn more about this part of his family history.”
It’s this longing to reconstruct the circuitous path of people and culture during the Holocaust period that drove Malcolm to a certificate program at the University of Denver unlike any other in the country.
The Nazi-Era Art Provenance Research training program, housed under DU’s Center for Collection Ethics, aims to give aspiring provenance workers, museum curators and art market employees the tools to unspool the vast web of plundered Nazi art pieces that continue to sit in the world’s top museums and auction houses.
Students around the world learn about the atrocities of Adolf Hitler’s regime. The six million Jews murdered. The millions of others also killed in concentration camps throughout Eastern Europe.
But as the Nazis systematically took control of Europe, they also plundered some 600,000 cultural objects. The mass looting has been described as the greatest displacement of art in human history.
It’s a topic that has long fascinated Elizabeth Campell. An associate history professor and director of DU’s Center for Collection Ethics, Campbell’s first book examined the Vichy regime’s actions after the Nazis looted Jewish art collections during World War II. And her latest work compares restitution practices for plundered art in three European nations.
The professor formed the Center for Art Collection Ethics in 2017, but quickly realized there were no certificate programs specifically to school students in Nazi-era provenance research — the study of an object’s history of ownership, from the time of its creation to the present day.
“By and large, we still are in a situation where museums tend to be responding to crises and claims,” Campbell said. “We still are not at the point where this research is being carried out systematically.”
Enter the certificate program.
Twenty students from across the country in June descended on DU’s campus to learn the fundamentals of how to trace these prized works from Jewish hands to museum galleries. The one-week program, led by Campbell, included workshops on provenance writing narratives, instruction on how to use the myriad databases to track family histories and case studies of how museums dealt with real pieces in their collections.
The students came from a variety of backgrounds: Art market employees, museum staff and Ph.D. candidates. Together, they learned tricks to help them solve these century-old riddles.
The Nazis, for instance, would assign the names “Israel” and “Sarah” to those who didn’t have names that sounded Jewish enough. Other clues could be that a valuable artwork sold for far less than its value, indicating the Jewish owner might have been coerced into the deal.
“Some people would call it tedious, but I like how much puzzle-solving there is involved in it,” Malcolm said. “I like going through the archives; I like digging through documents, trying different keyword searches to see what I can discover.”
Beatrice Levine felt compelled to take the program after working for an auction house.
“I really saw the ugly side of this industry,” the University of Kansas master’s student said.
Levine, 29, saw how little research went into questionable pieces before they went up for sale — all for the sake of making money. What little probing did get done came from young employees with little experience, she said. Her exposure to the art market scared her into going back to school for a degree in Holocaust and genocide studies, with a goal of making provenance research a staple of undergraduate curriculum.
“People say to me, ‘Isn’t World War II over?’” Levine said. “It always shocks me. World War II wasn’t so long ago.”
Provenance research has become a hot-button topic in the art world in recent years as museums in the U.S. and Europe reexamine the ways in which they built their collections. For decades, museums cared little about whether objects had clear ownership histories. But a 1970 UNESCO convention designed to combat the illegal trade in cultural items set a new standard for documentation.
A seminal moment for Nazi-era art came in 1998. Representatives of 44 governments convened in Washington, D.C., to endorse a set of principles dedicated to helping the heirs of Jewish collectors reclaim their family’s art looted during World War II. The goal of the “Washington Principles“: “Complete by the end of this century the unfinished business of the middle of the century,” a U.S. official, Stuart Eizenstat, said during closing remarks.
Experts say progress has been made in the 25 years since the non-binding principles came into effect. Several European countries — including Austria, France, Germany, the Netherlands and the United Kingdom — established national commissions to research artworks in public collections and provide avenues to facilitate restitution.
New York last year passed the first law in the United States requiring institutions to label works that were stolen by the Nazis. The American Alliance of Museums created a database of nearly 30,000 objects in U.S. museum collections that changed hands in Europe during the Nazi era.
The Denver Art Museum has more than 100 of such pieces — though this does not mean they were stolen.
But there’s still so much more work to be done, Campbell said. She wants to professionalize the provenance field, and hopes the DU program will help change the tide of this crucial research, creating a broader network of people who want to ensure art is ethically displayed.
“By the end,” she said, “it felt like we were doing really productive, important work.”
Photo: Courtesy the Chicago Tool Library
The spirit of Chicago design showed itself in a lively discussion with this year’s outstanding Design Impact Grant recipients—Tessa Vierk, executive director and co-founder of Chicago Tool Library (CTL) and Monica Rickert-Bolter, co-founder and director of operations at the Center for Native Futures (CfNF), moderated by grantee alum, Quilen Blackwell, president and co-founder of Chicago Eco House—during this year’s NeoCon. Both organizations’ future focus to broaden Chicago’s accessibility to art and design culture and design-build resources have something in common. The community framework they are cultivating considers the impact of historical influence, socioeconomics, environmental, political and other challenges that create barriers. Says Vierk, ”It really isn’t just a space, it is an ethos about sharing and collective wealth that we all should be benefiting from.”
Just four years old and newly relocated to West Garfield Park, CTL is a lending library with an impressive inventory of tools and items with an affordable pay-what-you-can membership structure. Their service to individual DIY types covers all seventy-seven neighborhoods with a mission to “create new and equitable opportunities for Chicagoans to build, repair and learn.” With their relocation, CTL acquired nearly 5,000 new tools that have upgraded their ability to scale outreach to other nonprofits, community gardens, block clubs and small businesses. When asked about the future of design in Chicago, Vierk answers with a light-hearted laugh, referencing the organization’s grant project “power tools to the people” concept. She continues with calming determination: “Our perspective is about democratizing design and access to concepts and tools to build design capacity on a neighborhood level,” she says, ready to dive into the needs of diverse community groups to be better partners and “blow up” the neighborhood impact.
Photo courtesy the Center for Native Futures
In a similar direction, physical space is a game-changer for the Center for Native Futures, functionally and symbolically, as they take on a storefront location in the Marquette Building, incorporating gallery and artist-in-residence studio space “to perpetuate Native presence in the city of Zhegagoynak (Chicago) and foster Native artists and curators.” The organization is at the epicenter of Indigenous Futurism(s), “an ongoing principle we have adapted to intertwine past, present and future, particularly through the advancement of art,” says Rickert-Bolter. To clarify the concept, she poses the question, “How are artists using traditional practices to showcase art and stories in a new way—and making it accessible to a broader audience to secure Indigenous future?”
In the case of the iconic Marquette Building, the bronze reliefs depicting the journey of Jacques Marquette are historically problematic and CfNF is leading the effort to reframe the Native narrative in an exhibit. Juxtaposed with that, visitors will experience the continuum of vibrant Native culture in nearby CfNF galleries that display contemporary visual arts. Building on this serendipitous moment where Indigenous Futurism(s) collide, the organization is thrilled to expand its Native curatorial vision. “We don’t always see Natives who are in charge of curation in museums and galleries in the Great Lakes Region,” says Rickert-Bolter. “Our grant will allow us to initiate a mentorship program for a Native professional with curatorial experience to work with an emerging artist. At the end of the program, there will be a curatorial show. Our goal is to attract local Native art and culture professionals and encourage them to stay in the region.”
Designing a Better Chicago at NeoCon
Both awardees’ enthusiasm to create the broadest possible benefits for communities was unbridled. Constructing collective design capacity in neighborhoods is a novel approach to removing barriers while building resilience and motivating new storytelling. After all, challenging the traditional winner-takes-all-perspective can yield a healthier, more inclusive and more innovative community culture.
Yetta Starr, IIDA, is the founding principal of Starr Design Associates, Inc., a commercial interior design practice specializing in showroom, workplace, education, scientific and civic interiors as well as exhibits and visual communication projects. Starr has a passion for engaging with community-based initiatives supporting cultural identity and economic development. She is a contributing writer to print and online publications, reporting on industry trends and design’s impact on the human experience.
Contact: ystarr@starrdesign.net Website: starrdesign.net
Two photography exhibits that explore the shapes and colors of the natural world are on display together at the Huntingdon County Arts Center.
The new exhibits — Canvas Photography by Amy Bomboy and Blooming Flowers by Angela Niman — opened Aug. 18 and will remain on view through Saturday, Sept. 9.
Huge sheets of colored glass transform into intricate, illuminated floral designs in a new video from Process Discovery that glimpses the manufacturing process of Tiffany-style lamps. A timeless design originally made popular by artist Louis Comfort Tiffany in the late 19th century, the colorful, luminescent shades remain popular today. And while original models produced for Tiffany sell for tens of thousands of dollars, mass-produced versions like the ones shown here are much more accessible. The process comprises complex steps that follow an intricate diagram, from cutting individual shapes to assembling in a mold to soldering every seam.
You might also enjoy more behind-the-scenes videos from Japan-based Process X.
All images © Process Discovery
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 Go Behind the Scenes To Glimpse the Exacting Process of Creating Tiffany-Style Lampshades appeared first on Colossal.
Owning a photography business comes with numerous risks, making business insurance essential to protect you from financial losses. Photographer insurance can replace expensive camera equipment if it’s stolen, or pay for medical bills for injured employees.
To choose an appropriate policy tailored to your specific needs, you’ll need to have a good understanding of how photography business insurance works.
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Photography insurance is a specialized form of small business insurance created to safeguard photographers and their businesses from risks and liabilities in the work of picture taking. Small business insurance offers financial protection and peace of mind by providing coverage for legal disputes, injuries, and equipment damage or loss from theft, accidents and natural disasters.
Consider a scenario in which a client files a lawsuit against you, claiming breach of contract. In this example, the general liability insurance component of your small business policy would cover your expenses for legal representation and any potential judgment or settlement.
Photographer insurance can play a significant role in protecting your business from unexpected costs. Photography professionals who would benefit from business insurance include:
Because you have many insurance options, starting with a business owners policy (BOP) is wise. A BOP offers three types of coverage for a range of potential issues. Buying a BOP often proves more cost-effective than purchasing the coverage individually.
A business owners policy bundles together these three coverage types.
General liability insurance. This insurance provides financial protection if your photography business is blamed for accidental injuries or property damage. It also covers legal expenses if the situation leads to litigation. For instance, during a birthday celebration photoshoot, the general liability coverage could pay for medical and legal expenses if a guest trips over your camera equipment and is injured.
Business property insurance. This insurance provides coverage for a business’s physical premises and equipment in the event of damage caused by an incident covered under the policy, such as a tornado. It protects leased and owned equipment, including studio furniture, backdrops, cameras, memory cards and business records.
Business income insurance. Also known as business interruption coverage, this portion of a business owners policy can keep your business afloat if you’re forced to shut down by unforeseen circumstances, such as a fire.
Certain situations fall outside a photographer’s small business insurance, including:
It’s important to be aware of these exclusions and consider additional or specialized insurance policies to cover any gaps.
Here are claim scenarios and the corresponding photographer insurance that would address them.
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Insurance companies take numerous factors into account when calculating a policy’s cost. Common ones include:
To cut your business insurance costs, try these savings strategies.
Gather quotes from several insurance companies. Business insurance policies can vary in price among insurers. To find the best deal, compare quotes from multiple insurance providers.
Bundle coverage with a BOP. Consider a business owners policy that combines essential coverages like general liability, business interruption, and commercial property insurance. Bundling these together is often cheaper than purchasing separate policies.
Correctly classify your employees for workers compensation insurance. Ensure they have accurate and detailed job descriptions that align with their duties. Proper classification can lead to savings on workers comp insurance. If you need more clarification, consult your insurance agent for guidance.
Join a professional organization or association. It may be possible to reduce your insurance premiums by joining a professional organization or association.
Pay insurance premiums annually. Consider paying your insurance premiums yearly rather than every month. The switch may qualify you for a discount from your insurer.
Bump up your commercial auto insurance deductible. Select a higher deductible for your commercial car insurance policy. A higher deductible will result in lower premiums, though you’ll be responsible for paying a larger amount out of pocket if you file a claim.
A reliable photographer insurance policy combines essential coverage types tailored to address the specific risks your company encounters. These insurance companies offer standard business insurance options such as business owners insurance, commercial auto insurance and workers compensation insurance, allowing you to customize a policy according to your needs.
A business owners policy (BOP) provides a solid foundation. But your specific business needs may require additional types of coverage. Discussing your options with an insurance agent is wise to ensure you have sufficient protection.
Here are some valuable additional coverage options worth considering.
If you use a vehicle in your photography business for any task involving work, a commercial auto policy is a must. For example, a commercial auto policy is necessary if you use a van to transport camera equipment and backdrops from your studio to an event, because your personal auto insurance typically does not provide coverage when your vehicle is used for business purposes.
Like a business owners policy, commercial auto insurance policies combine several coverages.
If you have even one employee, workers compensation insurance is required in most states. This insurance covers medical expenses, lost wages and disability benefits when your employees become ill or injured while performing job-related tasks.
With commercial umbrella insurance, you have an extra layer of liability protection that becomes effective if your other liability coverage limits have been reached. It’s like a safety net that goes beyond your existing policies, covering claims against you that exceed the thresholds listed in your policy.
Errors and omissions insurance, also referred to as professional liability insurance, pays out if a client alleges that you didn’t fulfill your professional duties, regardless of the claim’s validity.
Consider a scenario in which you’ve been hired to photograph a wedding but accidentally miss the wedding date and fail to show up for the big day. The client could sue you for breach of contract. This insurance acts as a safety net for your business and covers the costs of legal representation, court judgments and settlements.
When you or your employees drive rented or personally owned vehicles for business purposes, this insurance offers coverage for injuries and property damage to others. For example, if an employee uses a rented van to transport props for a photoshoot, the insurance would cover costs arising from an accident caused by the employee.
Because a typical commercial property policy covers business property only in a specific location, photo and video professionals frequently opt for what’s called inland marine insurance. With this insurance, your cameras and other business property are covered wherever you take them.
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For photographers with at least one employee, workers compensation insurance is typically a legal requirement per state laws. Even beyond the legal obligation, it’s smart to invest in a business owners policy to safeguard your business from accidents that could lead to financial difficulties.
In case someone slips on your camera cord and is injured, for example, your coverage could pay for their medical expenses and alleviate the potential financial burden on your business.
Photographer liability insurance can provide vital financial protection for your business, shielding it from potential mishaps and expensive claims. For example, during a wedding photoshoot, if you accidentally break a $1,000 family heirloom, general liability coverage can come to your rescue by covering the cost of the damage.
Running your own photography business exposes you to a variety of liability risks. For instance, if a client is dissatisfied with the service you provided and files a lawsuit, professional liability insurance can pay for the expenses of litigation.
CHEYENNE – An exhibition of paintings exploring complex themes with astounding visuals is coming to Laramie County Community College as part of the Ed & Caren Murray Art Series.
Born on the Wind River Reservation in central Wyoming, artist Robert Martinez’s diverse heritage — including Spanish, Mexican, Scotch-Irish, French Canadian and Northern Arapaho roots — infuses his artwork with a rich tapestry of cultures and influences.
