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Interview: Renata Cherlise On Her ‘Black Archives’ Project, the Credibility of Candid Photos, and the Look of Black Joy

Interview: Renata Cherlise On Her ‘Black Archives’ Project, the Credibility of Candid Photos, and the Look of Black Joy

Fishing, 1980. All images reprinted with permission from ‘Black Archives: A Photographic Celebration of Black Life’ by Renata Cherlise, © 2023, published by Ten Speed Press, an imprint of Penguin Random House

Renata Cherlise’s recently released book, Black Archives: A Photographic Celebration of Black Life, makes clear that Black families have potent stories to tell. Cherlise says in a new Colossal Interview:

Spending time with these scenes of everyday life made me feel connected to my ancestors and inspired me to think about photography as a form of individual and collective history. I became interested in images of the Black experience that I had never seen in mainstream media or textbooks—pictures that capture the intimacy, beauty, and nuance of our everyday lives.

There are first dates, barbeques, trips to Paris, holidays. There is togetherness, laughter, love. These photos testify—through changing fashion, hairstyles, automobile models, photo types, and other markers of time—that Black families have always been part of history, and our stories, our celebrations, have always been an integral part of the historical record.

I spoke with Cherlise via e-mail about the origins of her love for family photos, her book project, and why she considers snapshots “the most authentic storytelling medium in the written and visual language.”

Read the interview. 

 

Two young boys are in a living room, one adjusts the television antenna while the other sits on a toy truck looking bored

David and Stephen Hunter

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 Interview: Renata Cherlise On Her ‘Black Archives’ Project, the Credibility of Candid Photos, and the Look of Black Joy appeared first on Colossal.

Exploring Life & Legacy of Legendary Photographer Rodney Smith

Exploring Life & Legacy of Legendary Photographer Rodney Smith
Saori on Seaplane Wing by Rodney Smith

“Saori on Seaplane Wing, Dominican Republic,” 2010 (Photo: © 2023 Rodney Smith Ltd., courtesy of the Estate of Rodney Smith)
This post may contain affiliate links. If you make a purchase, My Modern Met may earn an affiliate commission. Please read our disclosure for more info.

Across his 45-year career, celebrated fashion photographer Rodney Smith took hundreds of thousands of photos. Most of his whimsical and imaginative imagery was shot on a 35mm Leica M4 before he transitioned to using a medium format Hasselblad. Smith’s work was already celebrated during his lifetime, but after his passing in 2016, it’s only become more clear how strong his contribution was to the history of photography.

His work has now made its way into many public collections, including the Getty Museum. So it’s only fitting that their publishing branch, Getty Publications, should tackle a new monograph that examines his prolific photography career. Rodney Smith: A Leap of Faith, includes many never-before-seen photos from the New Yorker, who regularly contributed to Vanity FairW Magazine, and The New Yorker.

With nearly 200 images, the book is an in-depth look at the photographer who has often been compared to Surrealist painter Rene Magritte thanks to his dreamlike compositions. Getty Museum Curator of Photography Paul Martineau, who authored the volume, shares, “Like Lewis Carroll’s Alice in Wonderland, his photographs lead us down the rabbit hole to a fantastical place that is just beyond our reach but one intended to inspire us to be better versions of ourselves.”

At the same time, Martineau also appreciates Smith’s uncanny ability to create perfectly balanced imagery. He tells My Modern Met, “The work is perfectly composed, and his later pictures demonstrate great sophistication in terms of his color relationships.”

Rodney Smith: A Leap of Faith details the photographer’s trajectory, which took him from street photography to corporate photography to the fashion imagery that he’s most well-known for. The book also investigates Smith’s personal life and character, particularly how his privileged, lonely upbringing manifested itself in his creative tendencies. “Smith often stated that photography saved his life,” Martineau shares. “I hope people will be intrigued and impressed by the somewhat tortuous trajectory of Smith’s personal and artistic journey.”

With text by Martineau, as well as essays by Rebecca A. Senf from the Center for Creative Photography and former Vanity Fair editor Graydon Carter, the book is a well-rounded look at Smith’s creative and technical genius. The book, which comes out May 16, is now available for pre-order.

Rodney Smith: A Leap of Faith is a new monograph about the work of acclaimed fashion photographer Rodney Smith.

Rodney Smith Leap of Faith Book CoverRodney Smith Leap of Faith Book Cover

The book includes nearly 200 images, many of which have never before been published.

Rodney Smith Self Portrait with LesleyRodney Smith Self Portrait with Lesley

“Self-Portrait with Leslie, Siena, Italy,” 1990. (Photo: © 2023 Rodney Smith Ltd., courtesy of the Estate of Rodney Smith)

Through text by Getty Museum curator Paul Martineau and others, the book is an illuminating look at the work of the whimsical, imaginative photographer.

Twins in the Tree by Rodney SmithTwins in the Tree by Rodney Smith

“Twins in the Tree, Snedens Landing, New York,” 1999. (Photo: © 2023 Rodney Smith Ltd., courtesy of the Estate of Rodney Smith)

Don Jumping Over Hay RollDon Jumping Over Hay Roll

“Roll No. 1, Monkton, Maryland,” 1999. (Photo: © 2023 Rodney Smith Ltd., courtesy of the Estate of Rodney Smith)

The book, which comes out May 16, is now available for pre-order.

AJ Chasing Airplane by Rodney SmithAJ Chasing Airplane by Rodney Smith

“A.J. Chasing Airplane, Orange County Airport, New York,” 1998. (Photo: © 2023 Rodney Smith Ltd., courtesy of the Estate of Rodney Smith)

Saori and Mossimo Holding Hands by Rodney SmithSaori and Mossimo Holding Hands by Rodney Smith

“Holding Hands, Amalfi, Italy,” 2007. (Photo: © 2023 Rodney Smith Ltd., courtesy of the Estate of Rodney Smith)

My Modern Met granted permission to feature photos by the J. Paul Getty Trust.

Related Articles:

Rodney Smith Website Honored at 25th Webby Awards

Interview: The Illustrious Career of Photographer Rodney Smith

A Look at the Magical World of Iconic Photographer Rodney Smith

Legendary Rodney Smith’s Whimsical Nature Photography Honored in Upcoming Exhibition

Questions over accounting and inclusion mar Guyana’s unprecedented carbon scheme

Questions over accounting and inclusion mar Guyana’s unprecedented carbon scheme
  • Guyana has put nearly all the forests in the country on the carbon market, allowing it to sign a carbon credit deal with petroleum company Hess Corporation worth $750 million, with 15% of funds going to Indigenous communities.
  • However, some climate experts have questioned how ART, the independent carbon credit issuer, calculates the emissions reductions for forests that are already intact and under little threat of deforestation, saying they’re vastly overstated and bending the rules to create money.
  • Indigenous organizations also disagree about whether they were properly and legally consulted before all their lands were put onto the carbon market.
  • ART maintains that its methodology for calculating carbon reduction is conservative and important to protect intact forests, while the government insists that it properly consulted Indigenous leaders before it included their forests in the carbon scheme.

In part of the world’s first nationwide distribution of carbon credits, the government of Guyana announced Indigenous communities will receive millions as it signed off on a $750 million carbon credit sale to petroleum company Hess Corporation. The deal, however, has spurred a series of mixed feelings and major accusations.

Some climate experts and Indigenous leaders are raising serious questions over whether the carbon credit scheme accurately accounts for carbon emissions reductions and if communities were legally consulted before nearly all the forests in the country were put onto the carbon market.

“If you offset an emission with something which is not an emission reduction then you have no climate benefit,” Charlotte Streck, director at Climate Focus, told Mongabay.

Streck is part of a coalition of climate experts who warn that the methodology used in this program to calculate the carbon storage of forests and generate corresponding credits for entities seeking to compensate for (“offsetting”) their emissions is vastly overstated. “Hess, the global oil and gas company with oil exploration concessions in Guyana, now claims the credits help the company achieve its net-zero greenhouse gas emissions by 2050.”

ART, the independent institution that issued the credits under its TREES framework, said in a statement that the process to develop the credits was rigorous, transparent, consultative, and an important means to provide climate funding for countries and Indigenous communities already protecting high-conservation-value forests.

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Forest finance quickly becomes an alphabet soup that can be forbidding to the uninitiated. Here are some key terms.

REDD+ is the name of the overall strategy for “reduced emissions from deforestation and forest degradation.” The U.N.-backed initiative pays developing countries to slow forest destruction and enhance forest carbon stocks.

ART is an institution. It means “Architecture for REDD+ Transactions” and was established in 2018 to produce a viable standard for REDD+ carbon credits at a jurisdictional scale. It is backed by Norway and runs as an independent organization within the nonprofit Winrock International. It has a secretariat, a board, and technical committees staffed by many of the world’s leading experts on deforestation and forest finance.

TREES is the framework and means “the REDD+ Environmental Excellence Standard” and is ART’s reason for existing, and seeks to lay down rigorous, clear guidelines for quantifying, monitoring, and verifying carbon credits across large swaths of land.

This week, disagreements over the monumental carbon deal also reached a new height when an Indigenous human rights group, the Amerindian People’s Association (APA), filed a formal complaint to ART over Guyana’s carbon credit scheme for lack of consultation. This is contrary to the support for the carbon scheme by the National Toshaos’ Council (NTC), a representative body in the country for all toshaos (Indigenous village leaders) who are elected by their village councils.

“I think [this deal] means a lot because we only have 12% of the population, but we are getting 15% [of the money from the agreement],” said Derrick John, the NTC chair. “I don’t see any risk because the government won’t be taking back any resources, whether it’s our land or forests. So, we’re gaining from it.”

In total, Guyana will receive at least $750 million until 2030 from its deal with Hess. Of this, 15% is earmarked for Indigenous communities for Village Sustainability Plans, community-led investment plans on infrastructure, livelihood, environment and more. The first payment to communities, split in a series with more to come, is $22.5 million. Indigenous communities will also receive support through multi-community and national programs, including $13.3 million for the Indigenous land titling program.

Mahdia, Guyana. Image by Wikimedia Commons.

The government announced that the country achieved net-zero carbon emissions last year through its vast swaths of Amazon Rainforest that serve as carbon sinks. Now, all the South American nation’s remaining forested areas are on the carbon market for companies to achieve their net-zero emissions and offsetting ambitions, Pradeepa Bholanath, senior director for climate and REDD+ at the Ministry of Natural Resources, told Mongabay.

Forests included in the carbon credits to be issued total 18 million hectares (44 million acres), including 2.2 million hectares (5.4 million acres) of currently titled Indigenous lands. Hess has purchased roughly a third of these credits.


Read more: Carbon offsets: A key tool for climate action, or a license to emit?


2 + 2 = 5?

Guyana has the world’s fastest-growing economy in large part due to massive offshore oil deposits discovered in recent years and the dramatic rise in oil prices. Hess has major interests in the country’s oil reserves, as does ExxonMobil, which indicated it may also consider purchasing carbon credits from the country. But the government has played down the dissonance between being a growing oil-producing nation and its emissions reduction goals, attributing it to its oil revenue that can be directed to the green economy and its vast, intact forests that capture and store carbon.

However, the problem for climate experts critiquing the credit scheme is that the country’s forests are in fact, intact.

The South American nation has some of the best-preserved forests in the world, with little history of deforestation. ART has placed it among a handful of countries, like neighboring Suriname and, in Africa, Gabon and the Republic of Congo, as states that enjoy high forest cover and low deforestation (HFLD).

The Liza Unity FPSO destined for the ExxonMobil-operated Liza field development in Guyana. Image by SBM Offshore.
The Liza Unity FPSO destined for the ExxonMobil-operated Liza field development in Guyana. Image by SBM Offshore.

Carbon credits are generated from projects that aim to prevent the loss of existing carbon sinks, often forests. The number of credits made available (measured in metric tons of CO2) is thus dependent on how much of this carbon-sequestering capacity is saved from being lost.

But as intact forests within HFLD states aren’t under imminent threat of deforestation, the experts argue that HFLD credits don’t represent additional climate action or advertised emissions reductions.

“A high-quality carbon offset project must have an exclusive claim to its greenhouse gas reductions, meaning the reductions would not have happened without the project,” Robert Nasi and Pham Thu Thuy, senior forestry scientists at CIFOR-ICRAF, wrote in a Mongabay commentary about the latest controversies surrounding the carbon market. This is known as “additionality” because the emissions reductions, in this case the protection of forests, would not have happened without carbon offset credits. Typically, this means that the project prevents imminent deforestation from occurring.

Traditionally, carbon credits issued for REDD+ efforts (reducing emissions through deforestation and degradation) estimate emissions cuts by comparing historical levels of deforestation in a region with imminent deforestation. HFLD regions, however, allocate additional carbon credits that go beyond this baseline. By crediting and counting the protection of what already exists as carbon reductions, it jeopardizes the math on true global carbon emissions, reductions and meeting climate goals, critics say.

They therefore shouldn’t be eligible for carbon market finance, otherwise they can seriously undermine carbon markets, Streck told Mongabay.

The HFLD carbon crediting approach adds a 0.05% adjustment of the forest’s carbon stock into the calculation on top of the regular crediting calculation. The ART board argues that this adjustment is very conservative and is required to consider knock-on degradation and past removals associated with forest loss.

Kaieteur Falls, Guyana. Image by Wikimedia Commons.
Kaieteur Falls, Guyana. Image by Wikimedia Commons.

In Guyana’s case, about 84% of the 33.5 million jurisdictional ART credits issued between 2016 and 2020 result from this HFLD adjustment, the coalition of experts has calculated. “Without the HFLD adjustment, emissions reductions would have totaled 5.3 million [credits], based solely on avoided emissions for forests under more imminent threat.”

Hess is purchasing 37.5 million ART-issued credits (the total from 2016 to 2030), with each credit representing the equivalent of 1 metric ton of CO2 emissions. To date, Hess has bought $112.5 million worth of credits from the government.

A statement by the ART board argues the situation in and near these intact forests is changing rapidly as global demand for agricultural commodities, timber and infrastructure continues to drive forest loss and degradation. These forests are therefore in need of mechanisms to ensure their continued protection and it’s important to reward the historical performance of Indigenous communities in protecting and maintaining their HFLD status, the board said.

“Market solutions must urgently begin to incentivize action to protect forests without a significant history of deforestation,” the Wildlife Conservation Society (WCS), Rainforest Foundation Norway and Re:wild said in a joint statement to Carbon Pulse on the controversy.

Several youths engaged in a game of cricket at the waterfront area of Kwebana. Image courtesy of Alva Solomon.

In line with the carbon scheme, Guyana will have to mitigate the drivers of deforestation and support the maintenance of low deforestation rates, including implementing forest monitoring systems and policies for improved forest governance.

Streck from Climate Focus said she agrees with the board that climate finance is needed to protect high-integrity forests and that there’s been an international failure in rewarding these regions. However, she said the problem arises when carbon market rules are bent to create that money.

“The integrity of carbon markets is a good that needs to be protected for this market to be solid,” she said. As a solution, projects should use a creditable, regional calculation that avoids financial and private sector incentives to inflate them. She noted the projects with higher confidence are reforestation credits by community reforestation and agroforestry projects.

Mongabay requested a comment from Hess, which responded with a December 2022 press release announcing the deal to purchase the credits from the Guyana government.

“It’s probably a little unpalatable that it’s an oil company buying the credits,” said Josh Lichtenstein, program manager at the NGO Rainforest Foundation US, which has been working in Guyana for the past 20 years and is a partner of the APA. “But the idea that there’s private sector funding going into this market, I think they [policymakers] all feel very positive.”

Lichtenstein told Mongabay that policymakers are pushing for more climate funding from voluntary carbon markets and the private sector because there’s not enough public finance to meet the Paris Agreement goal of keeping global temperatures below 1.5° Celsius (2.7° Fahrenheit) of pre-industrial levels.

“The goal … is to combat the climate change effect without undermining the rights of Indigenous peoples and local communities,” Lichtenstein said.

A jaguar (Panthera onca), one of the many animals found in Guyana’s forests that are protected through sustainable logging. Image by Steve Winter/Panthera.

Read more: Forest carbon offsets are a tool, not a silver bullet (commentary)


Consulting the right Indigenous groups?

But Indigenous groups in Guyana are not all in agreement about whether their rights are being protected, sparking a tense disagreement between some of the country’s largest Indigenous bodies: the NTC, representing the country’s elected toshaos, and the APA, an Indigenous human rights organization. Even Vice President Bharrat Jagdeo has waded into the disagreement, issuing a statement condemning the formal complaint letter by the APA about the carbon scheme and bringing into question the APA’s motives and representation of Indigenous peoples.

In July 2022, all 170 elected toshaos engaged with the country’s 2030 low carbon strategy team, which included discussion on agreements like the Hess deal, said Bholanath from the ministry of natural resources.

“A resolution was passed, with no objection [by the NTC] which endorsed the [strategy] inclusive of all its elements,” she said.

Bholanath added there were consultations conducted with the government, private sector and civil society, including the APA and other Indigenous groups, on issuing and marketing carbon credits. There has also been broad support from across society for such a program, she told Mongabay.

Monkey Mountain Village, Guyana. Image by Cameron Ellis, Rainforest Foundation US.
Monkey Mountain Village, Guyana. Image by Cameron Ellis, Rainforest Foundation US.

“We are the legal representatives,” said the NTC’s John. “Our people democratically elected us in our office … the NTC have membership in all 200 and odd communities. We are directly linked to these communities through our membership.”

However, Laura George, governance and rights coordinator at the APA, said toshaos don’t have the authority to sign off on such a deal, and that therefore it can’t be said to have obtained the free, prior and informed consent of all villages in Guyana that didn’t properly engage on the deal. This authority falls under the Village General Meeting (VGM), she said, which is the highest decision-making forum of any community.

Guyana’s Amerindian Act doesn’t give the NTC any governance authority or any other authority to make decisions on behalf of Indigenous peoples and their lands, the APA said in its complaint letter sent to the ART secretariat last month. At most, its functions involve providing advice and guidance to the Ministry of Amerindian affairs, George said, disagreeing with the vice president’s interpretation of the act.

“Who decided that 15% of any royalties that we get from the carbon trade would be OK for us? Because we have not been consulted on it,” she said.

The letter requested the ART secretariat and board freeze and suspend the credits issued to Guyana that have not yet been purchased and to not issue more until the problems they raised have been addressed.

Guyana lies at the heart of the Guiana Shield, one of the most biodiverse regions on the planet. Photo by Tom Vierus / Urgewald.

The ART secretariat told Mongabay that per its standard, this complaint process will not impact the credits already issued to the government of Guyana. However, as the agreement by the NTC is fundamental, if the NTC were to change its mind, the credits relating to Indigenous lands would be subtracted from the total carbon credits available.

Levi Sucre Romero, an Indigenous Bribri leader and co-chair of the Global Alliance of Territorial Communities (GATC), told Mongabay that he and other Indigenous leaders engaging with ART were also surprised to see the carbon credits launched in Guyana. He said they had a verbal agreement with representative at ART TREES to collaboratively build an additional layer to their standards to ensure the identification of Indigenous rights and full and effective participation of Indigenous peoples.

“They went off on their own to do certifications which then generates these kinds of problems like what happened in Guyana,” Sucre said. “And that’s exactly what we want to avoid.”

Aster Global, the auditor of the carbon credits issuing process, was not available for comment. But in an observation, the auditor said that endorsement by the NTC is a key aspect of the deal. The carbon credit deal meets all requirements of ART TREES without any qualifications or limiting conditions, it added.


Banner image: Spangled cotinga in Guyana. Image by Mathias Appel via Flickr (CC0 1.0).

Related listening from Mongabay’s podcast: We discuss what makes for successful mangrove restoration projects and the inclusion of Indigenous and local community rights in carbon offset schemes. Listen here:

Oil production or carbon neutrality? Why not both, Guyana says

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A Review of the Nikon Z 7II Mirrorless Camera for Landscape

A Review of the Nikon Z 7II Mirrorless Camera for Landscape

With a 45.7-megapixel sensor and a lot of dynamic range, the Nikon Z 7II mirrorless camera looks like a strong candidate for a lot of landscape photographers. How does it hold up in practice? This great video review features an experienced landscape photographer discussing his thoughts months after switching from a medium format setup. 

Coming to you from Thomas Heaton, this awesome video review takes a look at the Nikon Z 7II mirrorless camera for landscape photography. The Z 7II comes with a nice range of features, including:

  • 45.7-megapixel BSI CMOS sensor
  • No optical low-pass filter for higher levels of detail
  • 5-axis in-body Vibration Reduction
  • Low native ISO of 64
  • 4K video at up to 60 fps with external 10-bit N-Log and HLG
  • 493 phase-detection autofocus points
  • Eye-Detect AF for both people and animals
  • Dual memory card slots (one CFexpress Type B and one SD UHS-II slot)
  • 3.6-million-dot OLED electronic viewfinder
  • 3.2-inch, 2.1-million-dot tilting touchscreen
  • 10 fps continuous burst rate
  • Long exposure times of up to 15 minutes 
  • Magnesium alloy body with dust- and weather-resistance for working in inclement conditions

While not perfect, the Z 7II certainly produces high-quality images and ticks a lot of boxes for landscape work. Check out the video above for Heaton’s full thoughts on the camera. 

F5: Christine Gachot Can’t Quit Flowers, Her Golf Game + More

F5: Christine Gachot Can’t Quit Flowers, Her Golf Game + More

Christine Gachot, alongside her husband and business partner John, runs GACHOT – a design studio and development consultancy with service at its core. The team brings together diverse skills in brand development, interior design, hospitality, and real estate development to deliver thoughtful results specific to each individual project.

Prior to GACHOT, Christine worked for Studio Sofield for 10 years as a Senior Designer on numerous commercial and residential projects, including the Soho and Tribeca Grand hotels and Gucci Worldwide. “Back in the 90s during the glam days of interior design, I had the privilege of working at Aero Studios. Bill Sofield and Thomas O’Brien created the most talked about Atelier on Spring Street in SoHo. Fabulous artists, editors, and clients were always floating about. I was a receptionist, assistant, and gallery shop girl – it was truly the beginning,” Christine happily shared.

Christine Gachot Photo: David Urbanke

“When Bill started his own studio I went with him, again, working as a receptionist and assistant. There was no doubt this was the field I wanted to be in, so Bill encouraged me to go back to school at night to learn drafting and CAD and eventually get out of the reception seat. And I did just that! (Although I’m still happy to pick up the studio phone these days!),” she said. “I was at Studio Sofield for 10 years, and all 10 years were beyond exciting – Bill was beyond exciting! He was working with Tom Ford to re-envision Gucci and their luxury stores. Mayer Russ was at the helm of Interior Design magazine and we’d all rush out to get the latest copy. Design was becoming the hot conversation and I had the honor of being at the hottest studio in town.”

Christine then had the opportunity to work with André Balazs Properties as a Partner in the role of Vice President of Design Development. There Christine led the design and development of iconic hotels and commercial residential projects including Hotel QT, The Standard New York, 40 Mercer Residences, One Kenmare Square, and The Chiltern Firehouse.

Like many of us, Christine has a tough time nailing down the right work/life balance. “I was just on a family trip in Paris taking calls at midnight. Work/life balance is something I’m constantly working on. Given that I get to do both with John, we value our time together with our family and with our team. So even if the balance isn’t there, we are enjoying things as much as possible.”

“I email myself (and others) at all hours. My team knows that they are not expected to reply until a reasonable hour – my hours are anything but reasonable but those are my own bad habits. I often tap John in the middle of the night and ask him to remind me to tell him something in the morning, which he kindly does over a cup of coffee and the crossword puzzle.”

Big ideas never stop, and today Christine Gachot is joining us for Friday Five to share more!

white stationery with the heading GACHOT and handwritten Cheers! C.G.

Photo: GACHOT

1. Thank You Notes

Nothing beats a hand-written thank you note! I love sending them and receiving them. I will sometimes ask John to sketch something special on the front of the card which is such a nice, thoughtful touch. I’ve never hesitated to invest in good stationary.

marble coffee table top with a few books and vase of small yellow flowers

Photo: Nicole Franzen

2. Flowers

On my desk, in my garden, in my studio, and in my home! Flowers are my go-to gift for every occasion and one of my favorites to receive. Raquel Corvino is my floral guru, her arrangements are both elegant and extraordinary.

3. Golf

My all-time-favorite sport to play. When summer comes around, I get a little golf crazed – I have been caught playing golf-hooky by my team! I’m on the course almost every weekend, even when I swear that I’ll just go to the beach and read a book. Thankfully, John is just as crazed, so I always have a partner. I enjoy that I’m constantly learning, I’m outside for hours, and I’m concentrating in a very different way than I am at work. I want to quit the sport as often as I play it, but for some reason I always get back out on the course.

black Eames chair and ottoman on white background

Photo courtesy Design Within Reach

4. Eames Lounge Chair

We have two Eames lounge chairs at home and two at Pebble Bar. I’ve been known to share one seat with John. I love a good classic, and this is a great one! Ours are well worn and incredibly comfortable.

dark and classic bar space with pool table

Jac’s On Bond Photo: William Jess Laird

5. The Perfect Cocktail

I love designing a fun bar that makes people feel welcome! And the tastings are super fun, too. “Do The Dew,” a tequila cocktail at Jac’s On Bond, is my favorite cocktail du jour: perfectly simple and clean. I’ll be there this evening sipping my drink by the pool table. Please stop by!

Work by Christine Gachot + GACHOT:

all white styled interior space with staircase

As featured in Elle Decor on the cover of the Summer 2021 Issue, Beekman Penthouse is a personal design project for the Gachots and their family. Moving into the landmarked Paul Rudolph penthouse on Beekman Place in Manhattan, the Gachots sought to honor the late architect’s vision while fusing the ethos of the space with their own preference for modern yet friendly comfort.

pink marble powder room

This SoHo Triplex home has a setting for every occasion, from intimate to larger social gatherings, inside and outside. This was a project of theater – setting the scene with continuous moments of surprise and delight. The design process was all very exciting and seamless. It was truly a labor of love with our client who had such a strong vision.

dark, moody styled bar with low light and candles

Pebble Bar is a harmonic interplay of decade-defining styles through which the site has lived. With an eye towards timelessness, it’s organized as a series of intimate yet buzzy spaces that evoke a romantic notion of midtown Manhattan’s metropolitan social energy: a casual standing room bar, an intimate bar and restaurant, and a VIP lounge with a highly residential and clubby atmosphere.

well-lit lobby styled space with a brown sofa, two brown armchairs, a square brown coffee table, and a fireplace

Pendry Manhattan West is a marriage of bicoastal American aesthetics: merging the serene, West Coast luxury of the Pendry brand with GACHOT’s ethos of friendly elegance, inspired by the modern vitality of New York City. The hotel is an experience of luxury defined by streamlined forms that are elevated with rich texture, sumptuous material, and careful consideration for the interplay of light. It is a tranquil reprieve from the bustling metropolis outside.

multicolored marble sink surround with chrome fixtures

A collection designed in collaboration with Waterworks, Bond is a fixtures and fittings line that inhabits the full range of modern style, from the austerity of disciplined minimalism to the relaxed appeal of warm contemporary. The perfect fit for projects of various design sensibilities.

This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

Kelly Beall is senior editor at Design Milk. The Pittsburgh-based graphic designer and writer has had a deep love of art and design for as long as she can remember, and enjoys sharing her finds with others. When undistracted by great art and design, she can be found making a mess in the kitchen, consuming as much information as possible, or on the couch with her three pets. Find her @designcrush on social.

A Photographer Tried to Get His Photos Removed from an AI Dataset. He Got an Invoice Instead.

A Photographer Tried to Get His Photos Removed from an AI Dataset. He Got an Invoice Instead.

A German stock photographer who asked to get his images removed from a dataset used to train AI image generators was not only met with a refusal from the dataset owner but also an invoice for $979 for filing an unjustified copyright claim. 

The photographer, Robert Kneschke, found out in February that his photographs were being used to train AI through a site called Have I Been Trained? This website allowed him to search through LAION-5B, which is a dataset of over 5.8 billion images owned by the non-profit Large-scale Artificial Intelligence Open Network (LAION). The dataset has been used by companies like Stability AI, which supported the dataset’s development, to train AI models that generate images. Kneschke found that “heaps of images” from his portfolio had been included in the dataset, he wrote in a blog on his website.  

After seeing another photographer comment online about asking to have their images removed from the LAION dataset, Kneschke decided to contact them about his own work in February. A day later, he wrote on his blog, he received a letter from the organization that said it was compliant with copyright laws and that it is not possible to remove his images. 

“Our client only maintains a database that contains links to image files that are publicly available on the Internet. It cannot be ruled out that the database may also contain links to images that you are the author of,” the letter, written by the law firm Heidrich Rechtsanwälte on behalf of LAION and viewed by Motherboard, said. “However, since our client does not save any of the photographs you have complained about, you have no right to deletion. Our client simply does not have any pictures that could be deleted.”

The letter also threatened to collect claims for damages from Kneschke, saying he filed an unjustified copyright claim. 

At the end of March, Kneschke decided to send out a cease-and-desist request, which Motherboard viewed, that asked the LAION team to take his images out of the training dataset and provide information on the extent to which the works were used, how long they were used, and where they got the images from. 

The LAION team responded again that there had been no copyright infringement. “The only act of reproduction that our client could have undertaken was of a temporary nature and is covered by the limitations of both Section 44b UrhG and the more extensive Section 60d UrhG,” LAION’s lawyers wrote in another letter seen by Motherboard. “As already explained to your client, our client does not store any copies of your client’s works that could be deleted or about which information could be provided. Our client only found image files on the Internet for the initial training of a self-learning algorithm using so-called crawlers and briefly recorded and evaluated them to obtain information.”

According to German copyright law, “it is permitted to make reproductions to carry out text and data mining” if they are “lawfully accessible” and deleted afterward. Temporary reproductions are also allowed if the sole purpose is to enable “a lawful use” of a work and the reproduction has “no independent economic significance.”

“It might be true that LAION does not currently store images itself,” Knesche said to Motherboard, noting that the LAION whitepaper refers to downloading images from URLs, “so copyright infringement might have taken place.”

The legal letter contained an invoice for $979 in Euros, and demanded that Kneschke pay the amount within 14 days or the firm will take legal action. The amount was due for filing an unjustified copyright claim, the lawyers argued, saying that Kneschke must pay because their client had now incurred legal fees to deal with the matter. 

“In a letter dated February 14, 2023, we had already pointed out to your client that our client is entitled to claims for damages in accordance with Section 97a (4) UrhG in the event of an unjustified claim,” LAION’s lawyers wrote. “At the time, our client had refrained from asserting this claim, but now feels unable to be lenient here. She incurred legal fees for defending against the obviously unjustified warning you issued, which our client will not bear herself.” 

“If I, as the author, ask for my images to be removed from the training data and to fulfill my legal right to information, I am supposed to pay damages to them? That feels like adding insult to injury,” Kneschke told PetaPixel

The legality of using copyrighted material to train AI is still very contentious and there has not yet been a precedent case that can be used to determine the validity of either side of the case.

“AI is already widely and commonly used and I have no expectations that my case will change that. However, I have hope that we can take part in shaping the legal framework for this new technology to not only cover the AI usage, but also the AI training in respect of the many artists that have their works used without their knowledge and/or permission. I hope that it will become common grounds that artists will get a cut if their data is used in AI training to compensate for lost income due to advancing AI technology,” he told Motherboard.

As of Thursday, Kneschke said that he has filed a lawsuit against LAION at the Hamburg regional court in Germany. 

Currently, Getty is suing Stability AI for its role in supporting the development of LAION, which includes over 12 million photographs from Getty Images’ collection. Many artists have also been vocal against the use of their images to train AI. Karla Ortiz, an artist and board member of an advocacy organization for artists called the Concept Art Association, is leading a fundraising campaign to hire a lobbyist in Washington D.C. Ortiz and the organization hope to bring changes to US copyright, data privacy, and labor laws to protect artists’ intellectual property. 

Artists should theoretically already be able to remove their work from the training dataset, according to Stability AI, which announced in December that it would honor all opt-out requests collected from the Have I Been Trained? website. There is also a section on the LAION website’s FAQ that states EU citizens who find their images and other identifiable data in the dataset are eligible to file a claim for their personal data to be taken down under the GDPR law. 

Spokespeople for LAION did not respond to a request for comment. 

Cape Ann Business Briefcase

Cape Ann Business Briefcase

Gallery opening in Rockport

ROCKPORT — Ken Knowles Fine Art, at 10A and 10C Main St., in Rockport has a new adjacent gallery space.







Gallery opening in Rockport

Ken Knowles Fine Art, at 10A and 10C Main St., in Rockport introduces a new adjacent gallery space with the Rockport Gallery, which opens this Saturday, April 29. In the nearby courtyard, a large dragon sculpture by Chris Williams has been installed.




The Rockport Gallery features works by celebrated local artists, including John Terelak, Eric Tobin, Michele O’Neil, Ryan Davis, Mark Atkinson, Tim Kelly, Ken DeWaard and Chris Williams. The gallery opens this Saturday, April 29.

In the nearby courtyard, a large dragon sculpture by Williams has been installed. The gallery also will represent several nautical pieces among others by Williams.

Bank hosting art show, reception

BankGloucester is hosting a show of works by artist Sandra Kavanaugh now through June 16 in its lobby at 160 Main St. It is hosting a public opening this Saturday, April 29, from 10 a.m. to noon so the public may meet the artist, ask questions, and enjoy light refreshments while viewing the artwork.







Bank hosting art show, reception

BankGloucester is hosting a show of works by artist Sandra Kavanaugh now through June 16 in its lobby at 160 Main St., Gloucester. There is a public opening this Saturday, April 29, from 10 a.m. to noon. Pictured is “Atlantic Ribbons.”




Kavanaugh is an award-winning pastel artist, and a graduate of Massachusetts College of Art. She is a juried member of the Copley Society, North Shore Arts Association, Newburyport Art Association and the New Hampshire Art Association. She is a signature member of the Pastel Society of New Hampshire and is a juried associate member of the Pastel Society of America. She has recently achieved Master Circle status with the International Association of Pastel Artists.

“I love the coast in all weather and every season. Using pastels which are pigments in their purest form, I render the transparency of the cresting waves and the patterns of light and shadow. I want you to experience the power and beauty of the ocean and as you view this collection of paintings and feel that you are standing on the shoreline, hearing the crashing waves and feeling the salt spray on your face,” wrote Kavanaugh in an artist statement.

Company wins 4 ‘best of’ awards

HireClix, a recruitment marketing services company based at 3 Heratige Way in Gloucester, was recognized as “best company” in four categories of the 2022 Comparably Awards: CEOs for Women, Compensation, Perks & Benefits, and Company for Women.

“At HireClix, we pride ourselves on our ability to help companies build and showcase their employer brand, because we understand the importance of employer branding firsthand,” said Neil Costa, CEO and founder at HireClix, in a prepared statement. “One of our core values and guiding principles at HireClix is to ‘be a good human.’ Earning these award recognitions reaffirms our commitment to that principle, helping to enrich our brand and ensure our employees know they are welcome, cared for and valued.”

“As a female leader at HireClix, I am proud to work for a company that has not only received these recognitions as a best place to work for women, but also has a leadership team of 50% women,” said Kara Yarnot, VP of Strategic Consulting Services at HireClix. “We don’t just talk about supporting women, we have real policies and programs that ensure all women have the resources, tools and mentorship to help them advance their careers while feeling respected and appreciated for their contributions.”

Winners of the Comparably awards are determined based on employee responses to a series of 50-plus structured and comprehensive workplace questions in nearly 20 core culture categories. The criteria includes compensation, leadership, professional development, work-life balance, and perks and benefits. Comparably applies a proprietary algorithm to each award to determine the top-rated companies. All categories are segmented by company size (large or small/mid-size).