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dd20century · 11 months

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Tell Me About Designer Susan Kare

Editor’s Note: This is an experimental post written with the assistance of AI software, Chat GPT. The content was vetted for accuracy and revised for style.

Susan Kare is considered a pioneer in the field of computer interface design, best known for her work at Apple Computer during the 1980s, where she designed interface elements for the original Macintosh computer. These elements include the original Macintosh typeface, Chicago, as well as many of the icons and user interface elements that were used in the Macintosh operating system. Kare's work has had a significant impact on the design of user interfaces, and her design elements are still in use today in various forms. (1)

Kare's work on the Macintosh interface was far-reaching and had a big impact on the design of user interfaces. Here are a few examples:

The original Macintosh typeface used in the Macintosh operating system and is still used in various forms today

The "Happy Mac" icon, which was the icon that appeared on the Macintosh screen when the computer was turned on and the operating system was loading (2)

The "Command" key icon still used on Apple keyboards to this day to indicate the command key (3)

The "Paint Bucket" and "Paintbrush" icon used in the Macintosh program MacPaint (3)

The "Lasso" and "Eyedropper" icons used in the Macintosh program MacDraw (4)

The "Clipboard" icon used in the Macintosh operating system to indicate the clipboard (4)

Susan Kare, User-interface Icons for Macintosh Operating System (1982-1986). Image source.

Susan Kare was born on February 5, 1954 in Ithaca, New York, United States. She attended Mount Holyoke College earning a Bachelor of Fine Arts degree. In addition, she received both a M.A. and a Ph.D. in fine arts from New York University. (5,6 )“After earning her Ph.D., she moved to San Francisco to work at the Fine Arts Museums of San Francisco (FAMSF), as a sculptor and occasional curator” (5).

In 1982 Susan Kare began working for Apple Computer and remained with the company until 1986 when she “followed Steve Jobs in leaving Apple to launch NeXT, Inc. as its Creative Director and 10th employee. She introduced Jobs to her design hero Paul Rand and hired him to design NeXT’s logo and brand identity, admiring his table-pounding exactitude and confidence” (4).

Susan Kare, Chicago Typeface for Macintosh Operating System (1982). Image source.

After working at Apple NeXT, Inc. Kare continued to work on a variety of projects including designing icons, typefaces, and user interface elements for a number of other technology companies including Microsoft, IBM, Sony Pictures, and Intel. (3) Kare also established her own company, Susan Kare Design and continues to work as a graphic designer and artist. (5) “The Museum of Modern Art (MoMA) store in New York City has carried stationery and notebooks featuring her designs” (4).

Ms. Kare's influential work has won several awards. In 1999, she was inducted into the Smithsonian's Cooper-Hewitt National Design Museum's National Design Awards Hall of Fame for Interface Design. (2) Her work was included in the Museum of Modern Art's (MoMA) 2011 exhibition "Talk to Me: Design and the Communication between People and Objects." In 2018, she was awarded the AIGA Medal, the highest honor in the field of graphic design in the United States. Ms. Kare has been a Creative Director at Pinterest since 2015. (5)

View Susan Kare's portfolio.

References

FamousGraphicDesigners.org, (2019). Susan Kare. Retrieved from: https://www.famousgraphicdesigners.org/susan-kare

Kindy, D., (9 October, 2019). How Susan Kare Designed User-Friendly Icons for the First Macintosh. Retrieved from:https://www.smithsonianmag.com/innovation/how-susan-kare-designed-user-friendly-icons-for-first-macintosh-180973286/

Wikipedia, (6 May, 2023). Susan Kare. Retrieved from: https://en.wikipedia.org/wiki/Susan_Kare

Christoph, (19 January, 2023). Susan Kare – Designing the GUI of the Apple Macintosh (and much more). Retrieved from: https://www.mac-history.net/2023/01/19/susan-kare-pixel-design-apple-mac/

Kare Prints, (2023). About Susan Kare. Retrieved from: https://kareprints.com/pages/about

#susan kare #graphic design

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dissmal · 1 year

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2022 A Year in Emotions

Memories:

Started off the new year with Jon in NYC! Homey takeout dinner with my parents, Moma, climbing with Greg and Dior exhibit.

Uncertainty, Relief. The moment I met Totoro! I picked her up and heard her meowing in the carrier. I released her in the carrier and she immediately started rubbing herself on me and purring. I was so relieved that she liked me.

Fear, Accomplishment. Trying ice climbing. Woke up at 5am, and when we got there it was negative 13 degrees. I felt the least athletic and didn’t have the right gear but I overcame my fears and had a great first climb.

Newness. First ski trip with Halle, I remember driving her car for the first time and being scared. But I realized from this trip that I really like roadtrips.

Togetherness. Trying molly for the first time and going out to Basement. I felt so loved and protected by my friends. I wanted to party my heart out and the DJ Tool was so good and dropped some sick beats.

In Love. Paris - sitting by the Seine and watching the sunset behind Jon. The last night we were there the Eiffel Tower sparkled in a special way and we kissed.

Proud. Going to Tesla gigafactory and see the graffiti that Jon was working on made me so proud of him. I was glad he was doing so well in a foreign country.

Brave. Going to the fetish wear store and trying something that was completely out of my comfort zone. I struggle with feeling comfortable in my body when I truly felt different when I looked at myself in the mirror- it was like I could turn even myself on.

Seeing Xin in London, going to the art museum but then getting a UTI, but also having really good English breakfast at the 100 Shoreditch hotel

Creative. Spray painting for the first time with Chanel, touching new medium, getting it on my nails.

Accomplished, Amazed. First 4 mile race in Central park and eating a colorful bagel with Rebecca after and my first 10k in Prospect Park

Happy. Dancing at the Elsewhere rooftop with Ami, Keo, Alp, Tim, Corey. The sunset was so beautiful and I felt so at ease and happy with a great group of people who were willing to be vulnerable, let lose and dance without inhibition.

Content, Simple Happiness. Sitting on the balcony at Lake Como, feeling so at peace and content in my relationship with Jon. I remember dunking myself into the cool water right before we had to leave and feeling so happy, simple and refreshed.

Inspired, in Awe. Also seeing the Biennale was truly inspiring. Some of the coolest art pieces, like the falling lava, and taking the water taxi.

Relaxed, at Peace. Sitting on the beach in Rugen with Jon. Just eating a really good hot dog and ice cream (all courtesy of Jon) and reading so much of the Overstory.

Comfort. Eating at Barra in Berlin.. maybe my favorite meal of the whole year. I still remember the sea aster and dessert. Staying with Jon made me realize that home is wherever he is and I still feel nostalgic for his old apartment where we had hot pot and cooked meals together.

Anticipation. Seeing the US Open with Rafa and Tiafoe had me at the edge of my seat!

Nostalgia. Going up to Ithaca for the Rev finale, I stayed at the Dorm Hotel which was so memorable, and got dinner with Eme at the Rook.

Frustrated. My parents putting pressure on me about the house renovation situation, having a mental breakdown in Cindy’s room and then Michelle passing out on me.

Intrigue. Norway- seeing the art pieces at the museum like the twisting benches, or the spinning water, there was something new at every corner. Fresco Hallen had an amazing ambiance for breakfast.

Loved. My friends coming together for my 25th birthday, and even Jon being there! It was honestly the best birthday I could hope for, from multiple cakes to karaoke to EEAAO costumes.

Youthful Joy. Day trip to Fishkill Farm to apple pick with Ami, Maya, Benji, Tim, and Alp - just a wholesome day where the weather was so beautiful and I got to do all the fall activities I wanted! Pumpkin patch, corn maze, cider donuts, riding a truck, it was genuinely so much fun.

Excited, Proud, Touched. PISTE Showcase Benefit, getting a shoutout from Nzingha, seeing her realize this dream and being so proud to see my work, in flesh, everywhere I looked at Samsung 387.

Intimacy, Vulnerability. Xin staying over for 3 nights, made me feel so close to her again. I put on candles and we turned down the lights, and sang together over Tom Misch’s songs.

Sophisticated. I hosted Ami, Kush and Keo and brought out wine, nice wine glasses, and even put together a chacuterie board. I felt like a great host.

Moved. The Moth, with Maya Michelle and Niki, 5 stories about “now you see me” were told in such an impactful way, I could never forget. Daniella Faith singing at SoFar Sounds gave me goosebumps, and I loved that she told us to sing with her.

Creative. Nude sketching at Happy Medium made me realize that I missed art so much. Mugler exhibit also reminded me of this creative world that exists in NYC that I haven’t tapped into

Intimacy, Beauty, Appreciation. Ending the year with horny thoughts and the cozy comfort of 2 duvets, and a scenic 4 mile run around Boston with Jon that made me feel so happy and appreciative of my body, of Jon, and of the beautiful world.

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ithacamoma · 5 years

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20 QUESTIONS FOR: TAMMY SALZL

image courtesy of the artist and DC3 Art Projects

1.Name:

Tammy Salzl

2.Occupation(s):

Artist, Sessional Teacher in Senior Level Painting at the University of Alberta.

3.Where are you from and what is your education?

I was born in Edmonton, AB, into a gigantic dysfunctional family with 18 aunts and uncles, 42 first cousins and barely one parent. I spent my summers being tortured as an English speaking city slicker in French speaking prairie farm communities. Retreating into art and stories and animals was the salvation I didn’t find in the fundamentalist religion I was periodically thrown into. For my undergrad I did 2 years at ACAD (Now called AUArts), and finished my BFA at the University of Alberta. I received my Masters in Studio Arts (Painting) at Concordia University in Montreal 2014 and have been expanding my practice to include video and multimedia installation since graduation.

4.Where do you live/work (neighbourhood/city/country)?

For the past 3 yrs I’ve been splitting my year between the Southside of Edmonton, AB. and Parc Ex in Montreal QC. I have family in both places, which makes this both possible and necessary.

5.Does your location affect your practice?

Definitely! Emotionally, psychologically and logistically. I’m lucky to be able to spend time in both eastern and western Canada. Sometimes they seem like entirely different worlds and it’s a privilege to be able to step into both. It broadens my field of vision.

6.What is your favourite tool in the studio?

I have two favourite things. My glue gun, because I love glueing stuff, it makes me feel like a little kid again! I also love it when I have a fresh, unused brush in hand.

7.Where do you look for your source material?

Everywhere! Movies, books, (I love sci-fi books, and I just finished 2 books by Yuval Noah Harari - Sapiens and 21 Lessons for the 21st Century - so gooood!) mythology, ecology, weird/wondrous animals (like the barrel eye fish or the Aye-aye), bus stops, Edmonton’s River valley, back alleys in Montreal, weird stop motion animations, the fresh sights, sounds and smells that come with travel, looking at art and, occasionally, the bottom of my wine glass.

8.What is you daily art world read?

I email subscribe to a bunch of art blogs (like Hyperallergic and artdaily.org etc), and I also try to read Border Crossings and Canadian Art magazines, but honestly a lot of my art world reads come from instagram. Cuz you know… pictures.

9.What is your daily non-art-world read?

I love science and nature blogs. I really enjoy nature.com, naturecanada.ca, futurism.com/, and for quick global news stuff I like Quartz Daily Brief. It’s hard…you don’t want to be ill informed yet it’s so bleak out there…I think overexposure to media can be harmful. I try to find a balance.

10.What role does writing play in your practice?

Sadly, not much. It’s an inescapable task for every artist, and one I dearly wish I could escape. That said, aside from the necessary evil of artist statement/proposal/grant type of writing, I sometimes play at creative writing. I make little one page tales that turn into paintings, or I write a short narratives based on something I’ve made. I’ll often have automatic writing embedded in my underpaintings, and if you look hard enough you can sometimes find traces of a word here and there.

11.What role does research play in your practice?

Because I peddle in tales, I research the history, culture, psychology, pop culture, philosophy of whatever traditional tale or mythology I’m referencing, and how others have interpreted those tales over time - even if I’m referencing something like Dr. Seuss. I often tie that into the research I do out of my interest in ecology and nature. For me, working representationally means there is intension in everything. I try to have layers of meaning and make work that engenders multiple interpretations. I research the symbolism and history of objects, places, animals, colours , etc. With my installations there is a lot of material research involved as well.

12.What role does collaboration play in your practice?

Since expanding my painting practice into intermedia work, I’ve done quite a bit of collaborating in the form of “I don’t know how to do this technical thing so I need to find someone who does”. It’s taught me a lot in terms of learning to communicate and work with others. As a solitary person, it’s a challenge for me, but I also find it incredibly rewarding and enriching. Also, a couple of years ago 4 female artist friends and I began an art collective called IFPP (incubator for phantom pregnancies) We’ve staged a couple exhibitions and have some upcoming shows, and it’s been really great. You learn a lot about yourself in a collaborative process, and it’s exhilarating ending up with this thing you helped create, but in a mind hive kind of way.

13.How does success affect your practice?

Ideas of success are pretty subjective, no? Speaking in terms of non-commercial success, I would say it helps drives my practice forward. It gives you the incentive and confidence to keep going, to make more, to take risks and think bigger. Sometimes commercial/monetary success can do the opposite because you’re expected to make more of the same, sellable stuff - to keep the formula and not colour outside those lines.

14.How does failure affect your practice?

Failure is an opportunity to learn, and can lead to amazing things. I suck at it. I can be super stubborn and fight with a painting that’s not working for days and days. I’m often my own worst enemy. I’m learning to walk away, to turn the bloody thing facing the wall and only come back to it when I can be more objective - when I’m in a better place to paint over the 100 hours invested and start over.

15.What do you identify as the biggest challenge in your artistic process?

My own stubbornness! My own rules and obsessiveness and need for control. I can get restrained by fear of making something ‘bad,' and I struggle to let myself play more, to let myself ‘fail’. I can get too caught up in my own head. I struggle with a lot of self doubt. A dear friend of mine recently sent me a beautiful quote by Robert Hughes in an attempt to assuage my doubt:

“The greater the artist, the greater the doubt. Perfect confidence is granted to the less talented as a consolation prize.”

I’m not so sure this is the case, but it’s nice to hear!

Also, like so many of us, I struggle socially and will hide in my studio rather than go to an art opening when I know I should be trying to make “connections”. Wine helps tremendously in all my struggles.

16.Who are some historical artists you are thinking about?

This fluctuates a great deal. I often find myself interested in artists I thought I didn’t like years ago, and will lose interest in artists I thought I loved. Art crushes come and go. I just bought a Frida Kahlo book and am rediscovering my fascination with her.

17.Who are some contemporary artists you are thinking about?

Everyone and no one in particular. I was in LA last January and saw an amazing Outsider Art show at LACMA. There was a piece by Greer Lankton titled, “Candy Darling” depicting a transgender actress who was featured in several of Andy Warhol’s films and was one of Lankton’s icons she looked up to as a trans woman. It’s exquisite with an edgy sexuality - totally blew my mind. I also saw some Mark Bradford works at The Broad that really surprised me. You have to be in front of them to understand how profound, beautiful, raw and sophisticated they are.

18.How do you describe what you are making now?

Right now I’m bouncing all over the place with various mediums. I’m working on a new series of oils, sort of taking the piss out of patriarchal old fables and the misogynistic way they portrayed women by retelling them through a contemporary lens. I’m also making a series of small, intricate “naughty fairies” made out of Sculpey (imagine tinker bell-like creatures going down on each other), some larger installation pieces that incorporate a variety of materials - video, sound, found and crafted objects, and I just completed my first short narrative video with footage shot on an artist residency I did in Norway last year.

Sometimes I feel like I’m spreading myself too thin and there’s an invisible pressure to focus on one thing, but I’m a storyteller and I use whatever mediums best suites the tale. I think everything I do remains distinctly me, it all has connective threads. Generally I paint in the morning and move onto video and sculpture in the afternoon/evening. Painting is mentally challenging in a very singular way; it’s super humbling and I need a fresh, rested brain to do it.

19.Who is an artist that you think deserves more attention?

Oh man. Too many to count. Seems to me art world trends often translate into amazing artists not getting their due. I think Canadian artists in general deserve more of the international spot light. There’s so much talent here.

20.How can we find out more about you (relevant links etc)?

I keep my website pretty up to date, including upcoming shows and press links etc.

www.tammysalzl.com

#20 questions #art #Artist Interview #tammysalzl #canada #ithaca moma

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artandfeminism · 5 years

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2019 WIKIPEDIA EDIT-A-THON SATURDAY, MARCH 2 AT THE MUSEUM OF MODERN ART WITH HUNDREDS OF EVENTS INTERNATIONALLY THROUGHOUT THE MONTH OF MARCH

FEBRUARY 14, 2019 FOR IMMEDIATE RELEASE PRESS CONTACT: MOLLY KURZIUS, [email protected]

New York City -- Art+Feminism’s sixth-annual Wikipedia Edit-a-thon, an all-day event designed to generate coverage of gender, feminism, and the arts on Wikipedia, will take place at the Dorothy and Lewis B. Cullman Education and Research Building, The Museum of Modern Art, New York, 4 West 54 Street, on Saturday, March 2, 2019 from 10 a.m. to 5 p.m. The much-anticipated event features panel discussions, workshops, tutorials for the beginner Wikipedian, ongoing editing support, reference materials, childcare, and refreshments. People of all gender identities and expressions are encouraged to attend.

“This year we focused on growth, both in people and in focus,” said Art+Feminism lead co-organizers Siân Evans, Jacqueline Mabey, McKensie Mack, Michael Mandiberg, and Melissa Tamani Becerra. “We welcomed Melissa Tamani Becerra as lead co-organizer, we now boast thirteen of Art+Feminism regional organizers from Accra to Taiwan, and we’ve brought on Community and Communication Fellows with the goal of training the next generation of activists in the arts. And, in focusing our 2019 campaign on editing about non-binary topics, we made public our personal commitment to an expansive understanding of gender. This way, we can better represent the gender identities of Art+Feminism organizers and participants."

The Edit-a-thon at The Museum of Modern Art will feature a series of programs throughout the day. This year’s event kicks off with a conversation exploring visibility and vulnerability, featuring writer and archivist Che Gossett; performance artist, writer, and educator Alok Vaid-Menon; and Simone Browne, an Associate Professor in the Department of African and African Diaspora Studies at the University of Texas at Austin. The discussion is moderated by Danielle A. Jackson, Curatorial Assistant, Department of Media and Performance Art, The Museum of Modern Art.

The Edit-a-thon will also feature Gallery Sessions on feminist art; a discussion of the forward-thinking teaching artists who shaped the development of the Department of Education via materials in the library archives; a workshop on creating boundaries to combat implicit and explicit bias; and a teach-in on deleting and defending articles on Wikipedia. With the intention of making women artists and photographers of the African Diaspora more visible, The Black Lunch Table hosts their Wikimedia Photo Booth. Professional photographers Laylah Amatullah Barrayn, Andrea Cauthen, and Adama Delphine Fawundu will be on hand taking portraits for upload to Wikimedia Commons. Communal editing tables will be hosted by AfroCROWD, an organization that increases awareness of free culture movements among people of African descent, and POWarts, which champions the professional lives of women in the art world. Across the street, New York Public Library’s 53rd Street Branch will host Drag Queen Story Hour and offer a zine-making workshop.

In addition to the Edit-a-thon at The Museum of Modern Art, New York City will play host to events at a wide range of institutions, including The Jewish Museum (March 3); Kickstarter (March 3); International Center of Photography (March 9); Interference Archive (March 10); Bard Graduate Center (March 16); Columbia University (March 16); Pratt Institute (March 19); The School of Visual Arts Library (March 21); Hauser & Wirth (March 27). Internationally, edit-a-thons will take place during the month of March at hundreds of institutions such as Impact Hub, Accra; Kunstmuseum Basel; The Wexner Center for the Arts, Columbus; Buni Innovation Hub, Dar es Salaam; Pand P, Eindhoven; Università degli studi di Salerno, Fisciano; MAMCO, Geneva; Asia Art Archive, Hong Kong; Cornell University, Ithaca; Musée d’art de Joliette; ICA, Los Angeles; Initiative for Indigenous Futures, Montreal; University of Nigeria, Nsukka; Mills College Art Museum, Oakland; Centre Culturel Suisse, Paris; Le Musée national des beaux-arts du Québec, Quebec City; University of Nevada, Reno; Museo Nacional de Bellas Artes, Santiago; Womany Wonderland, Taipei City; Morris and Helen Belkin Art Gallery, The University of British Columbia, Vancouver; Winston-Salem State University; Material Zürich; and online in a month-long Edit-a-thon led by Women in Red. An updating list of venues can be found on the Art+Feminism’s website: http://www.artandfeminism.org/find-an-event/

On the eve of the March Edit-a-thons, Art+Feminism announced the release of new artworks from Wendy Red Star and Tuesday Smillie, created under the auspices of the Call to Action art commissions program. Established in 2017, artists are invited to create Creative Commons licensed works to be hosted on Wikimedia Commons; Divya Mehra’s Dangerous Women (Blaze of Glory) was the inaugural commission. Ashkaamne (matrilineal inheritance) (2019) by Wendy Red Star depicts the artist and her daughter, Beatrice Red Star Fletcher, reclining in matching striped shirts and blankets, with the words, “Apsáalooke feminist,” repeated in the background. Apsáalooke inheritance is based on matrilineal descent, tracing affiliation along with the mother-to-daughter line; the image represents a lineage, female empowerment, and the next generation. Rage/Sorrow (2018) by Tuesday Smillie is an animated GIF. The text “RAGE” appears large, filling the square format from left to right. “RAGE” is quickly obscured by a cascade of rectangles and the text, “SORROW,” repeated in a smaller font. Rage/Sorrow, a born-digital work, suggests the role of technology and the internet in nurturing and exacerbating pre-existing social divisions. The endless loop of the GIF mimics a cycle of anger and anguish produced by the constant stream of horrifying news.

Founded in 2014 by Siân Evans, Jacqueline Mabey, Michael Mandiberg and Laurel Ptak, Art+Feminism is a do-it-yourself campaign to improve coverage of gender, feminism, and the arts on Wikipedia. Wikipedia’s gender trouble is well-documented; in a 2011 survey, the Wikimedia Foundation found that less than 10% of its contributors identify as women. This lack of participation has led to significant gaps in content on the world’s most popular online research tool. Since 2014, over 10,000 people at more than 800 events around the world have participated in our edit-a-thons, resulting in the creation and improvement of more than 33,000 articles on Wikipedia.

The 2019 Wikipedia Edit-a-thon at The Museum of Modern Art is organized by Art+Feminism, led by Siân Evans, Jacqueline Mabey, McKensie Mack, Michael Mandiberg, and Melissa Tamani Becerra, in collaboration with AfroCROWD, Black Lunch Table, Women in Red, the Professional Organization for Women in the Arts (POWarts) and The Museum of Modern Art, New York and with support from Qubit New Music, Inc. and Wikimedia NYC.

Art+Feminism’s Regional Ambassadors are Mohammed Sadat Abdulai, Accra; Marta Delatte, Barcelona; Daniela Brugger, Basel; Walaa Abdel Manaem, Cairo; Medhavi Gandhi, Chandigarh; Amanda Meeks, Flagstaff; Dominique Eliane, Ivory Coast; Stacey Allan, Los Angeles; Amber Berson, Montreal; Linden How, Portland; Taryn Tomasello, Portland; Juliana Monteiro, São Paulo and Jessie Mi, Taiwan. The 2019 Fellows are Keon Dillon and Nina Yeboah.

The Art + Feminism Wikipedia Edit-a-thon at The Museum of Modern Art is supported by The Modern Women’s Fund.

The Art + Feminism initiative is made possible by the Wikimedia Foundation.

Education at MoMA is made possible by a partnership with Volkswagen of America.

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vintage1981 · 7 years

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‘Night of the Living Dead’ 4K Restoration Now Has Theatrical Distribution

Last year, George Romero raved about a 4K restoration of Night of the Living Dead that the Museum of Modern Art and The Film Foundation whipped up from the original negatives. The digital restoration was shown just a couple times at MoMA last November, and Romero noted that it’s “closer than anything we’ve seen to the definitive version of the film.”

Gary Streiner revealed mere hours before the news of Romero’s passing in July that Janus Films has acquired the 4K restoration for theatrical distribution.

Shot outside of Pittsburgh at a fraction of the cost of a Hollywood feature by a band of filmmakers determined to make their mark, George A. Romero’s Night of the Living Dead is one of the great stories of independent cinema: a midnight hit turned box-office smash that became one of the most influential films of all time. A deceptively simple tale of a group of strangers trapped in a farmhouse who find themselves fending off a horde of flesh-eating ghouls newly arisen from their graves, Romero’s claustrophobic vision of a late-sixties America (literally) tearing itself apart rewrote the rules of the horror genre, combined gruesome gore with acute social commentary, and quietly broke ground by casting a black actor (Duane Jones) in the lead role. After decades of poor-quality prints and video transfers, Night of the Living Dead can finally be seen for the immaculately crafted film that it is thanks to a new 4K restoration, scanned from the original camera negative and supervised by Romero himself. Stark, haunting, and more relevant than ever, Night of the Living Dead is back!

Playdates:

October 26 - 28 Athens, GA - Cine Theatre

October 26 - 31 Austin, TX - Austin Film Society

October 26 - November 2 Santa Fe, NM - Jean Cocteau Cinema

October 27 Charlottesville, VA - Alamo Drafthouse Eureka, CA - Eureka Concert and Film Center

October 27 & 28 Cleveland, OH - Cleveland Cinematheque New Orleans, LA - Broad Theater

October 27 - 29 Amherst, MA - Amherst Cinema Detroit, MI - Detroit Institute of Arts Houston, TX - MFA Houston Lexington, KY - Kentucky Theater Portland, ME - Portland Museum of Art Wheeling, WV - Towngate Theater

October 27 - November 2 Champaign, IL - The Art Theater Chicago, IL - Music Box Theatre Columbia, MO - Ragtag Cinema El Paso, TX - Alamo Drafthouse Montecillo Lubbock, TX - Alamo Drafthouse Lubbock Minneapolis, MN - Film Society of Minneapolis St. Paul Omaha, NE - Film Streams Provincetown, MA - Waters Edge Cinema

October 28 - November 2 Silver Spring, MD - AFI Silver

October 28 Fort Wayne, IN - Cinema Center Paducah, KY - Maiden Alley Cinema Richmond, VA - The Byrd Theatre

October 28 & 29 Oklahoma City, OK - Oklahoma City Museum of Art

October 30 Boulder, CO - International Film Series

October 30 & 31 Durham, NC - Carolina Theatre of Durham Portland, OR - Hollywood Theatre Wichita, KS - Regal Warren Old Town 7

October 31 Arlington, VA - Arlington Cinema & Drafthouse Des Moines, IA - Fleur Cinema & Cafe Honolulu, HI - Honolulu Museum of Art Los Angeles, CA - ArcLight Missoula, MT - The Roxy Theater Phoenixville, PA - Colonial Theatre San Diego, CA - Balboa Theater Toronto, ON - TIFF Cinematheque Yonkers, NY - Alamo Drafthouse Yonkers

October 31 & November 2 Ithaca, NY - Cornell Cinema

November 1, 5, 6 & 7 Baltimore - Senator Theatre

November 10 & 11 Vancouver, BC - The Cinematheque

November 10, 11 & 16 Pleasantville, NY - Jacob Burns Film Center

November 18 Madison, WI - UW Cinematheque

January 12 & 13, 2018 Columbus, OH - Wexner Center for the Arts

January 18, 2018 Lake Worth, FL - Movies of Lake Worth

For bookings and other questions, contact [email protected].

vimeo

#George Romero #Night of the Living Dead #Gary Streiner #Janus Films #Criterion Collection #bookings #revivals #horror films #Duane Jones #4K Restoration

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nexttoparchitects · 7 years

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Ithaca-based Jenny Sabin Studio wins MoMA PS1’s 2017 Young Architects Program competition. #next_top_architects

#next top architects #nextarch #moma #architecture

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blackkudos · 4 years

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Mel Edwards

Melvin "Mel" Edwards (born May 4, 1937) is an American contemporary artist, teacher, and abstract steel metal sculptor. Additionally he has worked in drawing and printmaking. His artwork has political content often referencing African-American history, as well as the exploration of themes within slavery. Visually his works are characterized by the use of straight-edged triangular and rectilinear forms in metal. He lives between upstate New York and in Plainfield, New Jersey.

He has had more than a dozen one-person show exhibits and been in over four dozen group shows. Edwards has had solo exhibitions at the Whitney Museum of American Art in New York City, the Los Angeles County Museum of Art (LACMA), and the New Jersey State Museum, Trenton, New Jersey.

Early life and education

Melvin Eugene Edwards, Jr., was born May 4, 1937, in Houston, Texas, the eldest of his parents' four children. His father worked for Houston Lighting & Power and his parents divorced in early childhood. He was raised in Dayton, Ohio for five years, but by middle school age the family moved back to Houston. Edwards is Black and grew up on Houston during a time of racial segregation, he attended E. O. Smith Junior High School and Phillis Wheatley High School. He was a creator from a young age and was encouraged by his parents with his father building his first easel when he was 14 years old. Edwards was introduced to abstract art by a high school teacher. While attending high school he started to take art classes at the Museum of Fine Arts, Houston.

In 1955 he moved to southern California to pursue studies at Los Angeles City College. Edwards transferred schools to study art and play football at University of Southern California (USC), where he received his B.F.A. degree in 1965. While attending USC, Edwards took a history course that was rooted in a European-centric view, which upset him and fueled him to learn more about African history, and eventually inspiring his travel to Africa five years later.

He attended Los Angeles County Art Institute (known known as Otis College of Art and Design) during breaks from USC to study sculpture with Renzo Fenci. Additionally he was mentored by Hungarian-American painter Francis de Erdely, and studied under Hal Gebhardt, Hans Burkhardt, and Edward Ewing.

Teaching

In 1965, he went on to teach at the Chouinard Art Institute (now known as the California Institute of the Arts) until 1967. He moved to New York City in 1967. Additionally he taught at Orange County Community College in New York (1967-1969), and the University of Connecticut (1970-1972).

In 1972, he began teaching art classes at Livingston College of Rutgers University, (now part of the Rutgers School of Arts and Sciences). By 1980 he was a full professor and teaching at the Mason Gross School of Creative and Performing Arts at Rutgers University. By 2002, he retired from teaching.

Art career

His first one-person exhibition was held at the Santa Barbara Museum of Art, Santa Barbara, California, in 1965. Edwards cited jazz music as an influence to his work.

In 1965, Edwards was working in Los Angeles as a driver for a film company, on his breaks he would visit Tamarind Print Institute. It was at Tamarind where he met many influential national artists such as George Sugarman, Richard Hunt, Leon Golub, Louise Nevelson, and Gabriel Kohn. Later in that year, Sugarman had a New York University art exhibition which Edwards photographed for him. At that exhibition, he met Al Held and he asked him for a job and Held pointed him to a recent Yale University graduate, painter William T. Williams. The two artists went on to have a very close partnership continuing to this day.

In 1970, Edwards took his first trip to Africa, visiting the West African republics of Nigeria, Togo, Benin, and Ghana. This trip influenced his work, and was followed by other visits to Africa over the years.

Work

Smokehouse (1968 – 1970)

Smokehouse (also known as, Smokehouse Associates, Smokehouse Collective, Smokehouse Painters) was a New York City-based community "wall painting" initiative created in part by Melvin Edwards and William T. Williams, spanning from 1968 until 1970. The project existed as a social experiment asking the question "can abstraction solve social justice?" The wall paintings consisted of hard edge graphics and geometric patterns, occurring between 120th street and 125th street of Harlem. It was born out of the pondering of how the 19th-century tradition of stacking houses affected the human psyche and Melvin Edwards believed there is a strong correlation between living spaces and the lives of people. He mentions this in an interview at the Soul of a Nation Symposium in 2018 stating: “If you change places, you can change the lives of people.” Edwards wanted the public to participate in the way cities were developing. In every project, Smokehouse would hire someone elderly within the community and someone young.

These murals were small scale- never going pass 16ft or higher due to the height restrictions of the initiatives ladder. Nevertheless, Smokehouse painted alleyways, tops of buildings, and sides of buildings. William T. Williams handled the logistics of the organization. As the project continued, MOMA patron Celeste Bartos and David Rockefeller underwrote these projects. The more recognition they got the bigger people wanted them to go. They didn’t feel comfortable going too large.

121st and Sylvan still have the annual tradition of doing a community-based mural project because of Smokehouse.

Lynch Fragments series (1963 – present)

Edwards’ work Some Bright Morning (1963) started his series called, Lynch Fragments and was a reference to Ralph Ginzburg’s anthology, 100 Years of Lynchings (1962). The series now has more than 200 pieces. Inspired by the turmoil of the Civil Rights Movement, these small-scale welded metal wall reliefs were developed in three periods: 1963 to 1967, 1973 to 1974, and 1978 to the present. Edwards created the series as metaphor of the struggles experienced by African Americans. A variety of metal objects are employed as the raw materials for these works, including hammer heads, scissors, locks, chains, and railroad splices. The sculptures, usually no more than a foot tall, are hung on the wall at eye level.

Rocker series

Edwards is also known for smaller freestanding works, the kinetic "Rockers" series. Works from the Rocker series include, Homage to Coco (1970), Good Friends in Chicago (1972), Avenue B (Rocker) (1975), Memories of Coco (1980), A Conversation with Norman Lewis (1980), among others. These moving sculptures are inspired by his memories, including one of him falling off his grandmother’s rocking chair and another as a homage to his friendships. Edwards used the term “syncopate” to describe the interaction while rocking, and the relationship of syncopation in African-American music.

Other work

He is also known for works executed in the medium of printmaking.

His large-scale, public art works include, Homage to My Father and the Spirit (1969, Cornell University, Appel Commons, Ithaca, New York), Pyramid Up and Down Pyramid (1969, re-fabricated 2017, Whitney Museum of American Art, New York City), Homage to Billie Holiday and the Young Ones at Soweto (1977, Morgan State University, Baltimore, Maryland), Out of the Struggles of the Past to a Brilliant Future (1982, Mt Vernon Plaza, Columbus, Ohio), and Breaking of the Chains (1995, San Diego, California).

Exhibitions and collections

In 2012, his work appeared at MOMA PS-1. A 30-year retrospective of his sculpture was held in 1993 at the Neuberger Museum of Art in Purchase, New York. A 50-year retrospective of his work entitled Melvin Edwards: Five Decades, opened at the Nasher Sculpture Center in Dallas, Texas, on January 31, 2015, on view until May 10, 2015. The exhibition also toured to the Zimmerli Art Museum at Rutgers University. Edwards' works were featured in Art Basel Miami Beach 2015.

Edwards work is in various public museum collections, including Museum of Modern Art (MoMA), Metropolitan Museum of Art (The Met), Birmingham Museum of Art, Smithsonian American Art Museum (SAAM), Williams College Museum of Art, among others.

Personal life

He was married in 1960 to Karen Hamre, together they had three children. In 1969, the couple separated, Hamre and the children stayed in Los Angeles while Edwards had already moved to New York City.

In 1976, Edwards married the poet Jayne Cortez. Cortez and Edwards have worked together, she wrote a series of poems to accompany her husband's work Lynch Fragments, and he illustrated her book, Pissstained Stairs and the Monkey Man’s Wares (1969).

His art studios are located in upstate New York and in Plainfield, New Jersey, and he often travels to Dakar, Senegal.

Awards and honors

1975 – awarded a Guggenheim Fellowship.

1984 – grants from the National Endowment for the Arts (NEA).

1988 – Fulbright Fellowship to Zimbabwe from 1988–1989.

1992 – elected into the National Academy of Design as an Associate, and became a full Academician in 1994.

2000 – Lab Grant Artist Residency Program, Dieu Donné, Brooklyn, New York

He received an Honorary Doctorate of Fine Arts from the Massachusetts College of Art and Design (MassArt) in 2014.

He is the subject of the 2016 documentary film by Lydie Diakhaté, entitled Some Bright Morning: The Art of Melvin Edwards.

#05/04

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artbookdap · 6 years

Photo

6 PM SAT 9/22 at #nyabf2018 Emma Kemp, Laura Wexler and Jo Ann Walters will read from their new, paired book publication, “Wood River Blue” and “Blue Pool Cecilia” published by Image Text Ithaca, at Artbook @ MoMA PS1 Bookstore, 1st floor of the museum. @joannwalters #emmakemp #laurawexler #joannwalters #woodriverblue #bluepoolcecilia #imagetextithaca @artbookps1 @printedmatter_artbookfairs #artbookevents #nyabf https://www.instagram.com/p/BoCAOPjHikh/?utm_source=ig_tumblr_share&igshid=qbkzwahvaaaz

#nyabf2018 #emmakemp #laurawexler #joannwalters #woodriverblue #bluepoolcecilia #imagetextithaca #artbookevents #nyabf

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jeniferdlanceau · 7 years

Text

Jenny Sabin stretches robotically woven canopy across MoMA PS1 courtyard

New York-based Jenny Sabin Studio has made a canopy of robotically knitted textile at MoMA PS1 in Queens that sprays mist in the day and glows at night.

Lumen was designed for MoMA's 2017 Young Architects Program as a sustainable shelter for the museum's Warm Up music series during summer.

To create the canopy, architectural design practice Jenny Sabin Studio chose to use recycled photo-luminescent textiles that collect solar energy and produce light.

It glows in hues of blue, pink and purple at night time, and exhibits more subtle changes during the day.

"With innovative construction and design processes borne from a critical merging of technology and nature to precise attention to detail at every scale, Lumen will no doubt engage visitors from day to night in a series of graduated environments and experiences," said MoMA associate curator Sean Anderson.

Two cellular fabric canopies stretch across the courtyard, formed from over a million yards of digitally knitted and robotically woven fibre.

Some of its holes are left open, while other portions droop down to form 250 fabric tubes, which hang underneath the canopy like stalactites with frills at the bottom that visitors can touch and play with.

Other features include an integrated misting system, which sprays water when visitors are near to cool them down during the hot summer weather.

"Held in tension within the walls of MoMA PS1's courtyard, Lumen turns visitors into participants who interact through its responsiveness to temperature, sunlight, and movement," said MoMA PS1 director Klaus Biesenbach.

Three private seating areas are made where tall black poles pierce through the surface of the web-like structure, with the large holes supported by circular frames.

The openings are wrapped in tensile rope that extends in diagonals from the top of the pole to the floor.

One hundred recycled wooden spool stools furnish the inside, and are also wrapped in robotically woven fabrics.

Jenny Sabin Studio is based in Ithaca, New York, and works on projects across a range of disciplines, including architecture, biology and mathematics.

It was selected as this year's YAP winner ahead of Los Angeles-based Bureau Spectacular; Chicago-baseed Ania Jaworska, Office of III, which has studios in New York and San Francisco; and SCHAUM/SHIEH from Houston.

Lumen will open in the courtyard of MoMA PS1 in Long Island City on 29 June 2017, alongside an exhibition of projects from runners up in the competition.

Now in its 18th edition, the annual YAP for emerging architects is organised by MoMA PS1 with the Architecture and Design Department at MoMA.

Previous installations have included a web of brightly hued rope, and a cluster of circular towers built from bricks grown from corn stalks and mushrooms.

Photography is by Pablo Enriquez.

The post Jenny Sabin stretches robotically woven canopy across MoMA PS1 courtyard appeared first on Dezeen.

from RSSMix.com Mix ID 8217598 https://www.dezeen.com/2017/06/27/lumen-jenny-sabin-studio-moma-ps1-pavilion-new-york-usa/

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juliandmouton30 · 7 years