#julie boehm art

[julieboehm]

‚La Falena‘ Bodypainting Mottenbraut Shooting in Italien

Die Mottenbraut hat sich getraut :) in Italien zum Fotoshooting mit den Weltmeistern aus der Bodypainting Szene

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#andrea benocci #artmodel #bodypainting #Julie Boehm #julie boehm art #photoshooting #special effects

[wutbju]

Steven Lee Morris, age 72, died August 13, 2023, at Hutchinson Regional Medical Center following a short illness. He was born August 23, 1950, in Bethesda, Maryland to Ray and Violet Boehm Morris. He married Linda M. Shultz on July 8, 1978, in Hutchinson.

Steve was preceded in death by his parents, brother Richard Morris, brothers-in-law Don Meier and Ed Shultz, brother- and sister-in-law Bruce and Janice Shultz, and infant son Samuel Andrew Morris.

Steve is survived by his wife Linda and former foster daughter, Briana Gamblain-Weber, of the home. He is also survived by his brothers James (Jimmy) of Washington, D.C., and David (Dave). Other survivors include sister-in-law Wanda Morris Blevins of Culpeper, VA, sisters-in-law Theda Shultz and Marilyn Meier of Arlington, brother- and sister-in-law Ray and Evelyn Shultz of Randolph, KS, numerous nephews and nieces, cats Frankie and Pepper and his special companion, "nurse cat" Snowflake.

After graduation from Gar-Field High School in Woodbridge, VA, Steve began working for Dart Drug (81 stores in the metro D.C. area). A co-worker invited him to attend Marumsco Baptist Church, and Steve heard the Gospel for the first time: that Jesus Christ took our sin debt to the cross and paid the penalty of death, that He was buried, and that He arose after three days! Steve heard that he must be born again (John 3:7) by personally asking the Lord to forgive and save him. Steve had completed Confirmation classes, but realized that the waters of baptism can never cleanse the heart; only the blood of the Lord Jesus Christ can wash away sin. Steve gladly received Jesus Christ as his personal Saviour. "For whosoever shall call upon the name of the Lord, shall be saved," Romans 10:13. "Not by works of righteousness which we have done, but according to his mercy he saved us, by the washing of regeneration and renewing of the Holy Ghost" Titus 3:5.

Steve had a natural talent for drawing and Pastor Alec Bledsoe encouraged him to study art at Bob Jones University in Greenville, SC. Steve attended for two years. It was there that he met and fell in love with his wife Linda. After their marriage, the Morris's lived in Woodbridge for a year and Steve continued to work for Dart Drug.

Steve and Linda moved to Kansas in 1979, and Steve worked for Collins Bus as a wheelchair lift assembler, Walmart as a layaway associate, and Durham School Services as a bus driver. Steve was an enthusiastic league bowler with a 220 average. Steve enjoyed watching football on TV. It didn't matter to him who was playing, as long as the game was competitive. After retirement, Steve wrote and self-published (Amazon) two novels: Memories and Bad Men United – Déjà vu.

In the spring of 2002, Steve and Linda attended a revival service at Riverside Baptist Church, and Steve rededicated his life to the Lord. On May 12, 2002, Steve and Linda transferred their church membership to Riverside Baptist. Steve was later elected as Deacon. He also began representing the church in nursing home chapels. At one time, Steve preached in five different facilities. Steve encouraged the church to buy a bus with a wheelchair lift so he could pick up residents for the Sunday evening service. Because the residents had to miss supper to go to church, Steve would always stop at a fast-food restaurant and treat them to a meal before taking them back to the facility.

Steve's health began to decline following a bout with sepsis in 2021. Then in January 2022 he fell in the home and after spending almost a month in a hospital in Wichita, remained bedfast. Steve's hospital bed in the dining nook became the control central of the home. Using his laptop computer, he continued to create bulletins and word search puzzles for the nursing home ministry. He managed the family finances and ordered hard-to-find supplies online. Steve was Linda's go-to tech when she encountered problems with the desk computer, printer, or Wi-Fi router, and he was the one who reminded her to install computer updates. Needless to say, he also retained control of the TV remote.

Every evening at 9:30 Steve would ask Linda and Bri to come to family altar time. They took turns choosing a song to sing, and then they read a chapter in the Bible and prayed together. Steve loved his pastor Richard Haley dearly, along with church family. He very much appreciated their prayers, love, and support. We rejoice with Steve in his new home, complete with healthy body and sin-free mind.

The family thanks Enhabit Home Health and Enhabit Hospice for their wonderful care of Steve during the last year. What a blessing the Enhabit therapists, nurses, and other staff brought to our home! The family also thanks the staff of Hutchinson Regional Medical Center for the compassionate care that Steve and they received during the last week of his earthly life.

Funeral services will be held at 2:00 p.m., Friday, August 25, 2023, at Riverside Baptist Church, 1100 W. 21st Ave, Hutchinson, KS, with Pastor Richard Haley officiating. Visitation will be held on Thursday, August 24, 2023, from 6:00 p.m. – 8:00 p.m. at the church. Burial will take place at Memorial Park Cemetery, Hutchinson, KS. Memorials may be given to the Riverside Baptist Church- Academy Fund and can be sent in care of Hutchinson Funeral Chapel, 300 E. 30th Ave. Hutchinson, KS 67502.

#Bob Jones University #BJU Hall of Fame #2023 #Obituary #BJU Alumni Association #Steven Lee Morris #Class of 1977

[julieboehm-film]

Filmography DirectorJulie Boehm

Julie Boehm (Story, Director) *1987 in Traunstein/Obb. 2013-18 Filmakademie Baden Württemberg “Animation” –

2018 Shortfilm „PARIS YOU GOT ME“ Story/ Director/ Animation: Julie Boehm

2017 Danceshow „ELEMENTAL“ für die FMX2017 (Tanzshowvideo, 5´) Story/ Director / Choreography/ Projection Visuals/ Editor: Julie Boehm

[vimeo 232702926…

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#director #filmography #julie boehm #julie boehm art

[dweemeister]

When Worlds Collide (1951)

Stop-motion animator György Pál Marczincsak garnered pan-European fame for his pioneering Puppetoons series of short films in the 1930s. Sensing tumult in continental Europe, he fled his native Hungary to Britain as the Nazis rose to power in Germany. With the assistance of Walter Lantz (the creator of Woody Woodpecker), he moved to the United States, changed his name to George Pal, and attained American citizenship. In America, Puppetoons resumed with Paramount Pictures’ financing until 1948. Puppetoons, unlike most stop-motion films, utilized “replacement animation” – a form of stop-motion animation where a new hand-carved, wooden puppet would be used for each photographed frame rather than modifying the same figure for each successive frame. Though Paramount discontinued the series due to its increasing costs, Pal nevertheless remained in good standing with the moviegoing public and the studio’s executives. Transitioning from an animator/director to producer, George Pal took an interest in a genre that – since the silent era’s end – had been relegated to low-budget serial films and comic book stands.

As the world’s nations shuffled to take sides for the Cold War, the United States and the Soviet Union’s greatest engineering and scientific minds were imagining new possibilities in aerospace. The renewed interest in space flight and scientific discovery led to Paramount’s Destination Moon (1950), produced by Pal. Destination Moon was the first film released by a major American studio to consider a speculative human landing on the Moon. For Pal’s follow-up, he purchased a science fiction property gathering dust at Paramount. The property: When Worlds Collide, based on Edwin Balmer and Philip Wylie’s novel of the same name. With acclaimed cinematographer Rudolph Maté (1928’s The Passion of Joan of Arc, 1940’s Foreign Correspondent) as director and providing aesthetic expertise, When Worlds Collide is the origin of all subsequent apocalyptic movies where a celestial body smashes into another celestial body. In two inconsistent films that deem their characters’ humanity as secondary, George Pal rejuvenated an entire film genre in the United States – and Hollywood has never looked back.

In South Africa, astronomer Dr. Emery Bronson (Hayden Rorke) instructs American pilot David Randall (Richard Derr) to pass along confidential, unsealed photographs and research to his American counterpart, Dr. Cole Hendron (Larry Keating). Drs. Bronson and Hendron will warn the United Nations Security Council (UNSC) that a star named Bellus will strike and destroy Earth within a year. Shortly before the projected impact, Bellus’ sole orbiting planet, Zyra, will pass by Earth close enough to wreak gravitational and geologic devastation before the Earth’s ultimate destruction. Bronson and Hendron thus propose the construction of human spaceships – “arks” – to transport human survivors to Zyra just before Bellus arrives. The astronomers are not taken seriously by the UNSC. However, private donors such as wheelchair-bound businessman Sidney Stanton (John Hoyt) provide the necessary funds for the ark’s construction. 

Various arks are assembled across Earth, but When Worlds Collide concentrates on the effort spearheaded by Drs. Bronson and Hendron and financed by Stanton. This American ark will also include co-pilot, Dr. George Frye (Stephen Chase), and Dr. Hendron’s daughter/assistant, Joyce (Barbara Rush). Joyce is attracted to David because 1950s science-fiction films always seem to have an obligatory romance.

With an acting lineup filled with B-movie stalwarts and future television stars (who may be recognizable by those who know their ‘50s-‘70s television), When Worlds Collide is hindered by stiff line readings and an emphasis on the mission rather than its human characters. Screenwriter Sydney Boehm (1952’s The Atomic City, 1953’s The Big Heat) has written a procedural screenplay, one where decisions about the ark’s construction, its flightpath, and the selection of its passengers are the film’s primary drama. From that screenplay, only John Hoyt, as the irascible Sydney Stanton, distinguishes himself in the film with his patrician sneering. Disaster films and invasion literature during and prior to the mid-twentieth century typically did not privilege individual viewpoints, and that trends continues in When Worlds Collide.

That is to the film’s benefit and its detriment. It is a mechanical motion picture, with the occasional reminders that humanity, collectively, is staring down its certain destruction. Once Drs. Bronson and Hendron have made their presentation to the UNSC, every character in the film is henceforth defined by the looming apocalypse. Whatever lives they lived outside their work are extinguished in service of constructing the arks. All over the construction facility, numerous signs read:

WASTE ANYTHING EXCEPT TIME TIME IS OUR SHORTEST MATERIAL

The privileged few tasked with the ark’s construction and its piloting are but a fraction of a fraction of humanity. Even among the several hundred persons (unsurprisingly, due to a complete lack of imagination, they are all white) involved, everyone reacts differently to the situation they all share. Some are despairing, believing they have not lived a fulfilling life; some commit to their final purpose, subsuming their emotions in service of a space age Noah’s ark; some are possessive, concluding that their involvement with the ark makes them more worthy than others to embark the ship come doomsday. With precision, the elements comprising the ark’s first and final flight are assembled. Perhaps the most unrealistic aspect of When Worlds Collide is the uncritical adherence to the scientists by the faceless masses who construct the ark (the scientists’ hand-picked survivors are few, but these individuals’ placement on the ark is somehow never questioned). Interpersonal and inter-group conflict does not appear until far later than is realistic – the film’s romantic triangle is devoid of comprehensible motivation other than the fact that the film’s top-billed actor and actress should end up together somehow. Anyways, When Worlds Collide is not depicting a humanity akin to Star Trek at its most utopian. Thus, one must assume there will be at least some level of destructive human ego that confounds the ultimate task. Here the film falters, as the characters become the means to the end.

Maté and Pal choose not to show Zyra’s passing and Bellus’ catastrophic impact. Only their aftermaths are shown. On paper, any similar decision in a modern apocalyptic movie would be hounded across the Internet – but it works for When Worlds Collide. Here, the aftermath of Zyra’s passing is portrayed in a montage of film miniatures, matte paintings (mostly of the ark and its surroundings), and tactful slow-motion. With no computer-generated imagery to assist these scenes, the special effects team outdo themselves. Special effects artists Harry Barndollar (1946’s Cloak and Dagger, 1956’s The Ten Commandments) and Gordon Jennings (1942’s Reap the Wild Wind, 1953’s War of the Worlds) contributed to the miniature-heavy montage of Zyra’s approach. Their colleague, artist Chesley Bonestell (known as the “Father of Modern Space art”, Bonestell also worked on 1941’s Citizen Kane, Destination Moon, and 1953’s War of the Worlds) provided the novel idea of the ark beginning its launch on a one-mile mostly horizontal ramp (the miniature of this ramp was an enormous 700 feet long) rather than the conventional vertical launch.

Zyra’s approach is visceral terror in its timing (the effects are felt several seconds after scientific projections), sharp editing, and mass bedlam. Where the impacting sun will vaporize the Earth’s remaining inhabitants instantly, the passing planet will leave survivors left to wander or repair, perhaps futilely, the pre-apocalyptic wreckage. When Worlds Collide’s final minutes are special effects wizardry, partially redeeming the film of its ill-conceived storytelling and sketchy science. Yet, there could have been more in the film’s final minutes. George Pal envisioned a scene featuring an ark miniature resting on the surface of Zyra. Due to success of Destination Moon, Paramount expedited When Worlds Collide and rejected Pal’s request for an additional $5,000 (almost $50,000 in 2020’s USD) to cap off the Zyra scene. This forced Pal to utilize a Bonestell concept painting instead for Zyra’s surface – and it is too obviously concept art.

When Worlds Collide solidified George Pal as one of Hollywood’s best producers, and Pal already set his eyes on a sequel: After Worlds Collide (based on the novel’s sequel of the same name). But the failure of Conquest of Space (1955) led Paramount to nix the idea. The coming decade saw the Space Race between the Soviet Union and the United States and an explosion in American science-fiction films. Whether these 1950s sci-fi features contained spacefaring, exploration, or alien invasions, they invariably influenced succeeding entries into the genre that have made it dominant in contemporary Hollywood. George Pal, as a producer uniquely suited to special effects animation, became a science fiction and fantasy film innovator in the second half of his career. When Worlds Collide, though seemingly primeval compared to its sci-fi contemporaries a decade or so after, was fortuitous in its timing and for having George Pal as its producer.

My rating: 7/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#When Worlds Collide #Rudolph Mate #Rudolph Maté #George Pal #Richard Derr #Barbara Rush #Peter Hansen #John Hoyt #Hayden Rorke #Sydney Boehm #Chesley Bonestell #Harry Barndollar #Gordon Jennings #TCM #My Movie Odyssey

[blairemclaren]

Ed Boehm Death – Obituary, Ed Boehm Has Died

Ed Boehm Death - Obituary, Funeral, Cause Of Death It is with great sorrow that we mourn the loss of long-time "Monday Volunteer" Ed Boehm.....click link to learn more

Ed Boehm Death – Obituary, Funeral, Cause Of Death It is with great sorrow that we mourn the loss of long-time “Monday Volunteer” Ed Boehm. He made a long-lasting impact on the restoration and ongoing maintenance of this beautiful building we now call the Heyde Center for the Arts. Through a social media announcement, DeadDeath learned on July 20, 2021, 2021, about the death of Ed Boehm who has…

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[guteideen]

Wo ist unsere Wildheit hin?

Eine Hommage an Helmut Newton, ein Appell für mehr Wildheit und auch mal ein Schlingel sein dürfen… Happy Bdy zum 100. Geburtstag Mr. Newton ❤

Kennt ihr diese Momente, in denen man nichtsahnend Fernsehen schaut und beim Zappen gebannt irgendwo hängenbleibt? So geschehen am Samstag. Beim Durchschalten flackerten diese unfassbar schönen, grafischen, kraftvollen Fotos von Helmut Newton über den Bildschirm und sofort erwischten mich unerwartet und voller Wucht Erinnerungen und Gefühle an eigene wilde Zeiten im Berlin der 90er in dunklen illegalen Kellerbars in Prenzlauer Berg und Mitte, an ganze Sommer auf den Dächern, Fotoshootings in verlassenen Häusern und Kasernen und Partys, die nie endeten. Newtons Blick fing dieses Lebensgefühl für mich ein. Letztlich ist aus diesem Lebensgefühl auch die heutige ideenmanufaktur GmbH entstanden.

Am 31. Oktober 2020 wäre Helmut Newton 100 Jahre alt geworden. Aus diesem Anlass zeigte 3sat die filmische Liebeserklärung „Helmut Newton - The Bad And The Beautiful“ von Gero von Boehm über diesen Ausnahmekünstler, der unterhalten, provoziert, polarisiert hat, aber auch den Blick für Mode und die Sicht auf Frauen verändert hat. „Er hat die Modefotografie revolutioniert, als es höchste Zeit dafür war. Bis dahin war alles nur schön und lieblich“, erinnert sich von Boehm.

Vor allem die filmische Dokumentation und Interviews mit Models, Schauspielerinnen aber auch seiner Frau June haben mich wieder in eine Zeit entführt, die auf so schmerzhafte Art Vergangenheit ist. Bewusst wurde mir das besonders während der Passagen, wenn Helmut beim Arbeiten gefilmt wurde, wie er Dinge gesehen, bewertet, inszeniert und revolutioniert hat, wie er das gesamte Set geleitet, aber eigentlich mit seiner Persönlichkeit verzaubert hat und alle Anwesenden in eine Stimmung versetzt hat, die man in voller Dimension nur spüren konnte wenn man wirklich dabei war. Und wie er selbst harte Nüsse, wie eine Anna Wintour (Chefredakteurin der US-amerikanischen Ausgabe der Vogue und eine der einflussreichsten Frauen in der Modebranche) so gekonnt um den Finger wickeln konnte, Briefe mit „Ihr Schlingel“ unterzeichnete und ihr damit ein derart verzücktes Lächeln entlocken konnte, wie ich es bei ihr nicht für möglich gehalten hätte.

Und plötzlich war da diese Erkenntnis, was sich in den letzten Jahren oder Jahrzehnten langsam aber unaufhaltsam aus meinem und vielleicht aus unser aller Leben verabschiedet hat und mit Corona und den aktuell verschärften Einschränkungen seinen Höhepunkt (oder Tiefpunkt?) findet – pure Wildheit, ausgelassen sein, Freiräume, Vakuum für Neues, unbändige Lust auf das Leben, Feiern, vereint durch einen Beat, der die ganze Nacht trägt, über die Stränge schlagen, Rausch und Farbrausch, unmittelbar sein, provokant ohne dabei boshaft zu sein, politisch korrekt sein ohne political correctness, Nächte durchmachen ohne ans Morgen denken, fahren ohne Sturzhelm und angeschnallt sein und denken, sprechen und schreiben ohne Gendersternchen.

Unser Leben ist ohne Frage reich, agil, digital und vieles ist gut, gerecht, zeitgemäß, folgerichtig. Mein Eindruck ist dennoch, dass wir wertemäßig sehr einseitig geworden sind. Alles was sicher, gerecht, korrekt ist, darf oder muss sein, wir sind verkopft, brauchen Yoga, Meditation und Achtsamkeitstagebücher weil wir nicht mehr an unsere Gefühle rankommen – Ironie, Spaß, Provokanz, Wildheit, Individualität, die ganze Klaviatur der Gefühle finden zunehmend weniger statt, Sprache wird direkt relativiert oder ist totalitär. Wir propagieren Diversität und ersticken sie gleichzeitig im Keim.

Versteht mich nicht falsch, ich bin eine Gerechtigkeitsfanatikerin, ich bin so weit, zu behaupten, dass ich für Gerechtigkeit und Gleichberechtigung (in alle Richtungen!) kämpfe, aber manchmal fehlt mir das Spontane, das Wilde, das Verbotene, Freiheit, verschieden sein dürfen, Sachen auszuprobieren, auch in der Gefahr, Fehler zu machen, die auf ganz andere Weise Energie geben und uns lebendig werden lassen. Newton hatte Humor. Und Selbstironie. Was hätte er wohl gemacht in diesen Zeiten?

Helmut Newton ist recht früh in mein Leben getreten. Ganz genau kann ich es nicht mehr nachvollziehen, aber es war während meiner Ausbildung zur Damenmaßschneiderin und ich war noch nicht volljährig. Diese schönen, stolzen, starken Frauen, Männer und androgynen Wesen, meist in schwarz-weiß fotografiert, mit starken Kontrasten und grober Körnung haben mich in meiner Jugend schwer beeindruckt und nachhaltig geprägt. Ich wollte so sein wie sie: unantastbar, ungewöhnlich, einzigartig, stark, modern und anders als die anderen. Mainstream war mir zuwider. Verstärkt wurde dies in meiner Zeit am Friedrichstadtpalast und durch mein Umfeld in den Nachwende-Jahren, bestehend aus Künstlern, Tänzern, Schauspielern, Fotografen, Studenten, Journalisten und vielen Nachtgestalten. Durch meine Lehre konnte ich mir meine Anzüge und androgynen Klamotten selbst schneidern und konnte mit jeder Faser meines Körpers die Wildheit leben.

Newton stammte aus einer jüdischen Familie. Seine Jugend verbrachte er in Berlin, wo er bei Yva, der ersten wirklichen Modefotografin seine ersten fotografische Schritte und seine Fotografen-Ausbildung machte. 1938 musste er vor den Nazis aus Berlin fliehen. In Melbourne nahm er die australische Staatsbürgerschaft an, später lebte er in Paris, Monaco und Los Angeles.

Helmut Newton hat unzählige Fotos produziert. Darunter gibt es zahlreiche Nacktaufnahmen. Bei den vielen Fotos der schönen Frauen und den erotisch-provozierenden Motiven wird man leicht verführt, in Newton den großen Verführer zu sehen, der die Frauen reihenweise verführte. Hat er aber nicht. Er hat seine Frau June getroffen, geheiratet und sie als seine Muse gekürt, die ihn Zeit seines Lebens begleitet hat – menschlich, künstlerisch, unternehmerisch.

Eigentlich müssten hier die vielen Frauen zu Wort kommen, mit denen Newton gearbeitet hat. Sie könnten ihn wahrscheinlich viel besser porträtieren. Im Film kommen 10 tolle Frauen zu Wort.

Selbst der Tagesspiegel stellt die Frage, ob man in Zeiten von #Metoo einen Film über den Fotografen Helmut Newton drehen kann. Man kann. Dieser wunderbare Film kommt am 7. Juli 2021 übrigens in die Kinos. Und wem das zu lange dauert, der kann die Outdoor-Ausstellung besuchen. Mit einer 85 Meter langen Fotowand vor dem Kraftwerk in Kreuzberg wird seit Freitag in Berlin an den 100. Geburtstag des Fotografen Helmut Newton (1920-2004) erinnert.

https://www.berlin.de/kultur-und-tickets/nachrichten/6341147-2154924-85-meter-helmut-newton-plakatwand-erinne.html

Foto: © Henry Besser // restliche Fotos © ideenmanufaktur / JJ / JB

Berlin blieb Newton verbunden, 2003 vermachte er der Stiftung Preußischer Kulturbesitz in Berlin sein Werk, seine Newton-Stiftung bespielt damit das Fotomuseum in Berlin. Am Bahnhof Zoo gibt es die ständige Ausstellung zu sehen. Ein bisschen Lebensgefühlt to go. Vielleicht entsteht aber auch ein neues Lebensgefühl – vielleicht wild, gerecht, positiv, kraftvoll, solidarisch, dankbar und ungestüm. Und jemand, der es fotografiert.

Seid wild und wunderbar – momentan eben Zuhause…

Eure Jana

#helmutnewton fotografie lebensgefühl

[julieboehm]

Magischer Camouflage Nachtfalter - Video & Fotos

Werfe einen Blick hinter die Kulissen für die Entstehung dieses magischen Nachtfalters

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#bodypainting #camouflage #digital art #Julie Boehm #julie boehm art #makingof #nachtfalter #Photography #presse #shooting #wittenberg

[julieboehm-videos]

World Bodypainting Festival 2013 (behind the scenes) filmed at the Worldbodypaintingfestival in Pörtschach (Austria) 2013 - clip by Julie Boehm including: WBF Academy Workshop with Johannes Stötter , Bella Volen my models: Sally, Christiana, Ramona & Philip - model beside: Bertrand Orsal preparation Bodycircus with Dubi Preger, Dmitri Moisseev, Sanna Forslund main days modelling for Yvonne Zonnenberg and Gareth Hughes (Brush/Sponge) 2rd and 3rd day modelling for Joanna Bastos Themes "Planet Food", "Hohly Geometrie" other models: Ksenia Parkhatskaya, Kim on Art, Sas Vdw, Fluo Award preparation PATREON https://ift.tt/2orFWwd Bodypainting Portfolio: https://ift.tt/2XCMjKR Be a fan on facebook: https://ift.tt/331bY0M Instagram: https://ift.tt/2O5yEZP

#IFTTT #YouTube #Julie Boehm #World Bodypainting Festival 2013 (behind the scenes)

[julieboehm-film]

Julie Boehm Conceptual Artist

Julie Boehm is a free cross-media artist in the district of Painting, Photography, Illustration, Composing, Bodypainting, Dance and Film. 14 years of Rhythmics Gymnastic, Acrobatic, Ballett and her education as a RG and Fitness Trainer influenced her affinity for dance projects.

After her studies at the “Academy of Fine Arts Vienna” (Painting),” Graphische Vienna” (Multimedia), “Babelsberg Filmschool” (Digital Filmdesign) she worked as creative director for the Art Magazine Spykeheels in Berlin. Since 2013 she studied at the Filmakademie Baden-Wuerttemberg in the subject of Animation.

Filmographie:

2018 PARIS YOU GOT ME “scenic dancefilm with elements of animation” (Script, Director, Animation, Bodypainting), Producers: Aleksandra Todorovic, Ann-Katrin Boberg, VFX Producer: Toufik Abdedaim,  Filmakademie B.W.

2017 Show & Printcampaign FMX2017, (artdirector, choreographer),  producer: Lena Lohfink, Filmakademie B.W.

2016 ITFS Trailer „Elemental“ (casting, storyboard, choreographer) //director: Adrian Meyer, producer: Lena Lohfink, Filmakademie B.W.

2015 BLACK WIDOW Fashion Film (script, director, editor, vfx ) // producer: Aleksandra Todorovic und Nina Schwarz, Filmakademie B.W.

2014 JAB-CAMOUFLAGE Commercial (script, actress, production design) // producer: Felix Fahle, director: Cornelius Schick, external founding, Filmakademie B.W.

2014 RUED1971 experimental short film  script, director, producer, editor, vfx, production design), Filmakademie B.W.

2011 DAS MANUSKRIPT  documentary animated short film (script, director, producer) // Diploma Multimedia, Graphische, Vienna.

WWW.JULIE-BOEHM.COM

Julie Boehm Konzeptkünstlerin

Julie Boehm ist eine freie konzeptuelle  Künstlerin in den Bereichen Malerei, Fotografie, Illustration, Composings, Bodypainting, Tanz und Film. 14 Jahre Leistungssport Rhythmische Sportgymanstik, Akrobatik, Ballet und die Ausbildung zur RSG- und Fitnesstrainer haben ihre Neigung zu Tanzprojekten geprägt.

Nach ihrem Studium an der „Akademie der Bildenden Künste Wien“ (Malerei),  „Graphischen Wien“ (Multimedia) , “Babelsberg Filmschool” (Digital Filmdesign) arbeitete sie ab 2011 als Creative Director für das Kunstmagazin Spykeheels in Berlin. 2013 bis 2018 studierte sie an der Filmakademie Baden-Württemberg mit dem Schwerpunkt Animation.

Filmographie:

2018 “PARIS YOU GOT ME” , szenischer Tanzfilm mit Animationselementen” (Regie, Buch, Animation, Maske (Bodypainting)), Producer: Aleksandra Todorovic, Ann-Katrin Boberg, VFX Producer: Toufik Abdedaim,  Filmakademie B.W.

2017 Show & Printkampagne für die FMX2017, (künstlerische Gestaltung / Choreographie, Konzept) , Producer: Lena Lohfink, Filmakademie B.W.

2015 FMX Trailer „Elemental“ (Casting, Storyboard, Choreographie) //Regie: Adrian Meyer, Producer: Lena Lohfink, Filmakademie B.W.

2015 BLACK WIDOW Werbespot (Regie, Buch, Schnitt, Retusche) // Producer: Aleksandra Todorovic und Nina Schwarz, Filmakademie B.W.

2014 JAB-CAMOUFLAGE Werbespot (Konzept, Darstellerin, Szenenbild) // Producer: Felix Fahle, Regie: Cornelius Schick, Drittmittel, Filmakademie B.W.

2014 RUED1971 experimenteller Kurzfilm (Regie, Buch, Schnitt, Szenenbild, Produktion, VFX), Filmakademie B.W.

2011 DAS MANUSKRIPT dokumentarischer Animations-Kurzfilm (Regie, Buch, Produktion) // Diplom Multimedia, Graphische, Wien

Team presentation director Julie Boehm Julie Boehm Conceptual Artist Julie Boehm is a free cross-media artist in the district of Painting, Photography, Illustration, Composing, Bodypainting, Dance and Film.

#animation #biography #concept #conceptual artist #director #julie boehm #julie boehm art #julieboehmart #story #vita

[mode-julieboehm]

“Tag der Frauen” Heute muss ich mich bei einer Frau bedanken, die mich in den letzten 2 Jahren so sehr inspiriert hat! Lora Tulchinski Sie ist nicht nur eine Designerin: sie malt ihre Entwürfe auf die Haut und kreiert schöne Bademode! Das ist sehr einzigartig in der Modeindustrie und hebt die Schönheit von jedem auf eine sehr künstlerische Art und Weise hervor! Mit ihrer unendlichen Kraft und Stärke (keine Ausreden, selbst wenn sie einen Unfall hatte oder krank ist) und ihrer Leidenschaft, mehr positive Kraft und Farben in die Welt zu bringen.

Auf den Bildern sehen Sie einen ihrer neuen Entwürfe: Badeanzüge die auf den Körper gemalt sind neben dem echten Badeazug. Fotos Münchner Body & Beach Supreme 2020 Fotografie Tobias Spranger , Modelle: Ilona Neumaier Adelaida Amiralijewa , Dani Tamegger , Julie Boehm Make-up: Irina Besedina , Körpermalerei: Sabine Mayer , Lora Tulchinski , Julie Boehm , Make-up: Irina Besedina , Bodypainting: Sabine Mayer , Lora Tulchinski , Julie Boehm

Hier geht es zur Website von LORA ART SWIMWEAR 

  “Day of the Women”” Today I have to say thanks to one woman that inspired me over the last 2 years so much! Lora Tulchinski Thank you so much for all the ARTVentures! Definitely now you need to check out her art – she is not only a designer:she paints her designs on skin and creates beautiful swimwear! This is very unique in the fashion industry enhancing the beauty of everyone in a very artistic way! With her never ending power and strengths (no excuses even when she had an accident or is sick) and passion to bring more positive power and colors in the world. ❤ Thank you so much, Wishing you much power, health and stay as creative and positive as you are!

In the pictures you can see one of her new designs: one swimwear painted on the body the other one is the swimwear suit (me). Photos Munich Body & Beach Supreme 2020 Photography Tobias Spranger , Models: Ilona Neumaier Adelaida Amiralijewa , Dani Tamegger , Julie Boehm Makeup: Irina Besedina , Bodypainting: Sabine Mayer , Lora Tulchinski, Julie Boehm

Ein Video von dem Tag in München, ihr seht mich ab 1:44 min. Ich habe den blauen Badeanzug von Dani Tamegger gemalt

Body & Beach Fashionshoot für Lora Art Swimwear "Tag der Frauen" Heute muss ich mich bei einer Frau bedanken, die mich in den letzten 2 Jahren so sehr inspiriert hat!

#badeanzüge #bademode #body and beach supreme munich #fashionshooting #fashionshow #julie boehm model #lora tulchinski #münchen #swimwear #tobias spranger

[guidetoenjoy-blog]

Photos: Nisga'a celebration of Hoobiyee, the crescent moon new year | Entertainment News

New Post has been published on https://entertainmentguideto.com/trending/photos-nisgaa-celebration-of-hoobiyee-the-crescent-moon-new-year-entertainment-news/

Photos: Nisga'a celebration of Hoobiyee, the crescent moon new year | Entertainment News

Dance and song to celebrate Hoobiyee, a Nisga’a new year celebration, erupts at the PNE Forum in Vancouver on Friday and Saturday, Feb. 1 and 2.

Postmedia photographer Gerry Kahrmann was on hand to document some of the event on Friday evening. Here are his photos.

Lax kxeen Traditional Dancers perform at Hoobiyee, a Nisga’a New Year celebration of the late winter waxing crescent moon, on Friday at the PNE Forum.

Stanley Paul from Kamloops watches the Lil Wat Iswalh Dancers perform at Hoobiyee.

Shantae King performs a Hoop dance at Hoobiyee, a Nisga’a New Year celebration of the late winter waxing crescent moon.

Lil Wat Iswalh Dancers perform at Hoobiyee Friday at the PNE Forum.

Ashling Millar looks up at her mother Temera Millar as they perform with the Lil Wat Iswalh Dancers at Hoobiyee.

Lil Wat Iswalh Dancers perform at Hoobiyee.

Lil Wat Iswalh Dancers perform at Hoobiyee.

Lil Wat Iswalh Dancers perform at Hoobiyee, a Nisga’a New Year celebration of the late winter waxing crescent moon.

Lax kxeen Traditional Dancers perform perform at Hoobiyee, a Nisga’a New Year celebration of the late winter waxing crescent moon.

(Visited 2 times, 2 visits today)

Rick Lax and Atomic Entertainment just wrapped production on a new series called Making Magic. The show is similar to Jerry Seinfeld’s Comedians in Cars Getting Coffee, but instead of comedians, the show features magicians (Pictured: Rick Lax making some magic with a Rubik’s Cube – Photo credit: Jon Gartner)…

To kick off Chinese New Year and welcome the Year of the Pig, The Meadows School will perform the traditional dragon parade throughout The Forum Shops at Caesars Palace. The cast of costume-clad singers and dancers includes 120 Meadows students – 60 from kindergarten and 60 from fifth grade. Meadows…

Sam Faiers has revealed son Paul will sleep on his own for the first time in three years [Wenn] Sam Faiers has revealed that her three year old son Paul will sleep in his own bed for the first time tonight after co-sleeping since he was born. The Mummy Diaries…

Blood on the Dance Floor When: Feb. 6-9 at 8 p.m. Where: SFU Goldcorp Centre for the Arts. Tickets: From $35 at dancehouse.ca or 604-801-6225. Written and performed by Jacob Boehme, Blood on the Dance Floor is a mix of dance, theatre and storytelling. Its message: you can be HIV-positive…

Live Nation Concerts has announced the Paul McCartney Freshen Up tour will come to Vancouver on July 6. This will be McCartney’s only Canadian concert in 2019. According to Live Nation, McCartney kicked off the tour in Quebec City last September and performed in the U.S., Japan and across Europe,…

Source

Photos: Nisga’a celebration of Hoobiyee, the crescent moon new year

[nicolestailey-blog]

Cathay Dupont Award: 2016 duPont Winners

These 16 winning programs and one citation appeared on air, online or in theaters between July 1, 2014 and June 30, 2015.

ABC News

A substantive, sensitive interview spotlighted one of this year’s most talked about social issues – transgenderism is cathay dupont award.

Diane  Sawyer, Anchor; David Sloan, Sr. Executive Producer; Mark Robertson, Sr. Editorial Director; Rob Vint, Director; Jessica Velmans, Senior Producer; Margaret Dawson, Sean Dooley, Lead Producers; Gail Deutsch, Keturah Gray, Eric Johnson, Tess Scott, Candace Smith, Claire Weinraub, Producers; Mary Kathryn Burke, Mark Abdelmalek, Editorial Producers; Sunny Antrim, Emily Whipp, Field Producers; Francesca Ferreira, Christina Ng, Associate Producers; James Holbrook, Kevin Bartles, Graphic Artist; Robert Ferrari, Ruth Iwano, Luis Mendizabal, Gina Pampinella, Jack Pyle, Bud Proctor, Joi DeLeon, Kenneth Kerr, Jeremy  Phillips, Nicole Swink, Christine “Tine” Fields, Editors; Thomas Buttner, Assistant Editor; Chris Komives, Sam Painter, Herb Forsberg, Tony  Forma, Camera; Dave Coulter, Alex Klymko, David Mitlyng, Jeremy Drowne, Mike  Karas, Audio.

Digital Content: Dan Silver, Executive Producer, Digital; Xana O’Neill, Managing Editor; Ronnie Polidoro, Senior Producer; Lauren Effron, Producer; Meghan Keneally, Digital Reporter; Lori Neuhardt, Lead Creative Designer; Jeff Schneider, Producer; Emily Quartaro, Social Media Editor; Terri Lichstein, Senior Producer, ABC News Magazines for Digital and Social Content

Al Jazeera America – Kartemquin Films

Hard Earned

The immersive verité filmmaking of this six-part series invested viewers in the lives of the struggling working class by creating compelling human portraits.

Cynthia Kane, Senior Commissioning Producer; Gordon Quinn, Steve James and Justine Nagan, Executive Producers; Maggie Bowman, Series Producer; Katy Chevigny, Maria Finitzo, Ruth Leitman, Brad Lichtenstein, and Joanna Rudnick, Directors; David E. Simpson and Liz Kaar, Co-Directors/Editors; Mary Morrissette and Elizabeth Stanton, Co-Producers; Hillary Bachelder, Associate Editor.

CBS NEWS - 60 Minutes

A Crime Against Humanity

Previously unheard testimony and unseen images bore shocking witness to the 2013 Syrian sarin gas attacks.

Scott Pelley, Correspondent; Jeff Fager, Executive Producer; Bill Owens, Executive Editor; Nicole Young, Producer; Katie Kerbstat, Co­Producer; Amjad Tadros, Co­Producer; Ali Rawaf, Associate Producer; Jorge J. Garcia, Editor; Dan Bussell, Chris Everson, Ian Robbie, Camera; Anton van der Merwe and Everett Wong, Sound.

Cronkite News | Arizona PBS

Hooked: Tracking Heroin's Hold on Arizona

A local student/professional partnership highlighted a flourishing but hidden heroin epidemic in Arizona.

Jacqueline Petchel, Mark Lodato, Executive Producers; Erin Patrick O'Connor, Director/Editor; Elizabeth Blackburn, Producer/Assistant Editor; Sandy Balazic, Lauren Loftus, Hunter Marrow, Reporters; Sean Logan, Jessica Boehm, Dominick DiFurio, Emilie Eaton, Danielle Grobmeier, Lauren Handley, Vivian Padilla, Hannah Lawrence, Liliana Salgado, Reporters/Photographers; Jim Jacoby, Production Manager.

FRONTLINE - PBS

Ebola Outbreak & Outbreak

Two separate comprehensive Ebola hours combined to dominate coverage of this tragic international story.

Ebola Outbreak

David Fanning, Executive Producer; Raney Aronson­Rath (CJS '95), Deputy Executive Producer; Eamonn Matthews, Executive Producer, Quicksilver Media; Dan Edge, Senior Producer; Andrew Metz, Series Senior Editor; Wael Dabbous, Producer/Director/Camera, Shaunagh Connaire, Reporter.

Outbreak

David Fanning, Executive Producer; Raney Aronson­Rath, Deputy Executive Producer; Andrew Metz, Series Senior Editor; Dan Edge, Director/Producer; Sasha Joelle Achilli, Co­Producer.

FRONTLINE - PBS

Growing Up Trans

An artful feature length documentary presented a poignant, clear­eyed examination of the complex world of transgender children.

Raney Aronson­Rath, Executive Producer; David Fanning, Executive Producer at Large; Andrew Metz, Series Senior Editor; Karen O'Connor, Producer; Miri Navasky, Producer

HBO

HBO Documentary Films in association with Sky Atlantic and Jigsaw Productions

Going Clear: Scientology and the Prison of Belief

A blockbuster feature length documentary exposé of Scientology challenged powerful interests head on.

Alex Gibney, Writer/Producer/Director; Sheila Nevins, Executive Producer for HBO; Sara Bernstein, Supervising Producer for HBO; Lawrence Wright, Kristen Vaurio, Producers; Chris Wilson, Executive Producer, Sky Atlantic. read cathay dupont awards articles here

#cathay dupont award #2016 duPont Winners

[amtushinfosolutionspage]

TOP V. WEEKEND PICKS (6/29-7/5)

1. MATERIALKINK

June 30, 2017, 6-8PM Work by: Michael Blake, Chloe Cooper, Clarita Luli?, Luis Mejico, James Murray, David Nasca, Heather Raquel / Ms. Philadelphia Leather, Tamara Santibañez, Lauren Steinberg, Vincent Tiley, Jade Williams, and Derrick Woods-Morrow (Curated by José Santiago Pérez) Leather Archives & Museum: 6418 N Greenview Ave, Chicago, IL 60606

  2. Between the Sky and the Earth

July 1, 2017, 5-8PM Work by: Mitsu Liza Sylvestre, Cory Imig, Karen Spiering, Preetika Rajgariah, Sue Kay Lee, Courtney Cross, and Dulcee Boehm (Curated by Sharmyn Cruz Rivera) Roots & Culture: 1034 N Milwaukee Ave, Chicago, IL 60642

  3. Yhelena Hall and Anna Nelson

July 1, 2017, 4-7PM Comfort Station Logan Square: 2579 N Milwaukee Ave, Chicago, IL 60647

  4. Then They Came For Me

June 29, 2017, 11AM-8PM Alphawood Gallery: 2401 N. Halsted Street, Chicago, IL 60614

  5. Doing Justice to Gender Particularities

June 29, 7-8PM, 2017 Panel with: Leisa Rundquist, Rev. M Barclay and Adam J. Greteman Intuit: The Center for Intuitive and Outsider Art: 756 N Milwaukee Ave, Chicago, IL 60642

  Hey Chicago, submit your events to the Visualist here: http://ift.tt/2ax8j1m.

TOP V. WEEKEND PICKS (6/1-6/7)

TOP V. WEEKEND PICKS (5/18-5/24)

TOP V. WEEKEND PICKS (5/11-5/17)

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TOP V. WEEKEND PICKS (3/30-4/5)

TOP V. WEEKEND PICKS (6/29-7/5) published first on http://ift.tt/2rcdcDH

[flauntpage]

TOP V. WEEKEND PICKS (6/29-7/5)

1. MATERIALKINK

June 30, 2017, 6-8PM Work by: Michael Blake, Chloe Cooper, Clarita Luli?, Luis Mejico, James Murray, David Nasca, Heather Raquel / Ms. Philadelphia Leather, Tamara Santibañez, Lauren Steinberg, Vincent Tiley, Jade Williams, and Derrick Woods-Morrow (Curated by José Santiago Pérez) Leather Archives & Museum: 6418 N Greenview Ave, Chicago, IL 60606

  2. Between the Sky and the Earth

July 1, 2017, 5-8PM Work by: Mitsu Liza Sylvestre, Cory Imig, Karen Spiering, Preetika Rajgariah, Sue Kay Lee, Courtney Cross, and Dulcee Boehm (Curated by Sharmyn Cruz Rivera) Roots & Culture: 1034 N Milwaukee Ave, Chicago, IL 60642

  3. Yhelena Hall and Anna Nelson

July 1, 2017, 4-7PM Comfort Station Logan Square: 2579 N Milwaukee Ave, Chicago, IL 60647

  4. Then They Came For Me

June 29, 2017, 11AM-8PM Alphawood Gallery: 2401 N. Halsted Street, Chicago, IL 60614

  5. Doing Justice to Gender Particularities

June 29, 7-8PM, 2017 Panel with: Leisa Rundquist, Rev. M Barclay and Adam J. Greteman Intuit: The Center for Intuitive and Outsider Art: 756 N Milwaukee Ave, Chicago, IL 60642

  Hey Chicago, submit your events to the Visualist here: http://ift.tt/2ax8j1m.

TOP V. WEEKEND PICKS (6/1-6/7)

TOP V. WEEKEND PICKS (5/18-5/24)

TOP V. WEEKEND PICKS (5/11-5/17)

TOP V. WEEKEND PICKS (4/13-4/19)

TOP V. WEEKEND PICKS (3/30-4/5)

TOP V. WEEKEND PICKS (6/29-7/5) published first on http://ift.tt/2pLTmlv

[nofomoartworld]

TOP V. WEEKEND PICKS (6/29-7/5)

1. MATERIALKINK

June 30, 2017, 6-8PM Work by: Michael Blake, Chloe Cooper, Clarita Luli?, Luis Mejico, James Murray, David Nasca, Heather Raquel / Ms. Philadelphia Leather, Tamara Santibañez, Lauren Steinberg, Vincent Tiley, Jade Williams, and Derrick Woods-Morrow (Curated by José Santiago Pérez) Leather Archives & Museum: 6418 N Greenview Ave, Chicago, IL 60606

  2. Between the Sky and the Earth

July 1, 2017, 5-8PM Work by: Mitsu Liza Sylvestre, Cory Imig, Karen Spiering, Preetika Rajgariah, Sue Kay Lee, Courtney Cross, and Dulcee Boehm (Curated by Sharmyn Cruz Rivera) Roots & Culture: 1034 N Milwaukee Ave, Chicago, IL 60642

  3. Yhelena Hall and Anna Nelson

July 1, 2017, 4-7PM Comfort Station Logan Square: 2579 N Milwaukee Ave, Chicago, IL 60647

  4. Then They Came For Me

June 29, 2017, 11AM-8PM Alphawood Gallery: 2401 N. Halsted Street, Chicago, IL 60614

  5. Doing Justice to Gender Particularities

June 29, 7-8PM, 2017 Panel with: Leisa Rundquist, Rev. M Barclay and Adam J. Greteman Intuit: The Center for Intuitive and Outsider Art: 756 N Milwaukee Ave, Chicago, IL 60642

  Hey Chicago, submit your events to the Visualist here: http://ift.tt/2ax8j1m.

TOP V. WEEKEND PICKS (6/1-6/7)

TOP V. WEEKEND PICKS (5/18-5/24)

TOP V. WEEKEND PICKS (5/11-5/17)

TOP V. WEEKEND PICKS (4/13-4/19)

TOP V. WEEKEND PICKS (3/30-4/5)

from Bad at Sports http://ift.tt/2trXMRb via IFTTT

#IFTTT #Bad at Sports

[molina-a-blog]

Ashley Molina

Dr. Murray

Final Paper

5/2/17

 Visual culture is set as for how consumers perceive a piece of art and how the audience perceives the similar intentions of the original artist. When an artist creates a piece of art whether on a canvas or creating graffiti on a wall in local neighborhoods, it is important to know the aesthetics behind it and how it can perceive through the culture of these images we study in current day society. Visual Culture lies beyond the intention of the artist and how the expressiveness is appreciated, through one's creativeness in hoping to trigger the audience in a demeanor that may not be familiar to those who can't understand the intention of the art. In visual culture the images and media we use as examples to express our own painting and perceptions of intended ideas. The idea of body paint can be expressive through storylines that often trigger audiences through a material object that can eventually lead to another form of art. A piece of material can set a mood that an artist might want, but won't be perceived correctly enough by an audience. Each individual has their set ideas and interpretations to how a piece of art can be described in their viewpoints. With regards to class discussions, we often personify visual images as being centralized to how we may represent, make meaning, and communicate with the world we are trying to understand the art through.  When we overlook an image, we are able to perceive a range of theories on how we may know the varieties of visual media and how images are used to express our individual self to communicating, experiencing pleasures, and learn from these theories. We often contemplate on ideologies considered through visual culture as sustainable amounts of importance when dealt with experiences and association with other media and areas in which inform on the visual images. One of the sets focus is directed to how cultural studies are used as displaying to viewers, citizens, and consumers, the appropriate means of attaining a clear realization of how visual media helps make a believable approach to societies we live in.  Visual culture was known as altering promptly, where it was thought as an artistic way that included painting, literature, music, and philosophical views. Culture can be described as the shared practices within a group, community, or society, where such meaning is made up of aural, visual and textual word likeliness.  The development of visual culture as a field of application has also been objectified on debate and controversy. Through understanding visual culture, we often study it as a lot of theoretical methods that are applied through comprehending what it meant to be created and is also done through the words before us, and how these critical applications played through their historical context.

In selecting a form of art that sets the mood for an individual before an audience or smaller number of viewers, in a place that seems to strike perceptions as well as contemplating ideas to why the artist might decide on this formality, is something that keeps one pondering on. This form of art is expressed through body paint and how the different scenarios are more efficient in the actual meaning behind the intended significance of the message of the art. When one thinks of body paint, we automatically believe that the individual before us is completely nude and we may categorize that person as a sex symbol, or they may be making use of their body in a sexual way. However, for a body paint model, it often dependent upon the comfortability and whether the artist and model correspond in finalizing their decisions. It is entirely dependent upon how the art is approached, and the matter of being approached in the right way without any one-sided compromise. As the model, it is likely for the individual to know the basic information of the artist, as well as for any live event, the artist sticks around in making sure to be acknowledged by the people before him/her. When it comes to the setting of an intended look or significant achievement, it is likely that the artist might want to focus on art exhibits and avoid any club-like, or non-art exhibits. This way the model used is not set in a mood where they may feel uncomfortable or unordinary. Expressing one's portrayal through art like exhibits compared to art that may be shown in a club-like scene, can have a different feeling compared to be represented in a space where you feel is right. An example that expresses this is in the commercial 2014 German commercial, Camouflage. The commercial is the reflection of how art is shown in multiple ways on how it can be expressed through age, gender, body type, color and musical elements that embark upon the artist's meaning. However, there is an object that is represented by this scene of art, a piece of fabric. In the clip, the primary focus is aimed at the curiosity of the young women, and how she has been introduced to a new world of art. The art being expressed in this clip is a beautiful male dominating painting above her, as well as walking towards the door, she suddenly bypasses and notices a glittery fabric set on a table before her. While at this moment, a dark figure behind her immediately became visible and turned out to be the material placed on the table. The idea of having a piece of fabric come to a form of reality is disputable, in how the fabric is perceived as a form of art that is before the audience and young girl and how the idea of it coming to life and is dealt with different perceptions for different people.

The first element is classified as the brand through JAB Anstoetz Fabrics, and in this case, the advertisers who are representing this fabric company are not only represented through their experience of images used before, but are represented through the signs of commodity culture. These brands are lived through the personal powers and how the logos are included within the commercial overall. Towards the second to last ending of the commercial, the brand JAB Anstoetz appears before the model, and clearly indicating that the brand if often advertised on common cultural accessibilities that we are familiar and can be accustomed to. With this, the advertisers are able to catch the people’s eye through just this.

Secondly, the qualities that lie along the public sphere focus upon the classifications that are dealt with groups of “private” persons who assemble together in a separate manner in discussing circumstances of common public interests in ways that we mediate over the power of state. In this commercial, the public eye can foresee these women in different aspects, where it can be seen as something of the young girl that has inspired her to look beyond her future, in a dreamlike setting, or it can be seen as the fabric itself became the reality she wasn’t used to. It’s the young girl’s curiosity that allowed her to explore the expectation she was in search for. When I perceive this commercial I often think of the slogan “A piece of Fabric is worth a thousand Expectations”. When we put focus on the piece of fabric, and how both women are being represented, we often contemplate on how many ways one can perceive this through our own social norms that were affiliate with our lives. In this case, it is done through a carnival like musical background, that already sets the child-like mood and imagery, as well as being set in an old house, that can put us in her dream of reminiscing of when she was a younger little girl, as well as the use of extra lighting of the room as the young girl walks through the hallway. Her main focus is to find that unexpected something, and for the audience to get the “what’s next” feel, is what drives us into wanting to continue on with the short clip.

When we put focus on the authenticity of the images seen before us, we often focus on the values triggered through the different forms of art brought to the audience, and how we might perceive the body paint, more specifically, as we would like to perceive any other form of art. The intention for this commercial is to set its focus on how it’s classified as this ‘magical story’, behind the magical fabric, and when viewers may think of the story line as a simple story, it makes one think of all the discoveries done to make the intention of this clip to stand out. Through Julie Boehm's work, it often personifies mystical and magical settings that can be done through just one image. Her body painter Udo Schurr, helps Boehm’s ideas come to life. Julie Boehm is played as the dark dairy who dances her way into the mystical mindset, while the curious young girl, Mia, is set towards wanting to get a hold of the fabric. Going on, this commercial expresses it authentic values through the philosophical notions perceived through beauty and ugliness. In this film, it is done through beauty, and incorporating both female dominate participants, in showing off their aesthetic qualities in how body paint and regular paintings on a canvas can share similar settings  and still have independent qualities that fall in the same direction as the artist intended. This is done throughout the beginning and middle of the clip, where the young girl is alone in the hallway, puts focus to the portrait above her, and then finalizes this thought through making acknowledgments to the model behind her.

When identifying the role of intention with the creation of an image(s), the intention is often set as a conscious act, where advertisers market their research that match up with their meanings. These meanings symbolize the product of complexities as well as the social interactions among the images, viewers, and context. We can apply this concept through the ways to where the commercial is planned out in reflection to the old story-like scenery where the artist Julie Boehm strikes her focus on a ‘young poor little girl who is captivated into an old house’, in which her curiosity takes over and later discovers a glistening light that drives her attention closer. The dark fairy starts off as a hidden figure, and then continues on with her appearance. She ends up being the fabric itself, which was set on the table early on in the commercial. The young women is then startled by the appearance before her and continues to make sharp eye contact with fear, of the dark fairy. The dark fairy expresses her appearance through dancing across the room, as well as leaping across expressing her techniques. The role in creating this commercial, seems to strike audiences through staged direction. This allows viewers to get a clear view on how each of the items were placed and how the characters worked around the objects used, as well as incorporating focus on the fabric’s intention.  

The values of the image concentrates on economic, social, political, and aesthetics dependent upon the social context. As mentioned the beliefs of a work’s authenticity, its uniqueness and its aesthetic styles contributes well enough to the values brought towards the viewers. The social mythologies surrounds us with the work of art and it’s the intended artist who incorporates their values to how we perceive the core values. In Camouflage, these values strike the aesthetics of a child-like imagery, where the young girl, Mia, and the dancing Fairy, Julie Boehm, acts in playing hide and seek with one another, even though we might perceive it as more of fear. Towards the ending of the clip, Mia somehow catches the fairy and falls down onto a huge bed, where the fairy transforms into the fabric. This teaser, has given us many perceptions to contemplate on, and the unexpected still awaits.

When driven into manufacturing the desire of art, we generally think of the commodity self, where is perceived as the idea to which individualizes the “self” notably, its subjectivities that lie upon mediated and constructions, that lie within the consumptions of making use of with the art beholds. In the beginning, the artist makes a clear vision of a Portrait that the girl quickly examines. This portrait as mentioned, is a male domination of what the commercial intentionally wanted, however it does make use of incorporating both genders to even out the bias we may perceive it as. Going further, the piece of fabric shown in the video is followed by the use of music in the background, as the model approaches the young lady, entering on cue with the music, continues to make her appearance visible and then flashes the audience with the body paint that parallels with the same piece of fabric used on the table. The identity of the glittery fabric is reflective through the artist’s work, and conceptions of how the model dances her way through the reflection of mirrors. It almost has the audience in despair, because we don’t know if the movement means something internally or is meant through some form of message. We don’t really know what to expect at this point, just by the look of how the setting is set in this point of the clip. Others might perceive it as to how and what the artist intentionally meant by involving the hidden qualities of this piece of fabric, as well as using it in ways to promote the brand ,JAB Anstoetz Fabrics, alongside through aesthesis of the materialized object collaborated to sell off their merchandise.

In the clip, we are aware that the young girl is fully clothed, however, we come to notice that the model presenting the body is completely nude under the art drawn. When we think of women who are being represented in any form of nudity or bare, many often treat women as sex symbols and often see women displaying their promotions in a sexual way. When I viewed this commercial for the first time, I completely viewed it as a form of art all throughout the clip, whether the incorporation of background music, to the way the young girl and dark angel was directed to act throughout it all. This commercial is a clear example of how art is perceived in many forms for its intended meaning, not for sexual credits and desires that everyone hopes to hear about. This clip compared to the PETA Vegan Wool awareness campaign advertisement, is foreseen as a women completely naked in a forest/barn-like setting that is trying to captivate the audience in believing this vegan wool catch. Unlike the complete nudity shown in PETA’s ad, the Camouflage commercial is aimed towards another material object, but was done in a proper manner. Even though these two companies are trying to promote the brand they might be working for, the Camouflage commercial was set in an educational way, compared to the PETA ad being launched as a “sex sells” type of feel. The docile bodies, shown in visual images are socially disciplined, are set and get through these cultural norms such as self- discipline and self-surveillance. It is known that docile bodies are classified as corporations wanting their people to become individualistic and independent by using their product. As if belonging to or in the difference of parting with belonging to a group based on how we view others. The model used in Camouflage, Julie Boehm, expressed her body through perceptions as the actual ‘body art’, in this case, the fabric and how it is set in a mystical setting, while in compassion to the PETA model mentioned. This PETA model, is completely bare in the setting she is set to be in.This model, unlike other body paint models, makes use of a brand whereas the model of PETA is making use of her body in representation of the Vegan Wool awareness

To finalize perceptions that were triggered throughout the commercial, Camouflage, I was able to pinpoint the obvious in the intention of the artist as well as applying it to what I have learned about visual images. Visual culture, more specifically images, are set by the person view and analyzing the image. We are the ones who set the meanings behind these images, and view how the artist sets the mood through incorporating models and actresses in short clips like Camouflage. This commercial expresses art in various ways in which strikes me as a listener and analyzer, because as we mentioned in the PETA advertisement, in current day society, people who perceive those advertisements as art, has no similar comparison to those artists who think bigger than what the world is already used to seeing before them.