#what more do we expect from a group of art students in rhode island
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How Sir Philip's son cast a spell on Emma Watson: The super-woke Harry Potter star and the playboy son of the disgraced Topshop tycoon - it's hard to think of a more unlikely romance, writes ALISON BOSHOFF
One can almost see her eyebrows raised in quizzical disdain. Hermione Granger would surely disapprove.
Pictures emerged this week of Emma Watson, the serious-minded Harry Potter actress and eco-warrior, hopping out of Sir Philip Green’s family helicopter in Battersea, South London. Curious, some would think, given Emma’s long-standing war against fast fashion, that she would accept a lift from the fallen King of the High Street.
More curious still, however, is that Emma, 31, has apparently been enchanted by Brandon Green, Sir Philip’s 28-year-old son, whose longest relationship to date seems to have been with a Belarusian bikini model. Could there be a more unlikely romance?
Aside from both being awash with money —Brandon is an heir to a £2 billion fortune, while Emma is said to be worth about £59 million —they appear to have almost nothing in common. Yet according to a friend, a certain magic is in the air.
‘Brandon has been wooing Emma,’ says one source. Another says: ‘They are an item, although she hasn’t met the family yet.’
Emma, who once mused about being ‘self-partnered’, has certainly had more suitors than her single status would have you believe.
At 17, an early boyfriend was rugby player Tom Ducker, but her most serious romance seems to have been with another rugby player — and fellow Oxford student — Matt Janney, with whom she broke up in 2015.
Then there was another Oxford student, Will Adamowicz. The relationship lasted from 2011 to 2013.
She was then seen out and about with actor/producer Roberto Aguire, whom she first met in 2005 on the set of Harry Potter And The Goblet Of Fire. She also seems to have a particularly weak spot for young tech millionaires, as she has dated at least three of them, most significantly U.S. entrepreneur William ‘Mack’ Knight, whom she split from in late 2017 following a two-year romance.
Then came a six-month love affair with handsome Glee actor Chord Overstreet. They broke up during the summer of 2018.
She was then spotted sharing cocktails with tech CEO Brendan Wallace, a New Yorker, now 38, who is co-founder of a venture capital fund. By summer 2019 she was rumoured to have moved on to another tech millionaire, Brendan Iribe, CEO of Oculus.
She most recently split from her boyfriend of two years, businessman Leo Robinton.
It’s a longer list of amours than you might expect for someone who claims to be ‘self-partnered’, but then Emma is a woman who solemnly examines her life.
‘The boyfriends or partners I’ve had have generally made me feel really cherished. They have built me up,’ she said.
Quite how Brandon — who featured in Tatler’s ‘most eligible’ list in 2014 and was once caught patting Kate Moss’s bottom — fits into Emma’s orbit of admirers, remains to be seen. Although, like Emma’s other admirers, he does have a job running a tech investments company.
So who is this handsome young man — and what does Emma see in him?
Born in 1992, he was raised in Monte Carlo with big sister Chloe. His mother, Tina, is resident in the tax haven and was the ultimate owner of the Arcadia group, which went into administration last year. He went to the principality of Monaco’s International School.
To say his was a gilded upbringing would be an understatement. A source in Monaco says: ‘All the time he was growing up, the Greens would never fly commercial, always in their private jet.
‘They have a private chauffeur and in the family penthouse at the Roccabella building in Monaco there are uniformed maids standing to attention in every room just in case someone needs something. That’s the lifestyle Brandon was born into and has always thought was completely normal.’
He and Chloe have the use of the 109ft yacht Lionchase — Sir Phil has the 295ft Lionheart —which is moored in Monaco in the winter and cruises around the Med all summer.
I’m informed that his mum will pick up ‘seven-figure’ boat bills for the pair of them at the end of the season without blanching.
Brandon’s 2005 Bar Mitzvah caused a stir. It was held at the Grand-Hotel du Cap-Ferrat, with entertainment provided by Beyonce, Destiny’s Child and Italian tenor Andrea Bocelli. There were 300 guests over three days, all hosted by Sir Phil, who was then the boss of Topshop, BHS and Dorothy Perkins, all part of the Arcadia group.
When he was younger, Brandon seemed to be happy to join Chloe in a celebrity-packed party lifestyle. Locals say he was ‘practically living in Monaco’s Sass Café and partying until dawn every morning with a bevy of models’ in his 20s.
Kate Moss — a friend of his father — spent much of her 2011 honeymoon break with Jamie Hince on board his yacht and they got on famously. In 2013 he was spotted playfully groping Moss’s bikini-clad bottom while on holiday in St Barth’s. At the time he was 21.
When she was 21, Emma Watson had been famous for a decade and had just finished making the Potter films.
While Brandon found life one long, joyful party, she was struggling introspectively with having money and acclaim. As she recently said: ‘I’ve often thought, I’m so wrong for this job because I’m too serious.’
She felt physically sick when she found out how much money she had earned from the Potter films, and considered not renewing her contract to complete them.
Following stellar A-levels, she took an English degree at Brown University in Rhode Island — over five years, due to disruption from filming.
Brandon Green doesn’t have a degree. There was some idea that he might buck the family trend and go to university, but Sir Phil told an interviewer at the time: ‘It’s up for discussion,’ and evidently it was decided that was not the right path.
Instead, he spent years learning the ropes of the fashion business with Sir Philip and working for Arcadia.
As the BHS scandal raged in 2016 — after Sir Philip sold the company to a bankrupt, with a hole in its pensions provisions — and the company went bust, Brandon was sent to host a table at the Met Gala Ball in New York in his father’s place.
For three years, he was also a regular at the Topshop show at London Fashion Week, sitting with model Jourdan Dunn and chatting to Vogue editor-in-chief Anna Wintour.
He began to go to Cannes, again as part of Topshop’s presence at the film festival, and to attend the Amfar charity gala on the arm of girlfriend Maryna Linchuk, a Victoria’s Secret model who towered over him.
But when Chloe became more involved in the family business and started designing shoes, Brandon stepped back from the spotlight.
They are a close family, all the more so since the woes that beset the Arcadia Group and Sir Philip before it collapsed. In fact, this seems to have acted as a wake-up call for Brandon.
A source said: ‘Once Philip fell from grace so badly, all the A-list celebrities and many of the world’s elite dropped the Green family completely. It really shook them up.
‘There was a party in Monaco that a family friend threw for them in the middle of the BHS pensions scandal. Brandon looked around aghast and said to Tina, “We don’t know anyone here!”
‘They felt the world hated them. Philip would fill his days doing laps of Monaco on foot with his bodyguard and personal trainer. Tina would busy herself in her art gallery or with her interior design business. There were a lot of tears; it was an awful atmosphere for the staff and for the family.
‘Brandon could see how transient popularity is and how big A-list stars had been using them for free holidays on their yachts for years. The whole experience sparked a “woke-over” in Brandon.
‘He got very interested in biodiversity and saving the oceans. He does a lot of charity and advocacy work with both Monaco’s Prince Albert’s Foundation and Princess Charlene’s Foundation. He is a trained deep-sea diver, he is very into fitness and gets involved with galas and charities that help the planet. He does frequent beach clean-ups and whatever he can to help.
‘It’s all very low-key, as he doesn’t want to be seen to be doing charity work for PR. But he’s been getting Tina to donate a hefty amount of money to charities that help save the planet too, saying they should do some good with their huge fortune.’
A second source says it is now Brandon, rather than Chloe, who is the apple of Tina’s eye, and he who is seen as the one who will eventually turn the family’s public reputation around.
A friend says: ‘He is very disciplined, intelligent and keen on study. He reads a lot, he travels a lot. He’s polite and well-mannered. Whatever he does, he embraces it fully. His parents are proud of him.’
His hobbies include skiing, at which he excels. He trains almost daily and took part in a gruelling cycling and swimming charity event last year for Princess Charlene of Monaco’s charity, going from Corsica to Monaco.
The friend adds: ‘He eats right and doesn’t drink or party — he is a very nice young man.’
How Brandon came to meet Emma, whose woke credentials may prove challenging for his family, is somewhat unclear, although it is believed his newfound interest in charitable ventures may have steered him her way.
Last year Miss Watson joined the sustainability committee at Kering, the owner of top fashion brands such as Gucci. She was labelled ‘Hollywood’s queen of ethical dressing’ by Vogue.
She has been taking a break from acting after appearing in the 2019 film Little Women but remains an active advocate for ‘race and gender justice’ via various charities. In 2014 she became a UN Women Goodwill ambassador, and she also ran a feminist book club, Our Shared Shelf, on Twitter.
She loves writing poetry, jigsaws, cats and nights in.
Her first purchase with the Potter millions was a ‘brick-like’ Toyota Prius. She said: ‘It’s sensible and boring, like me.’
Not that Emma is as staid as she says. In conversation with Gloria Steinem at an event in London in 2016, she revealed that she subscribes to a sex education website called OMGyes.
It’s a far remove from the days when she was cast in the Harry Potter films at nine years old, having been found via the theatre club she attended. She only completed filming the last Potter when she was 20, in June 2010.
Sources who knew her in the Potter days say her father Chris’s influence was paramount, even though she lived with her mother in Oxford.
The experience of growing up on Potter was so constricting and stressful, when the cast and crew held a ‘wrap party’ at Harry’s Bar after the final set of reshoots in 2010, she didn’t attend.
She said in 2017: ‘It’s something I’ve really wrestled with. I’ve gone back and quizzed my parents. When I was younger, I just did it. I just acted, it was just there.
‘I was finding this fame thing was getting to a point of no return. I sensed that if this was something I was ever going to step away from, it was now or never.’
Post-Potter, her films have been generally low-key. It is said she turned down the La La Land role that brought Emma Stone an Oscar.
Her £3 million London home was selected after she viewed it over Skype, because she can come and go unobserved.
That’s not to say her life is in any way normal: her social circle includes fashion figures such as Antoine Arnault of the LVMH dynasty, she has been the face of Lancome perfume and launched a collection with the ethical fashion label People Tree.
The question now is, will Emma finally find lasting love with a most unlikely Green?
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Name: Dahlia Summers
Age: 30
Occupation: Artist, Teacher
Positive Traits: dreamy, witty, kind-hearted, determined
Negative Traits: impatient, fussy, jittery, quick-tempered
Aesthetic: paint under fingernails, always smelling like caramel coffee, long skirts in the spring, fuzzy socks all year round, drying flowers between book pages, red wine at 1am, trying to find inspiration, warm smiles, summer sea breezes, drawing on every piece of paper you can find, meticulously organized art supplies, every shade of nude lipstick.
A Prodigy in the Making
One of Lia’s earliest childhood memories was of her going through her older brother’s school supplies. She managed to unscrew the lids to some paints then proceeded to paint on some paper – watercolor paper thankfully. Her mother found her with paint all over her clothes but she was too giddy about Lia’s artwork to even scold her. Her first painting is still framed in her childhood bedroom in their home. After that, her mother enrolled her in some art classes but she continued to self-learn after a few months. At fifteen, she’d already sold three paintings to renowned art collectors. At eighteen, she opened her own Etsy shop selling her art and doing commissions. At twenty-five, she was able to open her own art studio in Kensington, New York. She teaches art to kids during the day, hosts wine and painting sessions for adults at night, and tries to create new works in her backroom at every spare moment. Her life was full of frantic highs and lows – she loved every second of it.
Humble Beginnings
Dahlia came from the most typical middle class family. Her dad worked in a bank and her mother was a middle school teacher. Her brother, Wesley, had always been her partner in crime with just two years of an age difference between them. She was never short on love as her family liked to coddle her. She went to the same high school as Wes did and enrolled herself in as much AP classes as she could. She wanted her college applications to look superb so she could finally get to see more of her own state. She’s only ever been in her town and she wanted to see and experience what the world had to offer.
Things started to pick up when her art was getting some recognition in their little town of Portsmouth. She was being asked to paint murals for the cafes and restaurants, make wedding invitations, and partnered up with a local tattoo parlor for some of her designs (no, she was not allowed to get one, said her dad). With all these came money. She’s been living quite frugally all throughout her life in Rhode Island so her bank account had been racking quite the sum. While she shelled out quite a few dollars each month for supplies, she knew better than to touch her accounts. Lia was saving up to attend Rhode Island School of Design and she damn well knew that student loans were gonna come biting if she didn’t plan it out right.
College: A time to function on espresso and sheer willpower alone
Being accepted into the Painting program at RISD was the highlight of her teenage life. She packed her suitcases and went on her merry way. College wasn’t really what she expected, though. She has a huge group of friends while she was in high school (which came with Wes’ popularity) and had her parents advice to turn to whenever she needed it. Now she was on her own, forced to remake everything from the ground up. Rather than be discouraged, she took it as a challenge to keep on improving herself and her art.
It wasn’t long until she began to get noticed in her program. The alumni of the department would often commission her art for hefty sums. She also received a grant for being so participative in the city’s efforts to integrate art into their programs. She was looking at a full ride and didn’t have to worry about funds for quite some time. All she had to worry about was punching out more and more artwork as her name became a whispered staple in the art community. The bags under her eyes had bags, her fingers and neck were constantly aching, her sleeping pattern turned erratic, yet she still pushed through and persevered. Eventually her 4 year program came to a close and she graduated cum laude with several other distinctions.
From the ground up, again
After graduation, she went back home to Portsmouth to teach high school art history. Her parents probably questioned her decisions but she was biding her time. At 25, she had finally done enough research and secured enough funds to purchase her own art studio in Kensington New York. It was in the suburbs which she preferred, but it was also a quick trip to the city. Disappearing for three years took a toll on her budding art career. Sure she still had her previous connections and clients but her fame simmered down after three years of inactivity. She’d been relentlessly putting up ads and artwork on her website to gain the traction she once had. Her old clientele seemed excited that she was back in business and she could only hope that their support didn’t waver.
At twenty-eight, she decided that selling art wouldn’t cut it. While she made huge amounts for the paintings she sold, she still had a storage room full of unsold ones. Dahlia decided that now would be the time to expand her business. She began with holding art lessons for kids during the summer season, which then evolved to wine and painting at night (which was quite popular with couples). After this change, things began to pick up again for Lia. She was happy seeing the hopeful faces of her students as well as the awestruck ones from her buyers. She was nowhere near ready to settle down yet but her muse has been far in between. The deadline for her newer commissions are still months away but if she didn’t get any bursts of inspiration soon; it’d mean trouble in her career. She had a lot of fallback options but she didn’t just want to settle. She was self-made in her career and she would try her damnedest to keep it all together.
Headcanons:
She’s in a relationship with red wine and fuzzy socks
Her style is very much cottagecore
She has a pet cat named Salem. “Salem will hiss at you. Don’t worry, he hisses at me too.”
Dahlia isn’t the biggest fan of her name so she’s mostly “Lia” to her friends. “Dahlia” is reserved for clients and students.
She always either smells like caramel coffee or of her favorite pomegranate perfume
She cannot cook at all. She subsists on takeout and the occasional microwavable “meal”
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Conversation with Sad Asian Girls (formerly Esther Fan & Olivia Park)
As Fan and Park, known collectively as Sad Asian Girls, announced the dissolution of their partnership about two months ago, we decided to post the interview that Sine Theta magazine’s art director Elisabeth Siegel conducted with the duo last November in full as a fun retrospective and tribute to their amazing work. The interview is available in print form in Sine Theta Issue 3: “LIGHT 阴.” We at Sine Theta are excited for what’s to come for Fan and Park!
Esther Fan and Olivia Park, current seniors at the Rhode Island School of Design (RISD) in the U.S., founded Sad Asian Girls (SAG) as a duo, in order to carve out a creative space for Asian femmes, and to encourage them to create content and break out of the stereotypical mold prescribed by other non-Asians or non-femmes.
I met Esther and Olivia in person for the first time deep in Yale’s underground library, where they gave a casual graphic design workshop. While at Yale, they also participated in a conversation about being Asian femme creators at the Asian American Cultural Center (AACC). The way they shared their expertise along with the constructive criticism they gave attendees was reminiscent of the SAG brand and style: they’d package their thoughts into seemingly simplistic bundles or iconography, yet the underlying messages contained within were fresh, completely accessible, and totally effective.
I had the chance to chat with them over Skype and pick their brain about Asian femme identity, as well as their current and future plans as a collective.
Elisabeth Siegel: So just to start out, how did you two meet? How did SAG get started?
Olivia Park: We met essentially through classes, and then while working together on non-SAG related projects, we noticed similarities regarding our identities, and through that we decided to make work related to the Asian femme experience.
Esther Fan: We both realized that we both seemed to be the few students in our department interested in social issues or making work about it, and also the first time we collaborated it was about millennial culture, and then we moved on to things more specific to ourselves.
ES: So, the “Asian femme experience” — could you talk more about what you define that as, and what you find unique to the Asian femme identity versus Asians in general?
EF: I think at the moment there is a lot of talk about feminism and the various experiences that women have in a mostly male dominated society. Once you add Asian to that label, the experience is narrowed down, yet the experience is still so common.
OP: One thing that is unique is invisibility of Asian presence, especially in media, and healthcare in general, specifically mental health awareness — almost everything. We’re kind of just not regarded. On the one hand, I understand, because we’re only 5% or 6% of the population [in America], but we still are part of the population, and we’re the fastest growing, so America just really needs to be aware at this point.
EF: I think the experience of an Asian femme is so specific because the expectations put on women in Asian culture is quite different from the western expectations of women. It’s still similar in the fact that we need to be secondary to men and things like that, and also it depends on each family. But for us, both of our parents were or are still Christian and conservative, and the kind of things that they try to teach us in how to be a perfect woman and be the perfect “wife-y package” contributed a lot to us trying to tell our stories about Asian femmes.
ES: I definitely know what you mean. When it comes to western versus eastern as a binary — even though I think calling it an absolute binary can be quite harmful — in general, the experience for women is very different.
As you know, Sine Theta is specifically by and for those experiencing the Sino diaspora. How does the more unique experience of being part of a diaspora shaped or informed your art, on an individual level or in your collaborated projects?
OP: There are so many moments where we have identity crises. It just becomes more and more important to find something to hold onto and identify with, and so things like food become a cultural recognition and almost an awakening, and conversations happen through those moments. The “Have You Eaten?” video was a lot about the conversations we would have [with our families], and a way to have that initiated was by eating the food of our motherland.
ES: I wanted to ask you guys about specifically the name “Sad Asian Girls.” I get the asian girls part, that’s pretty obvious. I was wondering if you could talk about the inspiration behind “sad” and why you settled on SAG.
EF: It really started off just as having to think of a name really quickly so we could make a YouTube account to upload the [“Have You Eaten?”] video. It was a parody of the “sad girls club” that happens on Tumblr, and it seemed natural. Over time, when we gained a following, it started to take on a meaning of its own. In a later video, we mentioned that the term “Sad” could refer to the frustrations of having to live with both our parents’ cultures and western cultures, and the type of identity crisis that usually comes with that. Now, we just kind of kept the term sad and Asian, for consistency, and it’s kind of created an identity of its own.
ES: What sort of identity would that be? Also, as for the “identity crisis,” do you think sadness is a part of what causes the crisis, or a result of it?
EF: Maybe both, but probably more so a result of it. We’re born into having to juggle between two different identities. I think when people hear SAG, it sounds something they can resonate with, usually more ironically than seriously.
OP: I also think the name has done a lot for us. You almost immediately get an idea of what we’re about. If we were called the “Asian Student Art Collective” that might just sound like we’re trying to foster a community of neutral art that could be even purely aesthetic. But SAG says something that signals oppression, something that signals hurt, and I think that’s where the root of our work comes from. It’s from the hurt. At the same time, if you look at our work, it’s about being proactive and storing that sadness into something positive.
ES: Sometimes within activism against oppression, it can be difficult to maintain a certain level of sadness or anger, because it gets tiring...I’ve experienced this in some activist circles, that as you move forward it can be harder and harder to maintain emotional momentum.
OP: So you’re asking, how do we feel motivated to do things despite sadness?
ES: That’s definitely part of it. And with “Sad” in your name, how is “sadness” maintained in your art? Does that ever get tiring?
OP: I think also that our visuals matter a lot. If we were to use a grungy filter with blue and green it might appear to be a little more soft, mellow, kind of like “Flickr-artsy.” But we intentionally use high contrast. We blow up our typography, we use bold reds. Our site is like 255 RGB red. We always use 255 because that’s the brightest red the computer’s got so we’re going to use it. We also changed our typeface to Noto, which is Google’s free typeface that can be translated into every language. These are all very intentional design choices that we’ve made and it’s loud and it’s clear and it’s sad. Some people have said that our visual language comes off as more angry than sad, but anger to me is a more intensified form of sadness. Anger is what results when you experience sadness with no resolution. I think it’s fitting.
EF: The thing is, being a marginalized group, and this goes for any marginalized group, things aren’t ever wholly resolved. We can make progress little by little, but there is always going to be something else that is making us “sad.” In terms of a resolution for sadness, simply use that sadness as a tool or a motivation for making, a fuel for making activist art. It sounds kind of pessimistic, but without sadness and without frustration and things like that, there wouldn’t be powerful art. The strongest pieces that work come from hardships. So to answer your question as best as I can, every project that we make is based on an existing issue in the world that makes us “sad.”
ES: This issue’s theme is “Light,” and we’re going with that as also talking about the Chinese concepts yin and yang, and the tons of meaning imbued in both yin and yang. Yin has various meanings, but some of the ones that we’re looking at also have to do with femininity, as well as passivity. You mentioned “Sad Asian Girls” was an ironic title you were giving yourselves — how do you go about subverting that title within self-application?
OP: First of all, I think no matter what people are going to interpret it wrong. Some people will. So it’s all about clarity. After repeating ourselves so many times in interviews, we only solidified our stance. At first, I don’t think we explained it well enough or enforced the idea. It’s good to start out strong and confidently and go with that and stand up for it, instead of starting weak and having to explain yourself and have to apologize over and over again, going back to changing your idea or your message. Know what you’re doing. Make it strong, make it unapologetic.
EF: I think transparency is also important. Most people who start out activist work are really excited or really angry and they want to make their content as fast as they can, sometimes without thinking how that’s going to happen or how that’s going to be successful. And I think that’s okay, you need to keep that fire going, but if you do make a mistake or decide that you want to go in a different direction, that has to be clear in your work too, and so that’s why in our presentations and things we’ve kind of discussed our successes and our failures, and why we took a break, things like that. Somebody in my class last night was talking about how a lot of the time when people want to be activists or go to protests or do something, they are really excited and they do too much and they go overboard and there ends up being consequences or it fails or their project doesn’t work, and then that discourages them from doing anything else ever again. But I think after you’re excited it’s important to step back and really think critically about how you’re going to move forward and how to make whatever impact you make last and not be impulsive.
ES: To step back and look more at SAG’s presence as a collective — your site in November said you were in the process of re-branding. What is that process like?
OP: Mostly using accessible typefaces, things that people can get for free. We were using Futura before, and a lot of that typeface some people won’t have, so we thought that everybody should be able to mimic Sad Asian Girls’ vernacular. So we’re basically making it easier for people to copy us and to share the same visuals.
EF: Also making it more legible. We cut down on a lot of text on the website and different sections where everything was displayed out on one page.
OP: We don’t want to look like you have to be an angry tattooed girl.
EF: And that’s why we added that dinky little sad face. It’s a cheeky way of holding onto the sad sentiment but in a way that is still bold. It implies that there’s more that you can do with it. [Rebranding] is more about making projects in the future with the same language. I think once we generate more content with the visual language as the same as our website, with our new logo, the new brand will be more solidified.
ES: What has been your favorite work that you worked on together for SAG?
OP: It’s definitely the next project. We always get super excited about the next project, because every time, we improve. Every project gives us more experience on what we like and what we don’t like, and how to work better or narrow down our process, or things like that. It’s kind of like how your favorite song is the last song you’ve heard.
EF: Nice analogy. Wow.
ES: You guys probably don’t want to spoil what it’s going to be…
OP: It’s probably going to be about the lack of visibility in galleries, which are white spaces. It’s a commentary more specific to the art field and scene. Since we’re both graphic designers and we’re both graduating soon, it’s kind of expected that we immerse into that field. Just seeing the lack of example, and also lack of invitation of femme identities makes us worried or concerned and so we’re kind of making a statement about that.
EF: Being in art school you definitely learn a lot about the art world, and how it’s programmed to benefit white male artists. Our entire curriculum is based on white male artists. The few times that there are female artists, it’s almost in a tokenizing way. Like how the Guerilla Girls did their thing about more women in museums, and last weekend we went to the MOMA just to look around, and they were selling Guerilla Girls’ merch for profit, but we aren’t seeing any more women in museums. Their work was there just for show, basically. I think this upcoming project focuses more on actually trying to inject the Asian femme identity into these faces that are mostly predominantly white, male and old.
ES: Right! One of the topics that I heard come out of the discussion at the Asian American Cultural Center while you were at Yale was the room full of silence whenever an artist makes a work concerning race. Could you elaborate on that?
EF: We talked about how another group in our school, called Black Artists and Designers, made a project called the Room of Silence, which is what happens when a student of color decides to make a project about their race, and the different dynamics that come with that. The room full of silence occurs because nobody else who isn’t a person of color knows how to critique it, out of fear of seeming racist or they’re just indifferent, or they just don’t think it applies to them.
OP: This was a video of several interviews of mostly black students, there was asian and latinx students in their too.
EF: It kind of went viral in our school, and some professors showed it to their students. Our professor showed it to us, and I feel like it was again just to show that they know that it exists, and to show that “I’m not like other professors.” They also attempted to have a conversation and at Yale we also talked about how when our class was shown the video, nobody still knew how to talk about it. Some people were falling asleep, some people didn’t watch the whole thing, and the professor said, “Are we done talking about it? Do you want to move on? Okay…,” and then Olivia got mad about it, and she said, “No, I think you need to force the students to talk about it. It’s such an important thing that’s happening in our school, and you can’t brush it off like a snazzy project.”
OP: And even Esther added on to that conversation, but that was kind of the end, though.
EF: The last thing I said about that was that I called out one white male student in our class who consistently makes average work, but the professors would always be into it, because his being a white male makes it seem like his work is conceptual and more than it really is. Other students whose English isn’t that great, or who have accents, the professors tend to skip over them because they subconsciously feel like people who have accents are less intelligent, and that’s what I talked about. Even though that video happened, and we also had a protest last year, the school has kind of gone back to the way it was, it kind of seen as those students of color just being angry again.
OP: I think that people do want to make change, but it’s an institution after all, and for an institution to work well while pleasing everyone that is in power right now, there’s not much change that can be done, except for maybe cultural attitudes. That’s what activists and artists are doing right now, to give a voice to who we are and what we want versus what is actually happening.
ES: Could each of you talk about what your favorite thing is when working with the other person?
OP: That’s a good question. Why don’t you go first? [Laughs.]
EF: There’s a lot of things I love, there’s a lot of things I hate. Let’s do that thing from Kindergarten where you say two compliments and one criticism. When we work together, we generate ideas in conversations at the same time, but usually Olivia comes up with better ideas for execution, or places we can go, or like forms that we can use. And then I’m the person who’s doing the tweaks and how to make things say something more clearly. I’m really picky about language, like I need every sentence to say exactly what it needs to say. But I think that’s fine. I think we make a good pair in that sense, where I have things I want to talk about, and sometimes I introduce them to Olivia, and then we sit down and we discuss ideas. We have really different aesthetic tastes, and sometimes we argue over that—
OP: And that’s over stupid stuff, like over whether to make one thing twenty percent desaturated or not. We will fight for a day and I’ll be like, Okay, I don’t really care about this project anyway. And I’ll be super petty. So I think [Esther] summed it up pretty well, like I’ll come up with a weird idea, and Esther will come up with how to make it more practical, more economical. So I guess Esther really puts it together.
EF: Awww.
OP: I also spend so much fucking time on the internet that I feel like a lot of things that come up in Internet culture or social media, the different things that people talk about I like to inject in our projects sometimes.
ES: As seniors are your plans for graduation, post-graduation? Do you plan on still working together as a collective?
OP: I think that’s a really good question actually. I think we both know that we can’t undo being activist-artists anymore. At first, I really cared about food packaging or whatnot, and I couldn’t give less of a shit right now. So I think we’ll be working closely with the Asian community no matter what we do, or where we end up.
EF: Because we don’t know where we’re going to end up, as in we’re probably going to be in different states or different countries, even if we aren’t able to continue managing this Sad Asian label, I think we still will continue to make work that is relevant to our identities, or at least some type of activist work. When I’ve said this to other friends, that Sad Asian Girls probably isn’t going to be forever, they saw it as this tragic thing. But people don’t need a snazzy name to make activist work. And I think what we’ve been doing so far is encouraging other Asian femmes to continue making work, knowing that we might not continue doing it together. Ideally, people will still make work and not really need a group like us to do it.
OP: What’s more important is that young people — we’re millennials, but what about gen z? — need to get it together and make work and that’s what we’re trying to do, have some type of presence so that they know it’s an option to make work, and that’s important to me. It’s also so easy. Executing a project or thinking up ideas is so simple, and I feel like based on what I’ve read about your generation, you guys are so much more active, and you guys care so much more about social issues than previous generations, and that kind of excites me, because I wonder where you guys are going to go with that. Hopefully it’s not the new high school phase, hopefully you all bring that to college with you.
EF: You’re born on the internet. Everyone’s on the internet, so you have a bigger audience. It’s better for you. You can get your stuff out. That’s why design matters more and more. You can only get more publicity and more circulation if you have a strong voice and what you say matters to a lot of people.
ES: I’ve noticed very recently [during November] on your Instagram there’s been a lot of posts styled after what you’ve just talked about. What was that project?
OP: We went to New York a couple days ago, and there was an event called “Scamming the Patriarchy,” at the New Museum, and a ton of small art collectives got together and made art installations and also talks. Our assignment was to do some kind of instagram takeover, so we posted one video on the main museum page, and on our Instagram we got submissions from femme creatives in general to send encouraging words to other femmes. We got 90 submissions or so, and we had a lot of positive feedback.
EF: That project again came from an issue that has frustrated a lot of marginalized groups in America. We planned that project as a result of the election. During that time, what people really wanted to hear was not more facts about Trump. They wanted to hear from other people, who were in similar situations, about how to move forward, and also how to take care of yourself and where we can look to at this time. Having so many statements and just bombarding everybody who follows us with those posts also had an effect.
ES: In the same style as the Instagram posts, what sort of advice would you give to other sad Asian femmes right now?
OP: If you have a good idea, try to find the people that would love your idea, and do something with them. Even if it’s just one random small thing that you don’t even know will make a difference, if it reaches out to at least one person, I think it’s so worth it. Just make work, and generate content, and think about the way that you’re going to publish it. The web is an amazing place, and you should take advantage of it.
EF: I probably have less of a place to say anything [post-election], because I’m Canadian, but I do think that in times of turmoil, or in the event of tragic occurrences, it is important to grieve and process what is happening and be around people if that’s what you need (or be alone if that’s what you need). But also keep in mind that staying in that state of depression, not that it doesn’t change anything, but it also will hurt you in the long run. While it is trying to process things and maybe isolate yourself, I think self-care also includes doing something about it, or expressing your thoughts in a productive way that other people can resonate with. And creating community is a really crucial part of self-care.
OP: You are not alone! Don’t forget that. •
Interview & Illustrations by Elisabeth Siegel
sinθ is an international print-based creative arts magazine made by and for the sino diaspora. Values include creative expression, connection, and empowerment. Find out more here.
Follow our Sino arts blog for daily posts featuring Sino creatives and their works.
Issue 5 will be released in August 2017.
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#sad asian girls#esther fan#olivia park#sad asian femmes#rhode island school of design#sine theta magazine#written#interview#conversation#issue3
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Hyperallergic: Beer with a Painter: Emily Cheng
Emily Cheng, “Stupa Axis” (2016), flashe on canvas, 84 x 78 inches (all images courtesy the artist)
I feel quieted in Emily Cheng’s studio — to the point where I wondered, afterwards, if I’d even posed questions. A fountain is gurgling, and she has set out beer and snacks. The paintings invite reflection more than commentary. I had visited her studio more than 10 years ago, and at the time felt that she was a painter whose work fell outside the buzz around contemporary art; looking back, I feel as if she has been gently challenging us for years.
The forms in her paintings are suggestive of the most primary elements: the landscape; the body; religious iconography. Large circular and floral forms are often positioned symmetrically on her canvases. These forms radiate outward into planetary orbs, tendrils, and vertebrae-like networks. However, many passages are stranger, more imaginary, and less regular than one might expect: dreamy, painterly occurrences that can be bodily and abstract.
The paintings have a lightness in tone and surface quality, but they are forceful in their suggestion of movement. They seem to chart energy channels, and push us into spaces that can’t quite be articulated or described.
Emily Cheng in the studio (2015) (photo credit by Wolf-Dieter Stoeffelmeier)
Cheng lives and works in New York City. She received her BFA in painting in 1975 from the Rhode Island School of Design and studied at the New York Studio School for three years. She has had solo exhibitions at The Bronx Museum, Winston Wachter Fine Art, and Bravin Post Lee Gallery, New York. She has also been the subject of solo exhibitions at the Shenzhen Art Museum, Shenzhen, China; the Museum of Contemporary Art, Taipei; Hanart Gallery, Hong Kong; the Ayala Museum, Manila, Philippines; Zane Bennett Gallery, Santa Fe; Byron Cohen Gallery, Kansas City; and Schmidt Dean Gallery, Philadelphia.
* * *
Jennifer Samet: What was your introduction to art and painting? Did you start drawing or making art as a child?
Emily Cheng: I can remember that as a small child, I was happy if you parked my stroller in front of a wall with peeling paint. There are family photographs where everyone else is looking at the camera, and I am looking down at the snow. I was mesmerized by the different colors of the sparkles in the snow. These things still fascinate me — when I see special paint splotches on the sidewalk, I record them on my cellphone.
In the fifth grade, I started oil painting and looking at images of Van Gogh, Gauguin, Manet. I also saw abstract painting for the first time: de Kooning, early Guston and Pollock. My father loved Western painting, so art was always part of my everyday life. There was no question of what I was going to do.
Emily Cheng, “Into Pink” (2016), flashe on canvas, 84 x 78 inches
JS: You got your BFA from Rhode Island School of Design but also studied at the New York Studio School. I remember that Nicolas Carone was an important teacher for you. Can you tell me about him?
EC: Yes, Nick Carone was the teacher who had the most influence on me. He talked about the image. All of his students heard overlapping and different things from him. What I heard was that there is a potential for unseen things — an implied image — in painting. There is a possibility for that image to have power, which can resonate long after you’ve stopped looking at the painting.
I also remember Leland Bell, as a visiting artist at RISD, giving a lecture on a Chardin painting. Before his lecture, the Chardin was just a still life with a little dog. As Leland talked about it, it became a superhighway running in different directions, with all kinds of passages and ways to move through it. It opened up and became three-dimensional — dynamic.
I studied with Leland and Elaine de Kooning for a summer session in Paris. We spent a lot of time in museums and we would be trailed by museum-goers, picking up interested people along the way. Leland was a beautiful enthusiast of the joy of paintings. He spoke about artists who were not so popular, like Raoul Dufy.
Bell opened me up to structure in painting. When you go through a Chardin with Leland, he is not talking about composition, he’s talking about structure. Structure is bones, the spine; composition is where you place and arrange things.
If you want to think about structure in drawing you can think about Giacometti. Giacometti was all about making the unseen connections spatially connect. Things have many relational points. That also influenced how I thought about the body when I left school.
Emily Cheng, “CosmicHead3” (2017), flashe on canvas, 47 x 35 inches
JS: How does your work relate to ideas about the body?
EC: A lot of my work has to do with how we reside in our bodies, how our bodies relate to gravity, and how we can (or cannot) connect to the universe. It is about the subtle body.
A lot of what I’m painting doesn’t exist in the visible world. So, to capture its enormity and its suggestive power, you have to be able to go into your imagination, which is not always cooperative. You pull out what you can from it. I want to tap into some kind of energy that can’t be named, or that hasn’t been visualized. Silence is the moment when I see the next step, or an image waiting to materialize.
That is why I don’t listen to music when I’m painting. The way I explain it to my students is that when you have music playing in your studio, you have two artists in the room. But one artist is already articulating much more clearly than you are. It’s the same if you listen to books on tape or the radio. I understand that some people need to be out of their thinking minds. I get that. But I’m not thinking much when I’m quiet. I am listening to being.
JS: Your work can also have a map-like or diagrammatic aspect. It also often plays with symmetry — with geometric forms and symbols radiating out from the center. Can you talk about that?
EC: I’m very attracted to diagrams and maps because I like the correlation between going through something in your mind, and the physical activity of moving through that space. When you look at a map of a city you are running a system through your mind. Then you go into the city and you relive that template, that configuration.
The interest in symmetry goes back to the experience of being dyslexic, and it has to do with the standing body. Recently I was amazed to find that even in my paintings from the early 1980s, I was thinking about the body, symmetry, and Chakra-like points. I didn’t know anything about chakras back then. I was just creating a point system for the standing body. Then I took this whole other odyssey of working with planets, centers, and arabesques that were very non-symmetrical and gestural. Now I find myself back in symmetry.
I see the paintings as templates for the body, and if they were asymmetrical, they wouldn’t feel like the body. They are also about bodies in the world and universe. About ten years ago when I was working on a book, I was flying back and forth to China. There was something about flying halfway around the world, so many times per year, that I started thinking about what that meant and felt like — being above the world, detached from the planet for a short period of time. Every religious tradition discusses death as being above the world, or out of the world. It gives you a long vision of history, life, the planet.
JS: Recently, you have been exhibiting frequently in China. Can you talk about how your work is tied to your Chinese-American identity, and how that may have evolved over your career?
Emily Cheng, “Feeling at Home” (2016), flashe on canvas, 72 x 60 inches
EC: Growing up in the suburbs as an American, with Chinese parents, I accepted everything for what it was. In the 1990s, people started talking about their roots. I thought it would be very interesting to go back into Chinese culture and examine it. I found some Buddhist cave paintings that were really outside of my own experience. This began my studies into Chinese art.
As far as identity goes, when I started traveling to China, and reading sociological studies of the differences between Americans and Chinese, I would observe certain characteristics, and think, “Actually, that part of me is very Chinese.”
I began reading Buddhist and Taoist texts. After I got over my aversion to Confucianism’s sexism, I thought Confucius had a lot to contribute as well. He is very interesting socially and politically, in context with Lao-Tzu.
I was looking at a lot of Buddhist art, Silk Route painting and court figure painting, which is very different from the tradition of ink painting. Lately I’ve been looking a lot at Chinese landscape painting. In the past, I never thought landscape painting had anything to do with my own work. It is so much about the lexicon of a particular style of brushwork. Now I feel really lucky to have that link to another tradition — one in which the vastness of landscape can be expressed through the gesture of the mark.
I found out six years ago that I am related to Lin Yutang, the 20th-century writer. He wrote annotated translations of Lao-Tzu and Confucius, as well as his own ideas of living. I love how Buddhism addresses the very mental aspects of the self-consciousness, perceptions of reality, community, and one’s role in the world. The Tao gets you to look and think about yourself as a physical body in flow with the greater universe. So, together, it is quite rich.
I try to separate the institution from the original texts or ideas. In working on my Charting Sacred Territories project, I wanted to trace all this rich imagery that we have inherited from the world’s greatest religions and to show the complex interconnectivity and genealogies of each religion — branches of sects, denominations, and groups. There, you can’t help bump into the whole structure of institutions. That’s what they are. And the institutions are often at the root of our problems today. But the devotional and philosophic aspects of religion, at its best, are beautiful.
It was the same thing that made me gravitate to certain Renaissance paintings when I first traveled to Europe. Some paintings are just above and beyond others. Some paintings of Madonna and Child are sublime, while others are run of the mill.
JS: So you tie the success or sublime quality in painting to the devotional interests of the artist? That is so interesting.
EC: I can’t prove it, but yes. In some cases, the painter tapped into ideas larger than the commission. Maybe they saw the universal qualities of the mother and child and were able to express it through form in an inspired, touching way. It is difficult to talk about, because art historians generally approach Renaissance painting in an iconographic way. That is how they are trained. This discussion includes concepts of auras, and things that can’t be seen, but only felt. Our rational minds resist that, but a fresh eye can see it.
I will say that when a painting clicks, it is something akin to that devotional feeling. It is something greater than the self. That is when it makes the ultimate connection. Not every painting does that. That’s why, for me, a painting that works is so beside the point. If it doesn’t have that click, that energy, that force, then to me, it is nothing. It’s just another painting that works.
I don’t start with a concept; I start with a feeling. If that feeling is prevalent enough, it will manifest into an image. These are things that are not easy to paint, and it’s not part of our daily experience to think about them.
I have never thought of my work, or any artwork for that matter, as a reflection of our society or our culture. To me, that’s just like adding more junk into the junk. I am probably making these paintings at a particular time and place for very particular reasons. I am always thinking about the timeline from 20,000 BCE to the present. I want to be in the dialogue of all time, and not just my time.
Emily Cheng, “Hinterglem II” (2016), flashe on canvas, 72 x 60 inches
JS: You utilize a vocabulary of different kinds of painterly marks: lines, dots, arabesques and other gestural brushstrokes, even drips. How do these come together in your work, and how are they related to different painting traditions: Eastern and Western?
EC: I have recently returned, in my work, to joining the templates and the systems with gestural marks. For a decade, for me, gesture only existed in drapery and drips. I started working again with gesture through ink on paper. I was doing a residency in DaWang, China, and the artist who had the studio before me left a lot of cheap paper and black ink.
I had never really thought I had the right to work in that medium, because I am Chinese-American and don’t write calligraphy or even read the characters. But I was staying in a fairly remote place, in the mountains just above a little village. It gave me the freedom to pick up this ink and paper and experiment.
At first I started making drawings of statues — early, small Greek and Cypriot bronzes I had seen at the Pergamon Museum in Berlin. I was trying to find a way into these mute figures, these strange little statues behind glass. I felt that they retained a lot to offer us in this contemporary time.
By painting them, I found a way into their being by loosening up the gesture. Ink led me to freeing up the mark and feeling that it could become part of my repertoire again. That was something I hadn’t done in decades, really.
Now I think of gesture and line as something that can work together, in and around each other. Drapery in Renaissance painting is so tactile. In Chinese figural paintings, the lines are about spirit. The figures walk with swirling drapery flowing behind. It is a way to animate and bring life to the figure portrayed. So it’s the difference between the eye moving through form and space tactilely and sensually, and the felt spirit moving through line.
With line, you can move through the painting at breakneck speed. The dots slow the eye down, like an ellipsis, a pause, so that you are not doing a “drive-by” on a painting. We are conditioned to size things up very quickly. When you can slow the eye down, it is always a good thing.
Emily Cheng, “After Shen Shicong 4” (2017), flashe on canvas, 35 x 47 inches
I’ve always loved drips in painting. Drips announce that it is a painting and bring the viewer into the experience of the moment it was made. That visceral connection is a joy ride.
I don’t feel like I am building on one tradition, because that would mean being an adherent. I have an allergy to that. I am finding my way in the dark. If I find a few little things to hold on to, along the way, I’m very happy for the experience. I’m open to many kinds of traditions and practices, which overlap. Finding the connections between them is what interests me. We don’t have to pick and choose one thing, or be monogamous in that sense. Life is too short.
The post Beer with a Painter: Emily Cheng appeared first on Hyperallergic.
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THE OTHER HALF OF UNIONS
Which caused yet more revenue growth for Yahoo, and further convinced investors the Internet was as late as Newton's time it included what we now call the Metaphysics came after meta after the Physics in the standard edition of Aristotle's works compiled by Andronicus of Rhodes three centuries later. Some investors will try to make you feel a little nervous about it, that voters' opinions on the subject do it not based on such research, but out of 2500 some would come close. The core of the Democrats' ideology seems to be the right plan for every company. When I say that the novel or the chair is designed according to the most advanced theoretical principles. It's like light from a distant star. The reason you've never heard of him is probably a bad idea for a company may feel like just the next in a series A, there's obviously an exception if you end up reproducing some of those most vocal on the subject do it not based on such research, but out of a reactor is not uniform; the reactor would be useless if it were, so you don't have to get rich, but they may not realize is that Worse is Better is found throughout the arts. And since lots of other people want to help them. The Meander is a river in Turkey.
But if this is your attitude, something great is very unlikely to happen at all.1 Actually this is hard to answer. He adds: I remember the Airbnbs during YC is how intently they listened. Small companies are more at home at the mafia end of the spectrum could be detected by what appeared to be unrelated tests. In our startup, one of which is that it will help if more people understand that the big players ignore.2 When I think how hard can it be, visitors must wonder.3 9 is what makes Lisp macros possible, is so valuable that visitors should gladly register to get at the truth, the messier your sentence gets.4 If a shoe pinches when you put your product in beta.
In other words, it's a sign of trouble.5 Why? By 1998, Yahoo was the beneficiary of a de facto employee of the company. And technology is continually being refined to produce more and more users. Would it be useful to a lot of ambitious people who already know one another well enough to like it or dislike it. To answer that we have enough computer power, we can respond by simply removing whitespace, periods, commas, etc. Our startup spent its entire marketing budget on PR: at a time.6
Another group was worried when they realized they had to pay $5000 for the Netscape Commerce Server, the only leverage you have is statistics, it seems a good trend and I expect this to be benevolent.7 I call the Hail Mary strategy. Between them, these two kinds of fear: fear of investing in a pair of 18 year old hackers, no matter what, and why?8 The most common type is not the only one left after the efforts of individuals without requiring them to be ignored. Sometimes you need an idea now. The kid pulled into the army from behind a mule team in West Virginia didn't simply go back to their offices to implement them.9 This doesn't mean big companies will start to shift back. Just listen to the people who teach the subject in universities. But as long as acquirers remain stupid.10 Alternative to an Axiom One often hears a policy criticized on the grounds that a person's work is not us but their competitors. There is no personnel department, and that the most noble sort of theoretical knowledge had to be in this phase is how to pick it.11 The effort that goes into looking productive is not merely the product of training.
That could be a temptation to think they would have seemed in, say, making masterpieces in comics might seem to be freedom and security.12 From this point, unless you got the money. 4 days he went from impecunious grad student to millionaire PhD.13 For one thing, the official cause of death in a startup you should have access to the best deals, because turning down reasonable offers is the most powerful OS wherever it leads, found themselves switching to Intel boxes. Make yourself perfect and then just enjoy yourself for the next release. The way not to seem desperate is not to spend it doing fake work. I predict that in the future. They each constrain the other.14 And whichever side wins, their ideas will also be considered to have triumphed, as if it were merely a matter of degree.
Get into the habit of so many present ills: specialization. If you start to examine the question, how do you know how the world works, and when you expand, expand westward.15 The replies surprised me. But if you wait too long, you may as well do what he wants—whether the company is sold or goes public.16 Decreasing economic inequality means the spread between rich and the poor? And once you've done it. This is what kills you.17 An essay is supposed to be working on; there's usually a reason.18 In effect the valuation is 20 million. I admit, this is part of the mechanism of their adoption seems much the same. Which explains the astonished stories one always hears about VC inattentiveness. What's the sixth largest fashion center in the US are auto workers, schoolteachers, and civil servants happier than actors, professors, politicians, and journalists—have the least time to spare for bureaucratic hassles.
All we have to reach back into history again, though this time not so far apart as they seem. This is not just a useful illusion. Since the custom is to write to persuade a hypothetical perfectly unbiased reader.19 But they also influence one another both directly and indirectly. So managers are constrained too; instead of buying ads, which readers ignore, you get to work full-time on them, not something customers need. Why the pattern? I'd tell him would be to have no structure: to have each group actually be independent, and to want to add but our main competitor, whose ass we regularly kick, has a lot of startups have that form: someone comes along and makes something for a market of one, they're identical. The first, obviously, is that they still don't realize how hard it was to process payments before Stripe had tried asking that, Stripe would have been the general manager of the x company, and by using graph theory we can compute from this network an estimate of your company's value that you'd both agreed upon. But the first is to tell them everything either.20 You can barely renovate a bathroom for the cost of sending them the first month's bill. Jessica was so important to work on dull stuff now is so they can continue to learn. Siegel, Jeremy J.21
C, in order to avoid this problem, any more than you actually are. I wouldn't try it myself. They act as if they were one person. In Common Lisp this would be defun foo n lambda i incf n i and in Perl 5, sub foo my $n _; sub $n shift which has more elements than the Lisp version because you have less control over the hardware. When investors ask you a question you don't know exist yet. I wonder what's new online. If you try something that has to be powerful enough to enforce a taboo. Some people say this is optimism: it seems that it should be, because investors can't judge how serious it is. In a real essay you're writing for yourself you have different priorities. More or less. This essay is derived from a talk at the 2007 Startup School and the Berkeley CSUA.
Notes
Companies didn't start to rise again. I'm satisfied if I could pick them, maybe they'll listen to them this way, except when exercising an option to maintain their percentage.
Trevor Blackwell, who would in itself deserving. Which is not limited to startups. After reading a talk out loud can expose awkward parts.
We're sometimes disappointed when a forward dribbles past multiple defenders, a player who persists in trying such things can be a distraction. New Deal but with World War II to the other students, he tried to pay out their earnings in dividends, and more pervasive though. But you can send your business plan to make money.
And then of course the source files of all. However bad your classes, you now get to profitability, you can't, notably ineptitude and bad measurers.
But the margins are greater on products.
As a rule, if they knew their friends were.
It's sometimes argued that kids who went to school. Wisdom is useful in cases where you can't easily get a personal introduction—and in fact it may be a hot deal, I can't predict which lies future generations will consider inexcusable, I believe Lisp Machine Lisp was the reason there have historically done to their stems, but simply because he had once talked to a car dealer. 1% a week before. So the most abstract ideas, just harder.
Jessica Livingston's Founders at Work.
Foster, Richard and David Whitehouse, Mohammed, Charlemagne and the foolish.
Few technologies have one. Though nominally acquisitions and sometimes on a desert island, hunting and gathering fruit.
The number of startups as they turn from their screen to answer the question is only half a religious one; there is one of those most vocal on the side of their pitch. I'm not saying that the Internet, like selflessness, might come from all over the internet.
Philadelphia.
You should be protected against being mistreated, because they actually do, but he refused because a friend with small children, with number replaced by gender. The wartime versions were much more drastic and more pervasive though. The Roman commander specifically ordered that he had more fun in college or what grades you got in them.
I don't know yet what they're building takes so long.
For example, the switch in mid-game. Stir vigilantly to avoid the conclusion that tax rates will tend to be important ones.
Patrick Collison wrote At some point, when in fact had its own mind. I couldn't convince Fred Wilson for reading drafts of this desirable company, though in very corrupt countries you may have realized this, but that's the intellectually honest argument for not discriminating between various types of applicants—for example, the transistor it is very common, but at least some of them material. Google Video is badly designed. If the response doesn't come back with my co-founders Mark Nitzberg and Olin Shivers at the time quantum for hacking is very long: it favors small companies.
It's like the iPad because it is more efficient: the resources they expend on the way to pressure them to justify choices inaction in particular.
It is just feigning interest—until you get stock as if you'd just thought of them was Webvia; I swapped them to get the rankings they want to figure this out. Which means one of the class of 2007 came from such schools. The University of Vermont, 1991, p.
Users had been transposed into your head. Unfortunately the constraint probably has a finite market value. I'd say the rate of change in how Stripe felt. There are a hundred and one kind that evolves into Facebook is a particularly clever one in a startup in the biggest winners, from hour to hour that the feature was useless, but the number of big companies to say, recursion, and b was popular in Germany.
The mystery comes mostly from looking for something that doesn't exist.
Now the misunderstood artist is not merely a complicated but pointless collection of stuff to be writing with conviction. Perhaps the designers of admissions processes should take a lesson from the Ordinatio of Duns Scotus: Philosophical Writings, Nelson, 1963, p.
Thanks to Jessica Livingston, and Sam Altman for reading a previous draft.
#automatically generated text#Markov chains#Paul Graham#Python#Patrick Mooney#Just#Notes#Foster#student#sup#Sam#department#Vermont#Wilson#pair#professors#dealer#Users#release#fashion#sign#value#internet#home#OS#company#car#deal
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Photography Schools: Where to go to Learn Photography
Photography has long been a favorite hobby for many. But what do you do when you are ready to take your hobby to the next level and become a professional photographer? DO you go to school and get a degree? Or do you teach yourself via online classes?
There are pros and cons to both paths. First, going to a photography school can get very expensive and it can be time consuming. Some people do not see this as a problem, but rather as an investment in their career. Others have the passion to learn, but not the time and money. For them learning online is the way to go. When you are learning photography on your own, you have to have the discipline to keep up with your studies, something that is more structured when you take a class. Also when attending a photography class, you have a teacher to look over your photos and give you criticism and advice. If you are learning on your own, you will need to find someone to do this for you. In the end it is up to you to decide with path to photography is best for you according to your needs. In this article, you will receive the resources to research your decision.
According to ResourceOnline, here are 15 great photography schools in the US
Virginia Commonwealth University
Our department aims to facilitate a comprehensive artistic, technical and intellectual understanding and use of the mediums of photography and film; to provide a rigorous education in the arts, specifically in photographic and moving image media, and a broad education in other academic subjects; to foster a climate that inspires creativity, intellectual curiosity, freedom of expression, and critical thinking. We emphasize hands-on experience in the fields of fine art, studio and location photography, and narrative, documentary and experimental filmmaking and sponsor a wide variety of guest lectures, seminars and workshops. All students become adept in chemical based processes and the latest digital technologies.
Massachusetts College of Art and Design
The MassArt Photography Program teaches photography as fine art with an emphasis on personal vision, experimentation, and an understanding of the history of photography and the body of criticism that surrounds it. Students are introduced to a wide array of both film-based and digital tools; they become well-versed in the medium’s technical and aesthetic traditions while exploring contemporary directions through slide lectures and critiques. Our curriculum covers both analog and digital production and offers a wide variety of elective courses providing a strong foundation for critical thinking, collaboration, and a career in photographic arts.
University of Arizona
The Photography division faculty and students conduct a rigorous investigation into the nature and meaning of photographic representation and its role in contemporary culture. Students are expected to demonstrate commitment to expressive inquiry, maturity of vision and take responsibility for their professional development as artists. The division takes a broad and progressive approach to the practice and definition of photography, encouraging you to question and expand the boundaries of the medium. The curriculum offers courses in traditional black and white darkroom techniques, digital and other image-forming technologies, color processes, large-scale photography, video, and performance. Facilities include group and semi-private black and white darkrooms and film processing areas, color enlargers and a 20” processor, professional lighting studio and large format digital output facilities. See more in the Photography Facilities section.
The Center for Creative Photography plays an important role in the education of photography and art history students by offering access to all of the Center’s resources, including semester-long internships and lectures by distinguished photographers, historians, and critics. Studio photography and art history students studying the history of photography take advantage of photographic exhibitions, lectures, print viewings, gallery talks, an extensive photographic library, an artists’ book collection, and a world class archive of photographs and related material.
Maryland Institute College of Art
One of the first programs of its kind worldwide, the photography program at MICA was established more than 100 years ago. Building on this legacy, the program today thoroughly examines both still and digital photography while encouraging a diversity of approaches. Students master technical skills as they work in state-of-the-art digital facilities, learn traditional and alternative darkroom processes, and develop a deep understanding of the medium’s history and contemporary directions.
Arizona State University
Students learn from faculty with diverse creative concerns and who cultivate technique in the service of ideas, parallel to the critical and cultural analysis of the medium. Students have access to the widest range of photographic possibilities, including silver gelatin, chromogenic color, digital imaging, video, alternative processes and mixed media. Students explore interdisciplinary options in their art through other disciplines, including printmaking, intermedia and sculpture.
Columbia College (IL)
We’ve never lived in a more visual society. Within it, there’s a growing need for photographers and image innovators––professionals who conceptualize, create and drive future advances in visual technology. Columbia’s internationally known Photography Department and its renowned faculty and facilities will give you an unparalleled foundation for an enduring career.
California College of the Arts
In our Photography Program, you’ll discover inspiration all around you, whether you’re capturing the small, human details of everyday life or exploring larger, abstract ideas about culture and identity. As you map this creative territory, you’ll also be developing your technical digital and analog skills. You will make images that have a real impact on your personal and professional communities.
University of California(Los Angeles)
Focusing on the interrelation of photography and art, study in this area is directed toward works of art made using photographs. Ability to understand and discuss photography’s unique historical, material, and narrative potential is emphasized over technical considerations. Work in installation art and video in conjunction with photography is encouraged.
Yale School of Fine Art
Photography is a two-year program of study admitting nine students a year. Darkroom, studio, and computer facilities are provided. Students receive technical instruction in black-and-white and color photography as well as nonsilver processes and digital image production.
The program is committed to a broad definition of photography as a lens-based medium open to a variety of expressive means. Students work both individually and in groups with faculty and visiting artists. In addition, a critique panel composed of faculty and other artists or critics meets weekly, as well as for a final review each term, to discuss student work.
School of Visual Art
The BFA photography program at the School of Visual Arts grounds students in the creative and technological skills of the medium as well as in the job opportunities available in the field. This means that by the end of your four years here, you’ll know how to process and print both black and white and color material; how to light a studio; how to use medium- and large-format cameras and how to work with digital materials. You’ll have had the opportunity to pursue fashion photography, landscape photography, still-life photography, portraiture, photojournalism and other genres of the medium. But equally as important, you’ll have an understanding of the professional world outside of SVA—practical and strategic knowledge to land a position where you can put your formidable skills to work.
University of New Mexico
The University of New Mexico Photography Program is a fluid investigation into visual literacy focusing on the creative possibilities of lens-based imaging. Emphasis, in both the graduate and undergraduate programs, is placed on the student’s personal growth through aesthetic and intellectual development.
Rhode Island School of Design
RISD approaches photography as an ever-changing set of technical, conceptual and aesthetic conditions that exist within a broad social and cultural context. Students delve into the making, presentation and interpretation of photographic images, exploring photography as both a language and a craft. Ultimately, they learn how to use cultural signifiers, symbols and metaphors in the content and structure of image making.
School of the Art Institute of Chicago
Our multifaceted approach to the medium includes traditional forms of image making and conceptually oriented practices and makes the SAIC Photography program uniquely diverse.
As a student in the Photography department, you will: explore the practice and theory of photography, practice your art in a supportive, non hierarchical community among faculty, undergraduate, and graduate students, and work with state-of-the-art equipment and enjoy access to all the resources of the school.
Rochester Institute of Technology
The School of Photographic Arts and Sciences prepares students for a wide range of exciting careers in photography and the modern ever-changing field of imaging. Image making is taught through courses investigating methods and aesthetics required in pictorial and information-based images, videos, websites and publications.
California Institute of the Arts
The Program in Photography and Media is committed to educating independent artists in a world where photographic imagery and new media representations and strategies are omnipresent. From foundation work through graduate studies, courses are designed to challenge conventional notions of artistic practice and to question the position of representation within contemporary culture. The program encourages debate and experimentation, since nothing is stable or even particularly comfortable in photography’s relation to the other arts-especially in an environment that includes so many new practices. The faculty represents a broad range of those practices, some purely photographic, some entirely digital and others branching off into writing and publishing, painting, video, film-making, assemblage, net art, digital media and installation.
FREE ONLINE PHOTOGRAPHY COURSES
There are many online photography courses out there, free and paid. Here is a list of some of the best free online photography courses according to PetaPixel:
Introduction to Photography and Related Media
Basics of Photography: The Complete Guide
Free Beginner Nikon Digital SLR Photography
Photography: Ditch Auto – Start Shooting in Manual
Karl Taylor’s FREE Photography Course
A Complete Introduction to Photography (aka Reddit Photoclass)
Strobist
Cambridge in Colour
Using a Photographic Light Meter
Pixels After Dark: Shooting the Night
Getting Started with Adobe Photoshop Lightroom 5
Photoshop & Lightroom for Photographers
Create a Gorgeous Photography Site with SmugMug in 90 mins
Computational Photography
Phlearn
Anthony Morganti’s Video Series on Lightroom 5
An Introduction To Tilt + Shift Photography
The Art of Photography
Documentary Photography and Photojournalism: Still Images of a World in Motion
Photography and Truth
History of Photography Podcasts
Digital Photography School
Creative Live Photography
Tuts Plus Photography Tutorials
No matter how you take your photography lessons, you need to get started. Do your research on the photography schools listed above as well as the free online photography courses. Decide where you’d like to start and get going. Here is a video from Phlearn to get you started. The best of luck to you.
The post Photography Schools: Where to go to Learn Photography appeared first on Photographic Blog.
from Photographic Blog http://photographicblog.com/photography-schools-where-to-go-to-learn-photography/
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Happy Belated Birthday Square... On this day way back in 1735, abolitionist Prince Hall was born. Prince Hall (09/14/1735–12/06/1807) was born either in Barbados, somewhere else in the Caribbean, or in Africa. Author and historian James Sidbury said: "It is more likely that he was a native of New England." Historian Charles H. Wesley developed what is now the widely accepted theory about Prince Hall's early years. Based upon his research, by age 11 Prince Hall was a slave to Boston tanner William Hall. By 1770, Prince Hall was a free, literate black man living in Boston. The manumission certificate for Prince Hall, dated one month after the Boston Massacre [April, 1770], stated that "no longer Reckoned a slave, but had always accounted as a free." It is unclear how he learned to read and write. He may have been self-taught or, like other slaves and free blacks in New England, he may have had assistance. Hall and a woman named Delia, a servant outside William Hall's household, had a son named Primus in 1756. Hall joined the Congregational Church in 1762; he was 27 years of age. He then married an enslaved woman named Sarah Ritchie who died. He married Flora Gibbs of Gloucester eight years after Sarah's death. In Boston, Hall worked as a peddler, caterer and leatherworker, owning his own leather shop. In April 1777 he created five leather drumheads for an artillery regiment of Boston. Hall was a homeowner who voted and paid taxes. His son, Primus, was a fellow abolitionist, spent years supporting education of African American children, was a Freemason in his father's lodge and had served in the Revolutionary War. Hall encouraged enslaved and freed blacks to serve the American colonial military. He believed that if blacks were involved in the founding of the new nation, it would aid in the attainment of freedom for all blacks. Hall proposed that the Massachusetts Committee of Safety allow blacks to join the military. He and fellow supporters petition compared Britain’s colonial rule with the enslavement of blacks. Their proposal was declined. England issued a proclamation that guaranteed freedom to blacks who enlisted in the British army. Once the British Army filled its ranks with black troops, the Continental Army reversed its decision and allowed blacks into the military. It is believed, but not certain, that Hall was one of the six "Prince Halls" from Massachusetts to serve during the war. His son, Primus, was a Revolutionary War soldier, having enlisted at the age 19. Having served during the Revolutionary War, many African Americans expected, but did not receive, racial equality when the war ended. With the intention of improving the lives of fellow African Americans, Prince Hall collaborated with others to propose legislation for equal rights. He also hosted community events, such as educational forums and theatre events to improve the lives of black people. Many of the original members of the African Masonic Lodge had served during the Revolutionary War. Prince Hall was interested in the Masonic fraternity because Freemasonry was founded upon ideals of liberty, equality and peace. Prior to the American Revolutionary War, Prince Hall and fourteen other free black men petitioned for admittance to the white Boston St. John’s Lodge. They were turned down. Having been rejected by colonial Freemasonry, Hall and 15 others sought and were initiated into Masonry by members of Lodge No. 441 of the Grand Lodge of Ireland on March 6, 1775. The Lodge was attached to the British forces stationed in Boston. Hall and other freedmen founded African Lodge No. 1 and he was named Grand Master. The black Masons had limited power; they could meet as a lodge, take part in the Masonic procession on St. John’s Day, and bury their dead with Masonic rites but could not confer Masonic degrees or perform any other essential functions of a fully operating Lodge. Unable to create a charter, they applied to the Grand Lodge of England. The grand master of the Mother Grand Lodge of England, H.R.H. The Duke of Cumberland, issued a charter for the African Lodge No. 1 later renamed African Lodge no. 459 September 29, 1784. The lodge was the country's first African Masonic lodge. Due to the African Lodge's popularity and Prince Hall's leadership, the Grand Lodge of England made Hall a Provincial Grand Master on January 27, 1791. His responsibilities included reporting on the condition of lodges in the Boston area. Six years later, on March 22, 1797 Prince Hall organized a lodge in Philadelphia, called African Lodge #459, under Prince Hall’s Charter. They later received their own charter. On June 25, 1797 he organized African Lodge (later known as Hiram Lodge #3) at Providence, Rhode Island. Author and historian James Sidbury said: "Prince Hall and those who joined him to found Boston's African Masonic Lodge built a fundamentally new "African" movement on a preexisting institutional foundation. Within that movement they asserted emotional, mythical, and genealogical links to the continent of Africa and its peoples." After the death of Prince Hall, on December 4, 1807, the brethren organized the African Grand Lodge on June 24, 1808, including the Philadelphia, Providence and Boston lodges. The African Grand Lodge was in 1827 renamed the Prince Hall Grand Lodge, in his honor. Hall was considered the "father of African Freemasonry." Prince Hall said of civic activities: "My brethren, let us pay all due respect to all who God had put in places of honor over us: do justly and be faithful to them hat hire you, and treat them with the respect they may deserve; but worship no man. Worship God, this much is your duty and christians and as masons." After Hall obtained his freedom, he worked within the state political arena to advance rights for blacks, end slavery and protect free blacks from being kidnapped by slave traders. He proposed a back-to-Africa movement, pressed for equal educational opportunities, and operated a school for African Americans in his home. He engaged in public speaking and debate, citing Christian scripture against slavery to a predominantly Christian legislative body. Hall requested that the Massachusetts Congress create a school program for black children. Hall cited the same platform for fighting the American Revolution of “Taxation without Representation." Although Hall’s arguments were logical, his two attempts at passing legislation through the Massachusetts Senate both resulted in failure. Denied equal funding, Hall started a school program for free black children out of his own home that emphasized classical education and Liberal Arts. Primus, his son, established a school in his home for the education of African American children and sought funding from the community, including African American sailors. Elisha Sylvester was a teacher there. After Elisha, two Harvard University students taught the school. Unsuccessful in attempts to establish a public school with the city of Boston in 1800, the school was moved to the African Meeting House, the church built by Thomas Paul, an African American minister. Primus Hall continued fund-raising to support the African American school until 1835. He was known for giving speeches and writing petitions. In a speech given to the Boston African Masonic Lodge, Hall stated, “My brethren, let us not be cast down under these and many other abuses we at present labour under: for the darkest is before the break of day… Let us remember what a dark day it was with our African brethren, six years ago, in the French West Indies. Nothing but the snap of the whip was heard, from morning to evening”. His notable written works include the 1792 Charge and 1797 Charge. Hall’s 1792 Charge focused on the abolition of slavery in his home state of Massachusetts. He addressed the importance of black leaders playing prominent roles in the shaping of the country and creation of unity. In his 1797 Charge, Hall wrote about the treatment and hostility that blacks received in the United States. He recognized black revolutionaries in the Haitian Revolution. Hall also wrote a petition in 1787. In a speech he presented in June, 1797, Hall said: "Patience, I say; for were we not possessed of a great measure of it, we could not bear up under the daily insults we meet with in the streets of Boston, much more on public days of recreation. How, at such times, are we shamefully abused, and that to such a degree, that we may truly be said to carry our lives in our hands, and the arrows of death are flying about our heads....tis not for want of courage in you, for they know that they dare not face you man for man, but in a mob, which we despise." Prince Hall was involved in the Back-to-Africa movement and approached the legislature to request funds for voluntary emigration to Africa. In January 1773, Prince Hall and seventy three other African-American delegates presented an emigration plea to the Massachusetts Senate. This plea contended that the African Americans would be better suited to the warm climate of Africa and would better endure the African lifestyle. This failed. Hall fought hard for the movement when a group of freed black men were captured and detained while making their way to Africa. Due to a lack of support and enthusiasm for the movement, Hall decided to turn his efforts towards equality in education. Prince Hall died on December 4, 1807, and is buried in the Historic Copp's Hill Burying Ground in Boston along with other notable Bostonians from the colonial era. Also, thousands of African Americans who lived in the "New Guinea" community at the base of Copp's Hill are buried alongside Snowhill Street in unmarked graves. A tribute monument was erected in Copp's Hill on June 24, 1835 in his name next to his grave marker. Happy birthday once again and continue to rest in peace, Prince Hall!
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Patricia Weltin Transcript
Patricia Weltin is the founder of The Rare Disease United Foundation (www.rarediseaseunited.org), a non-disease specific, community-based organization, working at a state-level on legislation that has a direct impact on people living with a rare disease, providing support locally, and establishing relationships at local hospitals and medical schools. RDUF has also created groundbreaking programs like their Beyond the Diagnosis Art Exhibit, which travels around the country to medical schools and hospitals.
I'm Patricia Weltin and I'm from Rhode Island and I started the Rare Disease United Foundation. We first started in Rhode Island and now we work globally.
Both of my daughters have a rare disease, or rarely diagnosed disease as we're calling it now. About five years ago I started to work by state. I just wanted to do one event on Rare Disease Day, and the idea was to instead of doing a Rare Disease Day event by disease, we would do it by geography and location, and it didn't matter to me what other people's disease was. It mattered what the journey was.
So the very first event we had was on Rare Disease Day. We had a blizzard, but we still had 150 people drive out and it was just a great event. There was a lot of stuff for the kids to do. It was a family event and I kind of put it on the back burner after that. About a month after that happened, we had a call from U.S. Senator Sheldon Whitehouse asking us to work on Federal Legislation for The Expert Act which allows the FDA to bring in rare disease specialists and experts and patient advocates when they're reviewing treatments.
Then I started thinking, "Wow. This is a really good idea working by state. I should just do this in every state," so we started working on issues by state. We created legislation for a Rare Disease Advisory Counsel that has been filed in several states. That's kind of taken on a life of its own and passed… I think three or four of them. So the idea of working by state became important and it's a way to get things done.
We focused on state issues and in as many states as we can. We have facebook groups by state because if you're in this space and you have a kid with a rare disease you know that there's a lot of isolation, but you don't have to stick with the people in your disease. We all understand. We all get it because it's such an unusual journey. People don't expect to wait years for a diagnosis. They just don't expect there's no treatments when their child gets sick. So we're all on the same journey. It's a shared journey that we have come to find is useful to breakaway from that disease-specific mindset.
Most of our programs at Rare Disease United Foundation are focused on things like reducing diagnosis time. We do work on legislation, but reducing diagnosis time, awareness, and education, are really, really important to us.
The idea to do an art exhibit came from a young girl who approached me and said, "Can I paint somebody with a rare disease for a school project," and after that, I thought, "Wow. I wonder if we can put out a call for art here in Rhode Island and we can get an exhibit and maybe the exhibit can travel to medical schools?" So I did put out a call for art and we had about 17 people respond, so the first exhibit had 17 portraits, and it was at Brown University Medical School in Rhode Island, and a few months later we ended up going to Harvard Medical, and by then we had 35 portraits and the exhibit started to kind of just take off.
Right after Harvard, we were approached by CBS Sunday Morning and they wanted to do a piece on the exhibit and when they started working on it, we'd only been to two venues and now two years later, this Rare Disease Day, which is coming up, we will be at seven venues. We're going to be at the NIH, which we were last year. We'll be at the Broad Institute, which all of these things, like at the Broad Institute, there will be a symposium surrounding rare diseases. All of these things where the exhibit goes generally, there's some kind of educational program to go with it, which is more than we ever hoped for for this exhibit. We just hoped to spark some interest from students, but it has become so much more than that. We're also at the FDA this year, which I think it would be beneficial for the FDA to see these kids. We're going to Children's of Alabama, Children's of Texas, and we're going to Quinnipiac, so we're pretty excited.
The only limitation that we have here right now is it's certainly not demand. It is supply. We could have been at many more venues, we just do not have the supply right now. We're about up to 100 portraits, so after Rare Disease Day winds down, we do have more artists. We do have more patients that want to participate, so we're going to start matching the artists and start a new process of creating artwork.
Right now we are representing about 100 different rare diseases. The idea is that eventually, we get to 7,000 portraits and there's a face for every disease. That's what we hope to do. It's really, really ambitious but I can't believe how far that we've come in the past two years.
It's interesting. It's an interesting process, but right now we're also trying to make it go global, so we're working with organizations around the world because it's a global issue, and the art exhibit has been an extraordinary and successful way to engage people that otherwise would not have been engaged. Not just the medical community. I've had people contact me that want to volunteer for RDUF that have nothing to do with rare diseases. They just happen to see the CBS piece and now they can connect to us.
It's hard to connect to rare diseases because even when you just hear rare diseases, you think uncommon. The general public doesn't become engaged. They don't know the story of rare diseases. They don't know how long it takes. They don't know we don't have treatments. They don't know that there are children that are suffering and dying, and they don't know how many millions of people are affected.
Personally, I've recently become very, very interested in some research that's come out for my daughters' disease, which is fantastic because there really hasn't been a lot going on. It means everything. This is what we need, but we're starting at the bottom. We need awareness first. We need people to know we exist before they decide let's start researching this.
The interest in rare disease treatments is not old. Even though the Orphan Drug Act has been around for 35 years, the interest in rare diseases, and the amount of treatments that have come out about rare diseases is relatively new and I think there's a lot of things to do with that. I mean, 35 years ago we couldn't map the human genome so we didn't know. There wasn't a lot of research going on for these genetic diseases, especially these rare genetic diseases, so now we get the map of the human genome, and then it's $100,000 to get somebody's sequence. Well now it's a lot cheaper.
I'm Patricia Weltin and I am aware that I am rare!
Listen to “I’m Aware That I’m Rare: the phaware™ podcast” at www.phaware.global/podcast. Learn more about pulmonary hypertension at www.phaware.global. #phaware #phawarepod
Check out the office phaware™ podcast site
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Photography Schools: Where to go to Learn Photography
Photography has long been a favorite hobby for many. But what do you do when you are ready to take your hobby to the next level and become a professional photographer? DO you go to school and get a degree? Or do you teach yourself via online classes?
There are pros and cons to both paths. First, going to a photography school can get very expensive and it can be time consuming. Some people do not see this as a problem, but rather as an investment in their career. Others have the passion to learn, but not the time and money. For them learning online is the way to go. When you are learning photography on your own, you have to have the discipline to keep up with your studies, something that is more structured when you take a class. Also when attending a photography class, you have a teacher to look over your photos and give you criticism and advice. If you are learning on your own, you will need to find someone to do this for you. In the end it is up to you to decide with path to photography is best for you according to your needs. In this article, you will receive the resources to research your decision.
According to ResourceOnline, here are 15 great photography schools in the US
Virginia Commonwealth University
Our department aims to facilitate a comprehensive artistic, technical and intellectual understanding and use of the mediums of photography and film; to provide a rigorous education in the arts, specifically in photographic and moving image media, and a broad education in other academic subjects; to foster a climate that inspires creativity, intellectual curiosity, freedom of expression, and critical thinking. We emphasize hands-on experience in the fields of fine art, studio and location photography, and narrative, documentary and experimental filmmaking and sponsor a wide variety of guest lectures, seminars and workshops. All students become adept in chemical based processes and the latest digital technologies.
Massachusetts College of Art and Design
The MassArt Photography Program teaches photography as fine art with an emphasis on personal vision, experimentation, and an understanding of the history of photography and the body of criticism that surrounds it. Students are introduced to a wide array of both film-based and digital tools; they become well-versed in the medium’s technical and aesthetic traditions while exploring contemporary directions through slide lectures and critiques. Our curriculum covers both analog and digital production and offers a wide variety of elective courses providing a strong foundation for critical thinking, collaboration, and a career in photographic arts.
University of Arizona
The Photography division faculty and students conduct a rigorous investigation into the nature and meaning of photographic representation and its role in contemporary culture. Students are expected to demonstrate commitment to expressive inquiry, maturity of vision and take responsibility for their professional development as artists. The division takes a broad and progressive approach to the practice and definition of photography, encouraging you to question and expand the boundaries of the medium. The curriculum offers courses in traditional black and white darkroom techniques, digital and other image-forming technologies, color processes, large-scale photography, video, and performance. Facilities include group and semi-private black and white darkrooms and film processing areas, color enlargers and a 20” processor, professional lighting studio and large format digital output facilities. See more in the Photography Facilities section.
The Center for Creative Photography plays an important role in the education of photography and art history students by offering access to all of the Center’s resources, including semester-long internships and lectures by distinguished photographers, historians, and critics. Studio photography and art history students studying the history of photography take advantage of photographic exhibitions, lectures, print viewings, gallery talks, an extensive photographic library, an artists’ book collection, and a world class archive of photographs and related material.
Maryland Institute College of Art
One of the first programs of its kind worldwide, the photography program at MICA was established more than 100 years ago. Building on this legacy, the program today thoroughly examines both still and digital photography while encouraging a diversity of approaches. Students master technical skills as they work in state-of-the-art digital facilities, learn traditional and alternative darkroom processes, and develop a deep understanding of the medium’s history and contemporary directions.
Arizona State University
Students learn from faculty with diverse creative concerns and who cultivate technique in the service of ideas, parallel to the critical and cultural analysis of the medium. Students have access to the widest range of photographic possibilities, including silver gelatin, chromogenic color, digital imaging, video, alternative processes and mixed media. Students explore interdisciplinary options in their art through other disciplines, including printmaking, intermedia and sculpture.
Columbia College (IL)
We’ve never lived in a more visual society. Within it, there’s a growing need for photographers and image innovators––professionals who conceptualize, create and drive future advances in visual technology. Columbia’s internationally known Photography Department and its renowned faculty and facilities will give you an unparalleled foundation for an enduring career.
California College of the Arts
In our Photography Program, you’ll discover inspiration all around you, whether you’re capturing the small, human details of everyday life or exploring larger, abstract ideas about culture and identity. As you map this creative territory, you’ll also be developing your technical digital and analog skills. You will make images that have a real impact on your personal and professional communities.
University of California(Los Angeles)
Focusing on the interrelation of photography and art, study in this area is directed toward works of art made using photographs. Ability to understand and discuss photography’s unique historical, material, and narrative potential is emphasized over technical considerations. Work in installation art and video in conjunction with photography is encouraged.
Yale School of Fine Art
Photography is a two-year program of study admitting nine students a year. Darkroom, studio, and computer facilities are provided. Students receive technical instruction in black-and-white and color photography as well as nonsilver processes and digital image production.
The program is committed to a broad definition of photography as a lens-based medium open to a variety of expressive means. Students work both individually and in groups with faculty and visiting artists. In addition, a critique panel composed of faculty and other artists or critics meets weekly, as well as for a final review each term, to discuss student work.
School of Visual Art
The BFA photography program at the School of Visual Arts grounds students in the creative and technological skills of the medium as well as in the job opportunities available in the field. This means that by the end of your four years here, you’ll know how to process and print both black and white and color material; how to light a studio; how to use medium- and large-format cameras and how to work with digital materials. You’ll have had the opportunity to pursue fashion photography, landscape photography, still-life photography, portraiture, photojournalism and other genres of the medium. But equally as important, you’ll have an understanding of the professional world outside of SVA—practical and strategic knowledge to land a position where you can put your formidable skills to work.
University of New Mexico
The University of New Mexico Photography Program is a fluid investigation into visual literacy focusing on the creative possibilities of lens-based imaging. Emphasis, in both the graduate and undergraduate programs, is placed on the student’s personal growth through aesthetic and intellectual development.
Rhode Island School of Design
RISD approaches photography as an ever-changing set of technical, conceptual and aesthetic conditions that exist within a broad social and cultural context. Students delve into the making, presentation and interpretation of photographic images, exploring photography as both a language and a craft. Ultimately, they learn how to use cultural signifiers, symbols and metaphors in the content and structure of image making.
School of the Art Institute of Chicago
Our multifaceted approach to the medium includes traditional forms of image making and conceptually oriented practices and makes the SAIC Photography program uniquely diverse.
As a student in the Photography department, you will: explore the practice and theory of photography, practice your art in a supportive, non hierarchical community among faculty, undergraduate, and graduate students, and work with state-of-the-art equipment and enjoy access to all the resources of the school.
Rochester Institute of Technology
The School of Photographic Arts and Sciences prepares students for a wide range of exciting careers in photography and the modern ever-changing field of imaging. Image making is taught through courses investigating methods and aesthetics required in pictorial and information-based images, videos, websites and publications.
California Institute of the Arts
The Program in Photography and Media is committed to educating independent artists in a world where photographic imagery and new media representations and strategies are omnipresent. From foundation work through graduate studies, courses are designed to challenge conventional notions of artistic practice and to question the position of representation within contemporary culture. The program encourages debate and experimentation, since nothing is stable or even particularly comfortable in photography’s relation to the other arts-especially in an environment that includes so many new practices. The faculty represents a broad range of those practices, some purely photographic, some entirely digital and others branching off into writing and publishing, painting, video, film-making, assemblage, net art, digital media and installation.
FREE ONLINE PHOTOGRAPHY COURSES
There are many online photography courses out there, free and paid. Here is a list of some of the best free online photography courses according to PetaPixel:
Introduction to Photography and Related Media
Basics of Photography: The Complete Guide
Free Beginner Nikon Digital SLR Photography
Photography: Ditch Auto – Start Shooting in Manual
Karl Taylor’s FREE Photography Course
A Complete Introduction to Photography (aka Reddit Photoclass)
Strobist
Cambridge in Colour
Using a Photographic Light Meter
Pixels After Dark: Shooting the Night
Getting Started with Adobe Photoshop Lightroom 5
Photoshop & Lightroom for Photographers
Create a Gorgeous Photography Site with SmugMug in 90 mins
Computational Photography
Phlearn
Anthony Morganti’s Video Series on Lightroom 5
An Introduction To Tilt + Shift Photography
The Art of Photography
Documentary Photography and Photojournalism: Still Images of a World in Motion
Photography and Truth
History of Photography Podcasts
Digital Photography School
Creative Live Photography
Tuts Plus Photography Tutorials
No matter how you take your photography lessons, you need to get started. Do your research on the photography schools listed above as well as the free online photography courses. Decide where you’d like to start and get going. Here is a video from Phlearn to get you started. The best of luck to you.
The post Photography Schools: Where to go to Learn Photography appeared first on Photographic Blog.
from Photographic Blog http://photographicblog.com/photography-schools-where-to-go-to-learn-photography/
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Photography Schools: Where to go to Learn Photography
Photography has long been a favorite hobby for many. But what do you do when you are ready to take your hobby to the next level and become a professional photographer? DO you go to school and get a degree? Or do you teach yourself via online classes?
There are pros and cons to both paths. First, going to a photography school can get very expensive and it can be time consuming. Some people do not see this as a problem, but rather as an investment in their career. Others have the passion to learn, but not the time and money. For them learning online is the way to go. When you are learning photography on your own, you have to have the discipline to keep up with your studies, something that is more structured when you take a class. Also when attending a photography class, you have a teacher to look over your photos and give you criticism and advice. If you are learning on your own, you will need to find someone to do this for you. In the end it is up to you to decide with path to photography is best for you according to your needs. In this article, you will receive the resources to research your decision.
According to ResourceOnline, here are 15 great photography schools in the US
Virginia Commonwealth University
Our department aims to facilitate a comprehensive artistic, technical and intellectual understanding and use of the mediums of photography and film; to provide a rigorous education in the arts, specifically in photographic and moving image media, and a broad education in other academic subjects; to foster a climate that inspires creativity, intellectual curiosity, freedom of expression, and critical thinking. We emphasize hands-on experience in the fields of fine art, studio and location photography, and narrative, documentary and experimental filmmaking and sponsor a wide variety of guest lectures, seminars and workshops. All students become adept in chemical based processes and the latest digital technologies.
Massachusetts College of Art and Design
The MassArt Photography Program teaches photography as fine art with an emphasis on personal vision, experimentation, and an understanding of the history of photography and the body of criticism that surrounds it. Students are introduced to a wide array of both film-based and digital tools; they become well-versed in the medium’s technical and aesthetic traditions while exploring contemporary directions through slide lectures and critiques. Our curriculum covers both analog and digital production and offers a wide variety of elective courses providing a strong foundation for critical thinking, collaboration, and a career in photographic arts.
University of Arizona
The Photography division faculty and students conduct a rigorous investigation into the nature and meaning of photographic representation and its role in contemporary culture. Students are expected to demonstrate commitment to expressive inquiry, maturity of vision and take responsibility for their professional development as artists. The division takes a broad and progressive approach to the practice and definition of photography, encouraging you to question and expand the boundaries of the medium. The curriculum offers courses in traditional black and white darkroom techniques, digital and other image-forming technologies, color processes, large-scale photography, video, and performance. Facilities include group and semi-private black and white darkrooms and film processing areas, color enlargers and a 20” processor, professional lighting studio and large format digital output facilities. See more in the Photography Facilities section.
The Center for Creative Photography plays an important role in the education of photography and art history students by offering access to all of the Center’s resources, including semester-long internships and lectures by distinguished photographers, historians, and critics. Studio photography and art history students studying the history of photography take advantage of photographic exhibitions, lectures, print viewings, gallery talks, an extensive photographic library, an artists’ book collection, and a world class archive of photographs and related material.
Maryland Institute College of Art
One of the first programs of its kind worldwide, the photography program at MICA was established more than 100 years ago. Building on this legacy, the program today thoroughly examines both still and digital photography while encouraging a diversity of approaches. Students master technical skills as they work in state-of-the-art digital facilities, learn traditional and alternative darkroom processes, and develop a deep understanding of the medium’s history and contemporary directions.
Arizona State University
Students learn from faculty with diverse creative concerns and who cultivate technique in the service of ideas, parallel to the critical and cultural analysis of the medium. Students have access to the widest range of photographic possibilities, including silver gelatin, chromogenic color, digital imaging, video, alternative processes and mixed media. Students explore interdisciplinary options in their art through other disciplines, including printmaking, intermedia and sculpture.
Columbia College (IL)
We’ve never lived in a more visual society. Within it, there’s a growing need for photographers and image innovators––professionals who conceptualize, create and drive future advances in visual technology. Columbia’s internationally known Photography Department and its renowned faculty and facilities will give you an unparalleled foundation for an enduring career.
California College of the Arts
In our Photography Program, you’ll discover inspiration all around you, whether you’re capturing the small, human details of everyday life or exploring larger, abstract ideas about culture and identity. As you map this creative territory, you’ll also be developing your technical digital and analog skills. You will make images that have a real impact on your personal and professional communities.
University of California(Los Angeles)
Focusing on the interrelation of photography and art, study in this area is directed toward works of art made using photographs. Ability to understand and discuss photography’s unique historical, material, and narrative potential is emphasized over technical considerations. Work in installation art and video in conjunction with photography is encouraged.
Yale School of Fine Art
Photography is a two-year program of study admitting nine students a year. Darkroom, studio, and computer facilities are provided. Students receive technical instruction in black-and-white and color photography as well as nonsilver processes and digital image production.
The program is committed to a broad definition of photography as a lens-based medium open to a variety of expressive means. Students work both individually and in groups with faculty and visiting artists. In addition, a critique panel composed of faculty and other artists or critics meets weekly, as well as for a final review each term, to discuss student work.
School of Visual Art
The BFA photography program at the School of Visual Arts grounds students in the creative and technological skills of the medium as well as in the job opportunities available in the field. This means that by the end of your four years here, you’ll know how to process and print both black and white and color material; how to light a studio; how to use medium- and large-format cameras and how to work with digital materials. You’ll have had the opportunity to pursue fashion photography, landscape photography, still-life photography, portraiture, photojournalism and other genres of the medium. But equally as important, you’ll have an understanding of the professional world outside of SVA—practical and strategic knowledge to land a position where you can put your formidable skills to work.
University of New Mexico
The University of New Mexico Photography Program is a fluid investigation into visual literacy focusing on the creative possibilities of lens-based imaging. Emphasis, in both the graduate and undergraduate programs, is placed on the student’s personal growth through aesthetic and intellectual development.
Rhode Island School of Design
RISD approaches photography as an ever-changing set of technical, conceptual and aesthetic conditions that exist within a broad social and cultural context. Students delve into the making, presentation and interpretation of photographic images, exploring photography as both a language and a craft. Ultimately, they learn how to use cultural signifiers, symbols and metaphors in the content and structure of image making.
School of the Art Institute of Chicago
Our multifaceted approach to the medium includes traditional forms of image making and conceptually oriented practices and makes the SAIC Photography program uniquely diverse.
As a student in the Photography department, you will: explore the practice and theory of photography, practice your art in a supportive, non hierarchical community among faculty, undergraduate, and graduate students, and work with state-of-the-art equipment and enjoy access to all the resources of the school.
Rochester Institute of Technology
The School of Photographic Arts and Sciences prepares students for a wide range of exciting careers in photography and the modern ever-changing field of imaging. Image making is taught through courses investigating methods and aesthetics required in pictorial and information-based images, videos, websites and publications.
California Institute of the Arts
The Program in Photography and Media is committed to educating independent artists in a world where photographic imagery and new media representations and strategies are omnipresent. From foundation work through graduate studies, courses are designed to challenge conventional notions of artistic practice and to question the position of representation within contemporary culture. The program encourages debate and experimentation, since nothing is stable or even particularly comfortable in photography’s relation to the other arts-especially in an environment that includes so many new practices. The faculty represents a broad range of those practices, some purely photographic, some entirely digital and others branching off into writing and publishing, painting, video, film-making, assemblage, net art, digital media and installation.
FREE ONLINE PHOTOGRAPHY COURSES
There are many online photography courses out there, free and paid. Here is a list of some of the best free online photography courses according to PetaPixel:
Introduction to Photography and Related Media
Basics of Photography: The Complete Guide
Free Beginner Nikon Digital SLR Photography
Photography: Ditch Auto – Start Shooting in Manual
Karl Taylor’s FREE Photography Course
A Complete Introduction to Photography (aka Reddit Photoclass)
Strobist
Cambridge in Colour
Using a Photographic Light Meter
Pixels After Dark: Shooting the Night
Getting Started with Adobe Photoshop Lightroom 5
Photoshop & Lightroom for Photographers
Create a Gorgeous Photography Site with SmugMug in 90 mins
Computational Photography
Phlearn
Anthony Morganti’s Video Series on Lightroom 5
An Introduction To Tilt + Shift Photography
The Art of Photography
Documentary Photography and Photojournalism: Still Images of a World in Motion
Photography and Truth
History of Photography Podcasts
Digital Photography School
Creative Live Photography
Tuts Plus Photography Tutorials
No matter how you take your photography lessons, you need to get started. Do your research on the photography schools listed above as well as the free online photography courses. Decide where you’d like to start and get going. Here is a video from Phlearn to get you started. The best of luck to you.
youtube
The post Photography Schools: Where to go to Learn Photography appeared first on Photographic Blog.
from Photographic Blog http://photographicblog.com/photography-schools-where-to-go-to-learn-photography/
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Hyperallergic: Why We Need to Start Seeing the Classical World in Color
Large polychrome tauroctony relief of Mithras killing a bull, originally from the mithraeum of S. Stefano Rotonodo (end of 3rd century CE), now at the Baths of Diocletian Museum, Rome (photo by Carole Raddato/Flickr, CC BY-SA 2.0)
Modern technology has revealed an irrefutable, if unpopular, truth: many of the statues, reliefs, and sarcophagi created in the ancient Western world were in fact painted. Marble was a precious material for Greco-Roman artisans, but it was considered a canvas, not the finished product for sculpture. It was carefully selected and then often painted in gold, red, green, black, white, and brown, among other colors.
A number of fantastic museum shows throughout Europe and the US in recent years have addressed the issue of ancient polychromy. The Gods in Color exhibit travelled the world between 2003–15, after its initial display at the Glyptothek in Munich. (Many of the photos in this essay come from that exhibit, including the famed Caligula bust and the Alexander Sarcophagus.) Digital humanists and archaeologists have played a large part in making those shows possible. In particular, the archaeologist Vinzenz Brinkmann, whose research informed Gods in Color, has done important work, applying various technologies and ultraviolet light to antique statues in order to analyze the minute vestiges of paint on them and then recreate polychrome versions.
The Archer from the western pediment of the Temple of Aphaia on Aigina, reconstruction, color variant A from the Gods of Color exhibit (photo by Marsyas/Wikimedia, CC BY-SA 2.5)
Acceptance of polychromy by the public is another matter. A friend peering up at early-20th-century polychrome terra cottas of mythological figures at the Philadelphia Museum of Art once remarked to me: “There is no way the Greeks were that gauche.” How did color become gauche? Where does this aesthetic disgust come from? To many, the pristine whiteness of marble statues is the expectation and thus the classical ideal. But the equation of white marble with beauty is not an inherent truth of the universe. Where this standard came from and how it continues to influence white supremacist ideas today are often ignored.
Most museums and art history textbooks contain a predominantly neon white display of skin tone when it comes to classical statues and sarcophagi. This has an impact on the way we view the antique world. The assemblage of neon whiteness serves to create a false idea of homogeneity — everyone was very white! — across the Mediterranean region. The Romans, in fact, did not define people as “white”; where, then, did this notion of race come from?
A painted Romano-Egyptian mummy mask of a man (late 2nd century CE), plaster, paint, glass, now at the Rhode Island School of Design (photo by the author for Hyperallergic)
In early modern Europe, taxonomies were all the rage. What would later be termed the “scientific revolution” was marked by a desire to categorize, label, and rank everything from plants to minerals. It was only a matter of time before humans were similarly subjected to such manmade systems of classification. At the same time, artists began to engage with mathematics and anatomy and to use classical sculpture as a means of addressing the question of replicable beauty through proportions.
One of the most influential art historians of the era was Johann Joachim Winckelmann. He produced two volumes recounting the history of ancient art, Geschichte der Kunst des Alterthums (1764), which were widely read and came to form a foundation for the modern field of art history. These books celebrate the whiteness of classical statuary and cast the Apollo of the Belvedere — a Roman marble copy of a Hellenistic bronze original — as the quintessence of beauty. Historian Nell Irvin Painter writes in her book The History of White People (2010) that Winckelmann was a Eurocentrist who depreciated people of other nationalities, like the Chinese or the Kalmyk.
The Apollo Belvedere, now at the Vatican Museums, was viewed in the 18th century as the model of beauty. Artists became fascinated with the statue after its discovery in the late 15th century, including Albrecht Dürer. (photo by Marie-Lan Nguyen/Wikimedia)
“Color in sculpture came to mean barbarism, for they assumed that the lofty ancient Greeks were too sophisticated to color their art,” Painter writes. The ties between barbarism and color, civility and whiteness would endure. Not to mention Winckelmann’s pronounced preference for sculptures of gleaming white men over women. Regardless of his own sexual identity — which may have been expressed in this preference — Winckelmann’s gender bias would go on to have an impact on white male supremacists who saw themselves as upholding an ideal.
Winckelmann wasn’t the only man obsessed with the Apollo Belvedere. The Dutch anatomist Pieter Camper believed that he could find the formula for perfect beauty through facial angles and used the statue as a standard to be attained. He began to measure human and animal facial features, particularly the lines running from the nose to the ear and the forehead to the jawbone. Those ratios were later used by others to create the racist “cephalic index,” which categorized humans based on the width and length of their facial features. The Nazis drew on the index to support notions of Aryan superiority in Germany during the Third Reich.
Page from Pieter Camper, The Works of the late Professor Camper, on The Connexion [sic] between the Science of Anatomy and The Arts of Drawing, Painting, Statuary &c. &c. (London: Charles Dilly, 1794) (image via the Metropolitan Museum of Art)
Camper’s successors perpetuated and reshaped many of his ideas to be even more biased towards newly constructed races. As classicist Christopher B. Krebs wrote in A Most Dangerous Book, his work on the Third Reich’s manipulation of the classical author Tacitus, “Throughout the nineteenth century, scientists would scour far and wide mismeasuring human anatomy. The more data that was compiled, the less significant the result became. Where science failed, prejudice stepped in and observation yielded to opinion.” This prejudice was seen particularly in the diagramming of beauty within anatomical textbooks of the 19th and early 20th centuries. The son of a famous botanist, Mathias Marie Duval developed numerous anatomical models that were broadly used in medical schools and perpetuated ideas of whiteness that never existed in the ancient world. They were derived from examples of classical sculpture, particularly (you guessed it) the Apollo Belvedere.
Duval’s diagram of the facial angle of an antique head, based on Camper’s work with the Apollo Belvedere; fig. 63 in Matthias Duval’s Artistic Anatomy: Completely Revised, with Additional Original Illustrations. Edited and Amplified by A. Melville Paterson, M.D. (1919) (screenshot via Internet Archive)
Too often today, we fail to acknowledge and confront the incredible amount of racism that has shaped the ideas of scholars we cite in the field of ancient history. For example, I recently, came across Tenney Frank’s disturbing article “Race Mixture in the Roman Empire” while looking through an edited volume. First published in The American Historical Review in July 1916, the article sees Frank attempting to count extant inscriptions (mostly epitaphs) in order to gauge whether “race mixing” contributed to the decline of the Roman empire. It was then reprinted without comment in Greek historian Donald Kagan’s 1962 collection of articles on the fall of Rome.
I am not suggesting that Kagan is a racist (far from it), but, at the least, he should have contextualized Frank’s essay in his introduction to the volume and highlighted it as an example of the virulent racism built into the foundation of the Classics field. As Denise Eileen McCoskey points out in her excellent book Race: Antiquity and Its Legacy, Frank’s argument is not only untrue, it is dangerous. It provides further ammunition for white supremacists today, including groups like Identity Europa, who use classical statuary as a symbol of white male superiority. It also continues to buttress the false construction of Western civilization as white by politicians like Steve King.
Seattle has never looked better. #FashTheCity http://pic.twitter.com/UA3DjDKKnq
— IDENTITY EVROPA (@IdentityEvropa) November 4, 2016
How can we address the problem of the lily white antiquity that persists in the public imagination? What can classicists learn from the debate over whiteness and ancient sculpture?
First, we must consider why we are such a homogenous field. According to the Society for Classical Studies, the leading association for Classics in the United States, in 2014, just 9% of all undergraduate Classics majors were minorities. This number decreases the higher into academia you go. Just 2% of tenured full-time Classics faculty were minorities, according to the study.
Do we make it easy for people of color who want to study the ancient world? Do they see themselves in the ancient landscape that we present to them? The dearth of people of color in modern media depicting the ancient world is a pivotal issue here. Movies and video games, in particular, perpetuate the notion that the classical world was white. This is an issue when 70% of my students tell me that games such as Ryse: Son of Rome (which uses white statues to decorate the city of Rome and white Roman soldiers as lead characters), as well as films like Gladiator (which has a man from New Zealand playing the Spaniard Maximus) and the 300 (which has xenophobic depictions of Persians) led them to take my courses.
youtube
If we want to see more diversity in Classics, we have to work harder as public historians to change the narrative — by talking to filmmakers, writing mainstream articles, annotating our academic writing and making it open access, and doing more outreach that emphasizes the vast palette of skin tones in the ancient Mediterranean. I’m not suggesting that we go, with a bucket in hand, and attempt to repaint every white marble statue across the country. However, I believe that tactics such as better museum signage, the presentation of 3D reconstructions alongside originals, and the use of computerized light projections can help produce a contextual framework for understanding classical sculpture as it truly was. It may have taken just one classical statue to influence the false construction of race, but it will take many of us to tear it down. We have the power to return color to the ancient world, but it has to start with us.
Painted terra cotta cinerary urn (150–100 BCE), originally from Chiusi, now at the British Museum (photo by the author for Hyperallergic)
Detail of painted terra cotta cinerary urn (150–100 BCE), originally from Chiusi, now at the British Museum (photo by the author for Hyperallergic)
The post Why We Need to Start Seeing the Classical World in Color appeared first on Hyperallergic.
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Photography Schools: Where to go to Learn Photography
Photography has long been a favorite hobby for many. But what do you do when you are ready to take your hobby to the next level and become a professional photographer? DO you go to school and get a degree? Or do you teach yourself via online classes?
There are pros and cons to both paths. First, going to a photography school can get very expensive and it can be time consuming. Some people do not see this as a problem, but rather as an investment in their career. Others have the passion to learn, but not the time and money. For them learning online is the way to go. When you are learning photography on your own, you have to have the discipline to keep up with your studies, something that is more structured when you take a class. Also when attending a photography class, you have a teacher to look over your photos and give you criticism and advice. If you are learning on your own, you will need to find someone to do this for you. In the end it is up to you to decide with path to photography is best for you according to your needs. In this article, you will receive the resources to research your decision.
According to ResourceOnline, here are 15 great photography schools in the US
Virginia Commonwealth University
Our department aims to facilitate a comprehensive artistic, technical and intellectual understanding and use of the mediums of photography and film; to provide a rigorous education in the arts, specifically in photographic and moving image media, and a broad education in other academic subjects; to foster a climate that inspires creativity, intellectual curiosity, freedom of expression, and critical thinking. We emphasize hands-on experience in the fields of fine art, studio and location photography, and narrative, documentary and experimental filmmaking and sponsor a wide variety of guest lectures, seminars and workshops. All students become adept in chemical based processes and the latest digital technologies.
Massachusetts College of Art and Design
The MassArt Photography Program teaches photography as fine art with an emphasis on personal vision, experimentation, and an understanding of the history of photography and the body of criticism that surrounds it. Students are introduced to a wide array of both film-based and digital tools; they become well-versed in the medium’s technical and aesthetic traditions while exploring contemporary directions through slide lectures and critiques. Our curriculum covers both analog and digital production and offers a wide variety of elective courses providing a strong foundation for critical thinking, collaboration, and a career in photographic arts.
University of Arizona
The Photography division faculty and students conduct a rigorous investigation into the nature and meaning of photographic representation and its role in contemporary culture. Students are expected to demonstrate commitment to expressive inquiry, maturity of vision and take responsibility for their professional development as artists. The division takes a broad and progressive approach to the practice and definition of photography, encouraging you to question and expand the boundaries of the medium. The curriculum offers courses in traditional black and white darkroom techniques, digital and other image-forming technologies, color processes, large-scale photography, video, and performance. Facilities include group and semi-private black and white darkrooms and film processing areas, color enlargers and a 20” processor, professional lighting studio and large format digital output facilities. See more in the Photography Facilities section.
The Center for Creative Photography plays an important role in the education of photography and art history students by offering access to all of the Center’s resources, including semester-long internships and lectures by distinguished photographers, historians, and critics. Studio photography and art history students studying the history of photography take advantage of photographic exhibitions, lectures, print viewings, gallery talks, an extensive photographic library, an artists’ book collection, and a world class archive of photographs and related material.
Maryland Institute College of Art
One of the first programs of its kind worldwide, the photography program at MICA was established more than 100 years ago. Building on this legacy, the program today thoroughly examines both still and digital photography while encouraging a diversity of approaches. Students master technical skills as they work in state-of-the-art digital facilities, learn traditional and alternative darkroom processes, and develop a deep understanding of the medium’s history and contemporary directions.
Arizona State University
Students learn from faculty with diverse creative concerns and who cultivate technique in the service of ideas, parallel to the critical and cultural analysis of the medium. Students have access to the widest range of photographic possibilities, including silver gelatin, chromogenic color, digital imaging, video, alternative processes and mixed media. Students explore interdisciplinary options in their art through other disciplines, including printmaking, intermedia and sculpture.
Columbia College (IL)
We’ve never lived in a more visual society. Within it, there’s a growing need for photographers and image innovators––professionals who conceptualize, create and drive future advances in visual technology. Columbia’s internationally known Photography Department and its renowned faculty and facilities will give you an unparalleled foundation for an enduring career.
California College of the Arts
In our Photography Program, you’ll discover inspiration all around you, whether you’re capturing the small, human details of everyday life or exploring larger, abstract ideas about culture and identity. As you map this creative territory, you’ll also be developing your technical digital and analog skills. You will make images that have a real impact on your personal and professional communities.
University of California(Los Angeles)
Focusing on the interrelation of photography and art, study in this area is directed toward works of art made using photographs. Ability to understand and discuss photography’s unique historical, material, and narrative potential is emphasized over technical considerations. Work in installation art and video in conjunction with photography is encouraged.
Yale School of Fine Art
Photography is a two-year program of study admitting nine students a year. Darkroom, studio, and computer facilities are provided. Students receive technical instruction in black-and-white and color photography as well as nonsilver processes and digital image production.
The program is committed to a broad definition of photography as a lens-based medium open to a variety of expressive means. Students work both individually and in groups with faculty and visiting artists. In addition, a critique panel composed of faculty and other artists or critics meets weekly, as well as for a final review each term, to discuss student work.
School of Visual Art
The BFA photography program at the School of Visual Arts grounds students in the creative and technological skills of the medium as well as in the job opportunities available in the field. This means that by the end of your four years here, you’ll know how to process and print both black and white and color material; how to light a studio; how to use medium- and large-format cameras and how to work with digital materials. You’ll have had the opportunity to pursue fashion photography, landscape photography, still-life photography, portraiture, photojournalism and other genres of the medium. But equally as important, you’ll have an understanding of the professional world outside of SVA—practical and strategic knowledge to land a position where you can put your formidable skills to work.
University of New Mexico
The University of New Mexico Photography Program is a fluid investigation into visual literacy focusing on the creative possibilities of lens-based imaging. Emphasis, in both the graduate and undergraduate programs, is placed on the student’s personal growth through aesthetic and intellectual development.
Rhode Island School of Design
RISD approaches photography as an ever-changing set of technical, conceptual and aesthetic conditions that exist within a broad social and cultural context. Students delve into the making, presentation and interpretation of photographic images, exploring photography as both a language and a craft. Ultimately, they learn how to use cultural signifiers, symbols and metaphors in the content and structure of image making.
School of the Art Institute of Chicago
Our multifaceted approach to the medium includes traditional forms of image making and conceptually oriented practices and makes the SAIC Photography program uniquely diverse.
As a student in the Photography department, you will: explore the practice and theory of photography, practice your art in a supportive, non hierarchical community among faculty, undergraduate, and graduate students, and work with state-of-the-art equipment and enjoy access to all the resources of the school.
Rochester Institute of Technology
The School of Photographic Arts and Sciences prepares students for a wide range of exciting careers in photography and the modern ever-changing field of imaging. Image making is taught through courses investigating methods and aesthetics required in pictorial and information-based images, videos, websites and publications.
California Institute of the Arts
The Program in Photography and Media is committed to educating independent artists in a world where photographic imagery and new media representations and strategies are omnipresent. From foundation work through graduate studies, courses are designed to challenge conventional notions of artistic practice and to question the position of representation within contemporary culture. The program encourages debate and experimentation, since nothing is stable or even particularly comfortable in photography’s relation to the other arts-especially in an environment that includes so many new practices. The faculty represents a broad range of those practices, some purely photographic, some entirely digital and others branching off into writing and publishing, painting, video, film-making, assemblage, net art, digital media and installation.
FREE ONLINE PHOTOGRAPHY COURSES
There are many online photography courses out there, free and paid. Here is a list of some of the best free online photography courses according to PetaPixel:
Introduction to Photography and Related Media
Basics of Photography: The Complete Guide
Free Beginner Nikon Digital SLR Photography
Photography: Ditch Auto – Start Shooting in Manual
Karl Taylor’s FREE Photography Course
A Complete Introduction to Photography (aka Reddit Photoclass)
Strobist
Cambridge in Colour
Using a Photographic Light Meter
Pixels After Dark: Shooting the Night
Getting Started with Adobe Photoshop Lightroom 5
Photoshop & Lightroom for Photographers
Create a Gorgeous Photography Site with SmugMug in 90 mins
Computational Photography
Phlearn
Anthony Morganti’s Video Series on Lightroom 5
An Introduction To Tilt + Shift Photography
The Art of Photography
Documentary Photography and Photojournalism: Still Images of a World in Motion
Photography and Truth
History of Photography Podcasts
Digital Photography School
Creative Live Photography
Tuts Plus Photography Tutorials
No matter how you take your photography lessons, you need to get started. Do your research on the photography schools listed above as well as the free online photography courses. Decide where you’d like to start and get going. Here is a video from Phlearn to get you started. The best of luck to you.
youtube
The post Photography Schools: Where to go to Learn Photography appeared first on Photographic Blog.
from Photographic Blog http://photographicblog.com/photography-schools-where-to-go-to-learn-photography/
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