Whitechapel Gallery offers thrilling landmark show of female abstract artists — review

A call to spring and nature rising in the heart of the wintry city, Helen Frankenthaler’s “April Mood”, a glorious, watery extravaganza of stain-drenched pinks, oranges and blues, hovers over the opening wall of the Whitechapel Gallery’s exuberant new exhibition Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970. The show concludes on a grand note, with Joan Mitchell’s operatic color tangles and brilliant diffused light in “Rufus’ Rock” and “Untitled”, richly allusive yet taut compositions that play wild and free with landscape elements as evocations of emotion and memory.

Between these masterpieces, 80 artists fill in the picture of how women around the world from the 1940s to the 1970s embraced non-figurative painting as gestures of liberation and self-expression.

Only seven years, but a sea change in cultural sensibility, separate this ambitious exhibition from the Royal Academy’s colossal 2016 show Abstract Expressionism, which focused almost entirely on the big boys Pollock, de Kooning, Rothko et al, and dedicated the movement as built on explosive American macho energy. Part of current impulses to rewrite established art historical narratives, the Whitechapel draws and extends this reading in terms of gender and, impressively, geography.

The series is exciting. In South Korea, Wook-kyung Choi saturates her canvases with swaying, splintered oranges, scarlets, and ochres, a riotous dazzle of green and blue stripes interspersed with dazzling white impasto—abstract marks at their most vibrant and seemingly improvisatory, held within a just -ordered framework.

Wook-kyung Choi, ‘Untitled’ (1960s) © Wook-kyung Choi Estate

Training in Rome, Behjat Sadr absorbed European influences art informal in addition to printing Persian tapestries and Islamic architecture, returning to Tehran to paint elegant constructions dominated by sweeping curves, usually black, sometimes illuminated with shimmering primary shades, representing natural elements – tree trunks, forests, comets – and always, in the flowing liquid paint, referring to the black gold of oil.

Argentinian Noemí Di Benedetto’s stretched canvases with rough texture are stitched like wounds. Shadowy figures, reminders of exile, emerge in Palestinian Maliheh Afnan’s dark landscapes “Mindscape” and “Concours”. In “Open Game” and “Promenade” Ida Barbarigo translates Venice’s winding channels and reflections into opal curls, fluttering white stripes against sky-like backgrounds.

Throughout, a sense of fragility, urgency and excitement emerges during sociopolitical upheaval, in different global contexts. Barbarigo recalled an excitement that wandered through deserted Venice in 1945: “I felt this openness and was nourished by it . . . see light on things, colors, gray details. . . ecstatic vagabonding.”

An abstract painting in dark colors has curls and tubular shapes in blue, red and black, suggesting rock formations
Behjat Sadr, ‘Untitled’ (1956) © Behjat Sadr Estate/DACS

At the same time, as the war in Japan ended catastrophically, Toko Shinoda added thick bold black lines, gestural splashes and blurred passages to her refined ink paintings, fusing Asian calligraphy with modern abstraction. “The air of freedom after the war suddenly nurtured in me the seed of a desire to visually express the shape of my heart. I was suddenly emancipated. . . my brush moved like an outpouring,” she wrote.

On the other side of the world, Michael West (née Corinne Michelle West) also recorded the end of the war: “A great parade of tanks and guns roars under my 5th Avenue window — the noise is deafening, hysterical . . . this glorious roar — this beautiful abstract scene of people along the curb. . . is the new poetry, the new art.” A light smudge seeps over dense layers of enamel and sand in her “Nihilism”, which alludes to nuclear holocaust, but also creation arising from destruction. The rhythmic marks record the reach of West’s body as she painted; the entire surface is animated in a way that embodies Harold Rosenberg’s definition of American abstraction: “an arena in which to act”.

With many competing large, noisy canvases, group abstract shows are difficult to orchestrate, but this one is beautifully scaled down, with an excellent small room midway, allowing us to slow down and modestly sized paintings to breathe. Here Asma Fayoumi’s “Requiem for a City”, fragmented maroon and black architectural forms interspersed with cobalt and silver shards shine, like a moonlit ruin; it was painted in Damascus after Israeli-Syrian clashes in 1967.

An abstract painting has drips and swirls of black and blue paint on a pink background

Janet Sobel, ‘Untitled’ (c1948)

Opposite are delicate canvases covered in splattered pigment and looping lines, like the vibrant pink-turquoise “Illusion of Solidity” by Janet Sobel (née Jennie Olechovsky), a Brooklyn grandmother when she began painting in the early 1940s. She anticipated Pollock’s overall drip effects by several years, although the stronger comparison is to folk decorative styles from Sobel’s native Ukraine. Critic Clement Greenberg called Sobel “primitive” and “a housewife”.

However, there are under-the-radar New Yorkers here as tough and full of bravado as the men. Lee Krasner’s robust-voluptuous arcs and coils build wonderful compositions of controlled chaos – “Bald Eagle”, “Feathering”. Less well known, the sharply drawn strokes in Judith Godwin’s “Black Pagoda” and “Black Cross” have an architectural power and depth reminiscent of that of her friend Franz Kline, but a dynamic, lighter quality inspired by the physical movements of another friend, dancer Martha Graham. And Mary Abbott’s undulating warm-toned chords in “Purple Crossover” and the effervescent liquid flow of the towering vertical of “Mahogany Road” are as sensuous-robust yet graceful as the paintings of her once beloved de Kooning – and the influence was not not yet. one direction; they were experimenting with large abstracted landscapes around the same time.

An abstract painting contains a busy series of geometric shapes with suggestions of the head and beak of an eagle

Lee Krasner, ‘Bald Eagle’ (1955) © Pollock-Krasner Foundation/DACS

Krasner gradually gained acclaim, but the others, who also belonged to Greenwich Village’s ab-ex circles in the 1940s-50s, faded into obscurity several decades before their deaths – Abbott was 98 years old in 2019; Godwin in 2021. A shift occurred just before their deaths when interviewers sought them out as the last living links to the movement’s heyday; each spoke with little bitterness of the prejudice they faced as female painters in mid-century New York.

The market remains insanely unbalanced: Abbott’s wonderful “Mahogany Road” sold for just $16,250 in 2019. This is the more extraordinary because, of all genres, abstraction is gender neutral. “I am an artist, not a female artist, not an American artist,” Krasner insisted.

So why a women-only show? To fundamentally redress inequality and build a nuanced understanding. The selection could have been tighter: the artists included are of unequal stature – some will enter the canon, others are forgettable, few have sustained the evolving careers to warrant retrospectives like Krasner’s at the Barbican in 2019 and Mitchell Mitchell ‘s currently at Paris’s Fondation Louis Vuitton. But most had the courage to make art out of the maelstrom of their own experience: Krasner’s favorite line from Rimbaud, “I ended up finding sacred the disorder of my mind”, could speak for the majority.

This exhibition is full of feeling and is a landmark, celebrating so many women who have found their own voices and expanded the world scene of abstract expressionism. As Frankenthaler wrote, “If it’s beautiful and it works, hooray!”

Offered from February 9 to May 7, whitechapelgallery.orgthen at Fondation Vincent van Gogh, Arles, and Kunsthalle, Bielefeld

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Brizo Kitchen & Bath Company Introduces New Product Categories and Design Innovations at the 2023 Kitchen and Bath Industry Show

The luxury faucet and fixture brand showcases innovative technology and adaptive design in new shower systems and expanded kitchen and bath products

LAS VEGAS, 31 January 2023 /PRNewswire/ — Brizo Kitchen & Bath Company continues to deliver innovative technology, craftsmanship and design as it evolves and grows its offerings for the kitchen and bath. The brand is debuting a series of new releases designed to promote beauty, self-expression and serenity, which will be showcased at its newly designed booth at the 2023 Kitchen and Bath Industry Show (KBIS) in Las Vegas (Stand N2039).

“The Brizo® brand is known for creating distinctive designs that not only complete rooms, but inspire spaces,” says Mandy Ellington, Brizo brand director. “With this in mind, we are excited to introduce our new fully immersive shower system that creates a journey for the senses by bringing out a rich shower experience and taking into account one’s well-being. The latest collections are a testament to the brand’s commitment to providing unmatched luxury while elevating a space.”

New Brizo product offerings at KBIS include:

  • The SensoriPlus™ Digital thermostatic custom shower: This system represents a new pinnacle of comfort and indulgence. Customization takes on a whole new look with the shower system, including four user profiles with multiple presets to control temperature, flow, duration and optional audio therapy and chroma therapy spa options. Built-in Wi-Fi and Bluetooth connect to virtual home assistants to control your shower with voice activation and connect to Spotify®Pandora®Apple Music™, iHeart Radio® and Calm™ applications for an immersive audio experience. Available summer 2023. 1
  • The Mystix™ Steam System: This fully immersive steam shower system is offered in two finely crafted experiences for a spa-like experience that soothes both body and mind.
    • Elementary experience: The epitome of sumptuous simplicity. Customize the steam shower with two user presets and enjoy the enlightened innovation of the Mystix™ steam generator, equipped with advanced technologies to regulate temperature, distribute steam evenly and transform your space into a restorative spa.
    • Transcendent Experience: Create a holistic atmosphere with the Transcendent Experience – combining all the benefits of the Elemental Experience and the fully connected SensoriPlus™ digital interface as well as a full range of spa options: Aromatherapy, Chromatherapy and Audiotherapy. Available summer 2023.
  • Jason Wu for Brizo™ Kitchen Collection Expansion: The new semi-professional kitchen faucet exemplifies the unparalleled customization of the Jason Wu for Brizo™ kitchen collection and design with personal comfort in mind, further expanding the options for an inspired kitchen. Available in Matte White and Matte White/Brilliance® Polished nickel finishes, this faucet combines high fashion with elevated culinary performance. Purposeful design and craftsmanship is evident in every meticulously fine-tuned line and curve; the faucet further expands the options for a professional-grade kitchen without sacrificing style. The faucet has MagneDock® Technology and Touch-Clean® nozzles and connect seamlessly with optional SmartTouch® and VoiceIQ™ technologies. Also new to the collection are the Wall Mount Pot Filler, Instant Warm and Beverage Faucets. Available winter 2023.
  • Brilliance® Polished nickel and Brilliance® Black Onyx Finish Extensions: Familiar silhouettes, new complexity. With each new finish, a new shade of refinement. Three of our prestigious collections gain a sense of depth and nuance with this year’s finish extensions.
    • Invari® Bath Collection: A collection that defies categories. A finish that does the same. The Brilliance® Polished nickel finish embodies the juxtaposition at the heart of the Invari® Bath collection. Available February 2023.
    • Lever® Bath Collection: An exciting plot. A bold shade. The dramatic shades of the Brilliance® Black Onyx finish enhances the appeal of the Levoir® Bath collection. Available March 2023.
    • Roek® Kitchen collection: Cool, yet warm. Polished, yet indefinable. The ever-changing tone of the Brilliance® Polished nickel finish accentuates the craftsman aesthetic of the Rook® Kitchen collection. Available winter 2023.
  • Decorative sink fixtures and shower drains: Customize every last detail. Our new releases bring thoughtful design to even more facets of the bathing experience.
    • Decorative sink accessories: Match the entire space perfectly with decorative p-traps, bottle traps and supply lines in matching finishes. The offer stops echo the contemporary nuances of the Odin® Bath collection and the careful knurling of the Litze® Bath collection, which creates harmony throughout the space. Two handle options introduce an element of personalization – choose either the lever handle or the cross handle. Available January 2023.
    • Shower drains: Square and Round 4″ Shower Drains (Pre-Fab, Tile-In Round and Tile-In Square) coordinate with our Essential™ Shower Series and Brizo® bath collections, unleashing even more design possibilities. Available March 2023.

For more information on Brizo kitchen and bath products or to locate a dealer, visit brizo.com.

High-resolution images available on request.

About the Brizo® Brand
Brizo is a luxury accessories brand for those who understand that fashion is not just about the clothes they wear – it’s a lifestyle. The Brizo team designs and makes distinctive kitchen and bath suites that artfully blend form and function and transform thoughts, moods and spaces. This approach elevated the Brizo brand and its fashion-forward collections. Many are recognized by various outlets and organizations, including Design Journal with its Adex Gold Award™ and the Red Dot Award™. Rooted in fashion and design, the Brizo brand has been a primary sponsor of fashion designer Jason Wu since 2006 and a national sponsor of the St. Jude Dream Home®Giving away since 2010. Brizo is the luxury brand of fittings and accessories within the portfolio of Delta Faucet Company, a WaterSense® -a registered trademark of the US Environmental Protection Agency – manufacturer partner of the US Environmental Protection Agency. Brizo products are available exclusively through fine kitchen and bath showrooms. For more information or to locate a showroom, visit https://www.brizo.com/, call 877-345-BRIZO (2749). To see more Brizo collections, you can also visit the brand’s Instagram, Twitter, Facebook, Pinterest, Houzz andYoutube channels.

1Spotify® is a registered trademark of Spotify AB Corporation. Pandora® is a registered trademark of Pandora Media, Inc. Apple Music™ is a trademark of Apple Inc. iHeartRadio® is a registered trademark of IHM Identity, Inc. Calm™ is a trademark of Calm, inc.


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Kentucky barn quilts show community pride, artists say

Melissa Drury has a basement studio at her home where she pours her “heart and soul” into her passion – colorful barn quilt squares that decorate the sides of buildings across rural Kentucky.

Drury, a painter based out of Lawrenceburg, has been making barn quilt blocks for about three years after being inspired by the paintings on barns near her home. Now her works can be seen on buildings across the country, all inspired by Kentucky’s original barn quilt trail movement.

Barn quilts are an artistic tradition for many in the commonwealth and can be as varied in color, pattern and symbolism as the families they represent. And the painted versions of traditional quilts, Kentucky Arts Council Executive Director Chris Cathers said, can bring communities together — they work together to create them, often in tandem with a cooperative extension office, and the finished products to proudly display a connection with culture and history.

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‘Lost’ photos by Paul McCartney to go on show at National Portrait Gallery | Paul McCartney

Unseen portraits taken by Paul McCartney in the early 1960s when the Beatles were catapulted to international stardom will go on display at the refurbished National Portrait Gallery in the summer.

McCartney thought the photos, taken between December 1963 and February 1964, were lost, but he recently rediscovered them.

The exhibition, Paul McCartney Photographs 1963-64: Eyes of the Storm, “will provide a unique personal perspective on what it was like to be a Beatle at the start of Beatlemania,” said Nicholas Cullinan, the NPG’s director. .

“The photographs taken during this period captured the moment when John Lennon, Paul McCartney, George Harrison and Ringo Starr were propelled from the most popular group in Britain to an international cultural phenomenon, from performances in Liverpool and London to performances on The Ed Sullivan Show in New York to a television audience of 73 million people.

“At a time when so many camera lenses were on tape, these photographs will share fresh insight into their experiences, all through the eyes of Sir Paul McCartney.”

‘Self Portraits in a Mirror’ by Paul McCartney. Photo: Paul McCartney/The National Portrait Gallery/PA

The Beatles star approached the NPG in 2020, Cullinan said. “He said he found these photos that he remembered taking but thought were lost. We sat down with him and started going through them. [It was] extraordinary to see these images – unseen – of such a well-documented, famous and important cultural moment.

“They are taken by someone who really, as the exhibition title alludes, looked out into the eye of the storm at what was happening.”

McCartney plans to publish a book of the photos to coincide with his 81st birthday in June. The 275 photographs in the collection were taken on a 35mm camera in New York, Washington, London, Liverpool, Miami and Paris.

McCartney’s family includes three celebrated photographers. His first wife, Linda McCartney, was the first woman to shoot a Rolling Stone cover. The couple’s daughter Mary McCartney is an award-winning photographer and filmmaker and his brother Mike has published books of images of the Beatles.

Detail from 'Vivien Leigh' by Yevonde (1936, printed 2022-3)
Detail from ‘Vivien Leigh’ by Yevonde (1936, printed 2022-3). Photo: Yevonde/The National Portrait Gallery/PA

Last year, McCartney published The Lyrics, in which he traced his life story through the lyrics of his songs. The book became a bestseller.

The NPG, a Grade I listed building in central London which houses the world’s largest collection of portraits, has been closed since March 2020 for a major refurbishment. During its closure, it loaned works to galleries and museums around the world.

The gallery will reopen to the public on June 22 with an exhibition exploring the life and career of Yevonde, the 20th-century photographer who pioneered the use of color photography in the 1930s. It will include portraits and still-life works that the artist produced throughout her 60-year career and will reflect the growing independence of women during that time, while focusing on the freedom that photography offered to Yevonde.

In the autumn, the NPG will re-establish an exhibition, David Hockney: Drawing from Life, which opened just 20 days before the gallery was forced to close due to Covid in March 2020. The exhibition explores Hockney’s work over the past six decades through his intimate portraits of five sitters – his mother, Laura Hockney, Celia Birtwell, Gregory Evans, Maurice Payne and the artist himself – in a range of mediums and styles, from pencil, pen and ink and chalk to photographic collage and iPad.

Detail of David Hockney self-portrait
Detail of David Hockney self-portrait. Photo: Jonathan Wilkinson/The National Portrait Gallery/PA

The 2023 show will also show for the first time new portraits of friends and visitors to the artist’s Normandy studio between 2020 and 2022.

In February 2024, the gallery will mount an exhibition of contemporary African diasporic artists working in the UK and USA, curated by the former director of the Institute of Contemporary Art Ekow Eshun.

The Time is Always Now: Artists Reframe the Black Figure will include works by Hurvin Anderson, Michael Armitage, Jordan Casteel, Njideka Akunyili Crosby, Noah Davis, Lubaina Himid, Claudette Johnson, Titus Kaphar, Kerry James Marshall, Toyin Ojih Odutola, Nathaniel Mary Quinn, Amy Sherald, Henry Taylor, and Barbara Walker.

In addition to examining how artists portray the Black form, it will address the absence of Black presence within Western art history.

The NPG has unveiled a new logo intended to “better reflect its role as a gallery made by the people, for the people, telling the story of Britain’s past, present and future through portraits”, and ‘ a redesigned website before its re-opening.

Cullinan said: “Our program of exhibitions for our first year [after reopening] presents some of the world’s most famous artists in a fresh light, contains extraordinary and never-before-seen images, uncovers the work of remarkable innovators, maps important cultural terrain and showcases the greatest contemporary portraits.”

  • Paul McCartney Photographs 1963-64: Eyes of the Storm will run from 28 June to 1 October 2023.
    Yevonde: Life and Color will run from 22 June to 15 October 2023.
    David Hockney: Drawing from Life will run from 2 November 2023 to 21 January 2024.
    The Time is Always Now: Artists Reframe the Black Figure will run from February 22 to May 19, 2024.

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An art show at Rosenwald-Wolf Gallery is one of the funnest things to do in Philadelphia this week

Where is Alex Da Corte?

Friday, January 13. It’s the opening night of his new show, “The Street,” at the Rosenwald-Wolf Gallery at the University of the Arts, and there’s no sign of the Camden-born conceptual artist.

It’s packed. Only an A-lister could attract 100 people to an art gallery. Da Corte has had a solo show at the Metropolitan Museum of Art, exhibited work at the Whitney and Venice Biennales, and is currently having a 20-year retrospective in Copenhagen.

I was warned that Da Corte might be hard to find tonight as he often appears in public in disguise or in costume.

Many characters wander through these walls. I see men with flowing hair and curly moustaches, leather jackets and gold chains, vintage sweaters and wire-rimmed glasses. So which one of you is Alex Da Corte?

To further confuse things, most of the guests face each other, rather than the artwork on the walls. “No one looks at paintings anymore,” says painter Sasha Budaev, who is talking to two friends. All three had their backs turned The Last House on the leftA 33-foot-long, pitch-black painting of lamps, chandeliers and a ceiling fan.

Tonight’s disguise turns out to be deceptively simple. Da Corte is one of the few people who wears a face mask.

When you manage to spot him, the next question can be just as difficult: When is Alex Da Corte?

“The Street,” like his previous work, samples from many decades of high art, pop culture and personal memory. Da Corte soaks up visual references from movies, museums, music and magazines. Disney and Donna Summer matter as much as Raphael and Rubens. Here, derivative is not a bad word but a guiding spirit. Pick up, cut and paste, throw out, move on.

The show nods to Pop Art from the start. On the wall behind the desk is a floor-to-ceiling mural of the Wonderbrood logo. A few steps later, we see Marilyn Monroe inside a black, six-foot-tall frame, an image clearly lifted from Andy Warhol. Warhol also lifted the image, tracing it from a publicity photograph and printing it in combinations of bright paint and black ink.

Da Corte made his copy, Mirror Marilyn, with acrylics and wax pastels, and rather than printing them, he painted them directly on the glass of the frame. This is a technique known as reverse-glass painting; every picture hanging in the show was done this way. No canvas, no panel, no paper – just paint on Plexiglas sheets.

As we take a conceptual step into “The Street,” we are immersed in Da Corte’s memories, footnotes, and creative tools. Vultures of Snow White. Old fashioned patterns that feel like grandma’s house. Album covers and paperback mystery book covers. The gallery is buzzing because everyone sees something in each piece, even though we all see different things.

Intimacy and autobiography distinguish Da Corte from his Pop Art ancestors; those known for impersonal, detached irony. “I’m attached,” Da Corte said over the phone a few days after the opening. “This is a love letter to Philadelphia, and also to the school that took me in and showed me so much of what I know today.”

Da Corte studied printmaking at the University of the Arts in the early 2000s. The show’s curator, Sid Sachs, was his art history professor.

In the 150 years we call Modern Art, the “high” (painting, sculpture) always borrowed from the “low” (mass culture), cut it into pieces, glued it back together, blew it all up. For Da Corte, this process always seems to come with the tape still visible, his source material is never hidden, but always the subject. The inspiration for “The Street,” he says, came Sesame street, comics, book covers and album art. But also Langston Hughes, some old-school French and German animators, and Philadelphia architects Robert Venturi and Denise Scott Brown.

I call the word nostalgia – because how could you not? — and he pushes back. “I never see it as nostalgia,” he says. “Wherever you go, you are, but you leave a trail behind. These traces never leave us, and we never forget. We are constantly re-understanding and adopting new things in an old way.”

It’s been 60 years since Warhol screenprinted Monroe and a century since Marcel Duchamp overturned a urinal. Will contemporary art be forever trapped in this kitschy loop of reference, self-reference and self-reference?

If you’re lucky enough to track down Da Corte, he reminds you that the past, no matter how murky or clichéd, can help you see the present. “I dig where I stand,” he says, describing his connection to UArts, to Philadelphia, to everything that came before. “My life is the way it is because of what you see on ‘The Street’, and I’m not afraid of that. I am very grateful for that.”

“The Street” is on view through March 10 at the Rosenwald-Wolf Gallery at 333 S. Broad St. Da Corte will host an artist talk February 1 on the University of the Arts campus. His video work will be screened at Lightbox Film Center on February 7. https://www.uarts.edu/gallery/alex-da-corte-street

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I was struggling to write when someone said: ‘You must show up for your art’ | Creative writing

I think it was Christmas, and we were talking about writing. I struggled with it – writing, that is – and my brother-in-law, Rob, a professor of ethics, offered a little insight into his own practice.

He too found it difficult to write. The only way he could produce anything approaching a consistent academic output was by shutting down half an hour each day. In that half hour he had two options: he could write, or he could do nothing. Doing nothing was good – doing nothing was allowed – but the only other option was writing. Sometimes he sat there for quite a long time before he wrote but he always came away from the session with new words on the page.

There is as much writing advice as there are writers, and I’ve heard a lot of it. Maybe it was the Christmas champagne, or maybe it was desperation, but soon after I gave his technique a go – and it stuck. Sometimes I’ve had to stick my phone in a drawer with a timer running to avoid doomscrolling on Twitter instead (social media doesn’t count as “doing nothing”), but in the years since, I’ve returned to this technique when I even when finding myself in a creative impasse on a project, or actually struggling with anything from folding laundry to putting down 300 words about the best advice anyone has ever given me. It helped me finish a book a few years ago, and it helped me get the first 15,000 words of something new just a few months ago.

One of the main reasons it works, I think, is because it overcomes the first, and biggest, hurdle: showing up.

Procrastination can hinder anyone’s path, but I’ve also noticed that creative people in particular can all get caught up in their messy feelings about their work and whether or not the circumstances are right for them to channel their muse. If working in journalism has taught me anything, it is that there is no “right” time and there are no “right” conditions; there is the time you have. You use the materials you have. And the first condition for getting anything done at all is to try to do it.

So if you’re struggling with something creative, just give yourself 30 minutes. You will either do the work or you will do nothing. But at least you’ll be able to say you’ve arrived.

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a special show at a special time – The Irish Times

Under the terms of the Vaughan bequest, the Turner watercolor at the National Gallery of Ireland spends most of the year in secret. Due to the fragility of the works, Henry Vaughan has determined that the paintings are not to be seen until January, when natural light is most limited. As usual, this year they emerge and wink in the calm glow of the Print Gallery, where the light is carefully calibrated to be friendly. So friendly that they can easily tolerate longer exposure, but the bequest is still honored. And whatever adjustments have been made behind the scenes, this year it looks better than ever.

The frequency of their reappearance and the time limit on their availability presents an interesting question. Would you bother to go and see them, the real things, up close, when you could consult printed reproductions (a handsome and comprehensive new catalog has just been published) or look at them in the virtual, digital world, in your own time ? Walter Benjamin famously suggested that, rather than subverting the real, mechanical reproduction would enhance the aura of the original. It was a long time before contemporary visual enhancements of digital technology, and the ubiquity of screens, but the principle seems to hold, sort of.

Meeting the watercolor in the gallery is a different experience than any online encounter, and that includes any prospective virtual reality encounter or anything envisioned in Meta’s ambitions. What screens tend to do is to reduce, or perhaps condense, a work of art into a surface, into an image, when it is always more than an image, more than a surface. However, it is worth noting that the pressure of screen dominance is having a diminishing effect on art being made now, simplifying content, input and presence. Increasingly, the simple, related image rules. A visit to the Turner watercolors is a crash course in what can be lost.

Not that Turner was against or indifferent to mechanical reproduction. Far from it. A businessman, he was keen on ways to expand the market for his work and adapt the work to the market. The show includes pieces from his Liber Studiorum project, which involved his collaboration with specialist engravers to produce some 71 prints (the NGI holds a complete set, courtesy of a generous donor). He aimed for 100 jobs, but demand was slow and he gave up.

This year’s Turner watercolor show coincides with the arrival of a new director, Dr Caroline Campbell, at an important moment in the gallery’s development. Her predecessor, Sean Rainbird, was in the post for 10 years. An extremely capable and forward-thinking director, much of his energy went into guiding the gallery through two major disruptions. One was the major renovation, expansion and renovation of the buildings and services, the other was Covid, which hit the brakes just as things needed to pick up speed. Perhaps because the gallery is uniquely sought after in Ireland’s cultural landscape, and therefore the focus of many different interest groups, its management has often proved difficult, with some highs and lows. The director must manage those many associated interests and the attitudes of the wider public.

Dr Campbell, the gallery’s first female director, has an excellent record, having held posts at the National Gallery London, the Courtauld and the Ashmolean. She had, she says, a special love for the National Gallery of Ireland. As a teenager during the Troubles in Northern Ireland she visited and was mesmerized by this vision of another world. With a thorough art historical grounding and an interest in art of all eras, she appears ideally equipped to lead the gallery as it faces contemporary challenges, including questions of cultural diversity, fair representation and what outgoing Guggenheim director Richard Armstrong calls the parallel, digital universe. . Dr. Campbell’s experience includes a curatorial leadership fellowship in New York (and next year her book, Power, People, Painting, tracing art history through important times in 15 cities, will be published).

It is no exaggeration to say that the Vaughan Heritage watercolors constitute a compact retrospective of Turner’s lifelong explorations as a painter, from his beautiful, precise study of beech trees at Norbury Park in Surrey to his remarkably atmospheric, minimally stated rendering of rain moving over has. a body of water. Such minimal paintings have caused some backlash: the gallery’s concurrent exhibition, Turner: The Sun is God, which features nearly 90 pieces from the incomparable Tate collection, includes at least one oil rejected by its curator. One can easily imagine something similar happening today. In Turner’s time, William Hazlitt well, though disapprovingly, described his work as “pictures of the elements, air, earth and water … the first chaos of the world”, evoking not so much nature as the medium through which it be seen Hazlitt quoted an unspecified other who summarized the paintings as “pictures of nothing, and like”.

There is an unfortunate tendency to see art in terms of a linear, historical narrative, so that Turner, for example, anticipates or lays the groundwork for subsequent artistic developments. One problem with this view is that it devalues ​​the work itself. Just take the paintings on their own terms, not as elements in some sequential story of artistic “progress” or part of any single historical trajectory, and they are all the more extraordinary. Intrinsic to this view is that they are physical, vulnerable objects, not ephemeral arrangements of pixels to be looked at and discarded. Take the time to go and see the real thing.

Turner: The Sun is God, Beit Wing, National Gallery of Ireland, Merrion Square West/Clare St, until February 6 (Entry fees apply, with concessions, see nationalgallery.ie)

Turner: The Henry Vaughan Bequest, Print Gallery, National Gallery of Ireland, Merrion Square West/Clare St, until 31 January (Admission free)

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Seeing Machines’ world-leading interior sensing technology on show in suite and in car, at CES 2023

CANBERRA, Australia, January 2, 2023 /PRNewswire/ — Seeing Machines Limited (AIM: SEE), the advanced computer vision technology company that designs AI-powered operator monitoring systems to improve transportation safety, will showcase its world-leading indoor sensing technology at CES 2023 at the Las Vegas Convention Center (LVCC), the most influential technology event worldwide, from January 5th through January 7, 2023.

Seeing Machines’ immersive technology demonstrations will be available by appointment at a private suite in the Westgate Las Vegas Resort and Casino and in our demo carto showcase the company’s latest ground-breaking software and algorithm developments for its FOVIO driver and occupant monitoring system (DMS/OMS) technology solutions.

Machines’ DMS and OMS technology can also be found integrated in a series of Tier 1 customer and partner demonstrations, which will also be on display at CES:

  • Magna (LVCC West Hall Booth 4425) – DMS/OMS integration in rearview mirror
  • Ambarella and Autobrains (Embassy Suites by Hilton Las Vegas) – Combined Security Solution in System on Chip (SoC)
  • Analog devices (LVCC West Hall Booth 4725) – DMS with integrated IR LED driver and GMSL camera

Seeing Machines is revolutionizing global transportation safety, developing and licensing proprietary technology to some of the world’s leading automakers.

We use advanced machine vision technology to precisely measure and analyze head position, eyelid movements and eye gaze under a full spectrum of demanding lighting conditions, including through sunglasses. This data is processed to interpret driver attention state, focus, drowsiness and impairment levels to provide critical real-time input to advanced driver assistance systems (ADAS), as well as to vehicle cabin, comfort and convenience systems.

As the global focus on transportation safety increases, Seeing Machines continues to grow as an automotive technology leader in driver and occupant monitoring systems, having won a total of 15 automotive programs for 10 individual OEMs, spanning more than 160 vehicle models, representing more than 11 billion is undescribed. km of driving data and delivered with proven global automotive tier-1 customers and partners.

Seeing Machines corporate executives and technical experts will be present at CES 2023.

About seeing machines (Aim: SEE), a global company founded in 2000 and headquartered in Australia, is an industry leader in vision-based monitoring technology that enables machines to see, understand and assist humans. See Machines’ technology portfolio of AI algorithms, embedded processing and optics, powering products that must deliver reliable real-time understanding of vehicle operators. The technology extends from the critical measurement of where a driver is looking to classification of their cognitive state as it applies to crash risk. Reliable “driver condition” measurement is the ultimate goal of Driver Monitoring Systems (DMS) technology. Seeing Machines develops DMS technology to manage safety for automotive, commercial fleet, off-road and aviation applications. The company has offices in Australia, USA, Europe and Asiaand provides technology solutions and services to industry leaders in every vertical market. www.seeingmachines.com

SOURCE See Machines Limited

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Tech Investment Show set to connect leading Web3 investors with builders

Tech Investment Show keeps abreast of both the technology industry and emerging ideas around the world, as investors are confident in Southeast Asia’s long-term prospects and spread their bets through creativity, passion and technological knowledge of builders. Tech Investment Show brings banking, cloud finance, enterprise financial software, investment management, insurance technology, payment technology, education, health, e-commerce, Web3, blockchain technology, cryptocurrency, the Metaverse, non-fungible tokens, digital assets and more. It is essential to grasp these ideas and the most recent technical advances to maximize results.

The Tech Investment Show will debut in Bangkok from 16 to 19 February 2023 at the Queen Sirikit National Convention Centre. The expo will be packed with opportunities for attendees, start-ups and investors, and focused on the following:

  • Take the initiative to build, grow and empower the technology and Web3 ecosystem.
  • Connect directly with leaders of investment firms around the world.
  • The opportunity to meet and consult directly with various sources of capital funds.
  • The chance for builders to win an award from the field competition.
  • An in-depth understanding of real builders in the technology industry.
  • Assistance for people, groups and investors in contact with specialists and service providers looking for new investment prospects.
  • The expansion of personal and professional networks and the start-up in the technology landscape equally.
  • Hear from and connect with C-level executives, professionals and influencers in technology worldwide.
  • Investment opportunities in the technology industry worldwide.

The Tech Investment Show will feature five exciting event zones:

  • Conference Zone – to learn about the significant impact on each sector in the technology industry to maximize business and investment potential.
  • Exhibition zone – to meet relevant projects from the technology industry.
  • Networking Zone – to connect with exclusive and trending people in this sector for business matching and explore investment opportunities.
  • Workshop zone — to learn from builders and their activities.
  • Community Zone – for discovering education and ideas to enter a sea of ​​opportunities. Join the global community and engage with key opinion leaders in every sector.

The event will host more than 8,000 attendees, 30 exhibitors, 40 VCs, 150 journalists and media partners, 20 specialized speakers, of whom at least 90% are C-level executives, experts and founders from around the world who will share the best key facts and solutions on investment conditions.

Tech startups with a revolutionary growth mindset can apply for the pitch competition on the website. Those interested in sponsoring or partnering with the event can also go to the website to apply.

About M Vision Public Company Limited

Established in 2002, M Vision PCL provides its services in media production and produces content in information technology, especially smartphones. The company mainly distributes various IT products through many channels including online, digital agency, offline, exhibitions, events, seminars, webinars and e-commerce. The company also helps its clients increase brand awareness and helps them maximize their revenue by building customer loyalty.


0-2735-1201 (for Thailand)

+6 691 415 2929 (for international)

[email protected]

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SAS’ largest art show ends on high note

Hii paints on a canvas as a symbolic gesture to curate the art show.

KUCHING (Dec 10): An art show believed to be the biggest of its kind at La Promenade Mall here ended on a high note on Friday.

The successful event was organized by the Sarawak Artists Association (SAS) in conjunction with its first Sarawak International Art Camp (SIAC) 2022, which took place from December 5-9.

Permanent Secretary of the Ministry of Tourism, Creative Industry and Performing Arts Datu Hii Chang Kee officiated at the event.

The art show, which was funded by the ministry, was organized to celebrate SAS’s 37th anniversary of their Annual Art Show, SAS said in a statement today.

Meanwhile, an art exhibition titled ‘Unthemed’, which includes outcomes of the art camp as well as artworks by 44 SAS artists, will take place until early next year.

The ‘Unthemed’ art exhibition takes place from now until 8 January 2023 at La Promenade Mall.

“Twenty-five artists from Thailand, Vietnam, the Philippines, Indonesia, Singapore, Germany, Sabah, Sibu, SArikei and Kuching translated their experiences and inspiration into more than 30 paintings during their two-day stay at Annah Rais.

“The curators of this exhibition believe the paintings in the art camp are rich in meaning about Sarawak’s life and culture, especially the influence of Annah Rais’ environment,” the association said.

It added that the paintings produced by the artists used composition, techniques, skills and styles to imbue the details with meaning, ideas and values ​​that underpin Sarawak culture.

The other 44 artists from SAS were given the greatest scope for creativity without any boundaries or theme.

As SAS is a prestigious art society that has existed since 1985 and has several generations of members coming from different art styles, schools of thought and races, the whole show featured a melting pot of expressions.

“Some of the pieces are also available for the first time as NFT (non-fungible tokens) – a personal initiative taken by the artists themselves to venture into NFT Art,” said SAS.

SAS hopes such an art show can create more awareness of art appreciation among the public and local businesses.

Members of the public can visit the art exhibition from 10 December to 8 January 2023 at Level 1 (opposite Zoro) of La Promenade Mall.

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