London-based artist Kemka Ajoku put together a photo exhibition highlighting the lives of Black British people living in the UK following the Windrush era as part of a wider exhibition.
Called England’s New Lenses, it’s part of a major exhibition at four English Heritage sites across the country: Wrest Park in Silsoe, Tintagel Castle in Cornwall, Middleham Castle in Yorkshire and Hadrian’s Wall in Northumberland, where photographers challenge the definition of heritage.
The exhibition started on 5th August 5 and runs until 31st October (likely to coincide with Black History Month) so if you can, get down to Wrest Park.
Motorola, Bauer & Black, and 7 Up—just some of the names that Thomas Miller worked on during his career at Goldsholl Associates. He’s also best known for his mosaics in the lobby of the DuSable Museum of African-American History in Chicago. The Black American designer worked on everything from logo design to animation, but, like many of his peers in the 20th century, his journey was fraught with racism:
“I had to be super-qualified,” he told Fitzpatrick. “I took things in art that weren’t necessary, like airbrushing and retouching and things you didn’t have to do because I wanted to be prepared in case someone would ask me to. They couldn’t use that as an excuse for me being not qualified.” In the design profession, he discovered another rigid color line: a racism more genteel than a Klan march but no less degrading for the young professional. The Ray-Vogue School, for instance, limited the number of Black students who could enroll. On the job market, Miller experienced racism in moments that could have come from the pages of Ralph Ellison’s Invisible Man. “You’re very talented,” one prospective employer told Miller. “Too bad you are so dark.” Another suggested he could work but only behind a screen, out of sight from clients.
A few months ago, pwnisher challenged 3D artists to create an animation of a person (or humanoid at least) walking forward but that humanoid was demonstrating some difficulty in doing so. Sorry, I suck at describing it so you’ll have to watch the above video. 2,400 artists entered and the video shows the top 100 who were chosen. 5 lucky applicants won prizes from Rokoko, Wacom, Quixel, PNY, and Aftershokz. Watch the top 100 above.
The world is full of talented and creative people.
There are of course many artists belonging to the Caribbean diaspora working and living in the US and UK such as Karen Mc Lean, Terrell Villiers and RIP Germain (all of whom are worth a mention in this arena). However, here, we are focusing on artists living and working on the island. Artists who take a close look into Jamaican lifestyle in all its facets, from the spirituality found within the bushes high up in the mountains, to the political and economic turmoil present in the depths of parts of its most celebrated towns like Kingston.
For It’s Nice That, Jyni Ong spoke with Kinda Ghannoum, Sally Alassafen and Hala Al Afsaa, founders of the Syrian Design Archive. The archive documents the vibrant graphics from the Arab world and celebrates one of the most popular writing systems in the world:
“Syria is a country of rich history and culture,” says Hala. “It is also a country with a broad range of cultural activities in modern history such as printing, journalism, theatre and art. Those factors put together, positively affected the graphic design practice in Syria and gave it a rich visual heritage.”
Last August, Scribble Fix took on a challenge to draw with POSCA Pens on black paper. As a fan of POSCA Pens and art on black paper, this piqued my interest. The finished product is amazing and showcases the quality of the pens.
(This isn’t sponsored—I just love POSCA Pens. But if anyone from the company is reading, I’m open to a collaboration.)
Rachel Walker is an artist from New Zealand who specialises in watercolour, spray paint, pen and ink artwork.
Rachel’s creative work has seen her involved in a range of projects, from commissioned pieces to painting for film and stage sets. Her career to date has included a number of solo gallery exhibitions, creating cover art for magazines, school journals and albums, and a stint living and painting in rural France. Rachels original and printed works can be viewed in galleries around New Zealand, as well as the walls of many wonderful homes.
Jeremiah Hulsebos-Spofford is a visual artist and Assistant Professor of Sculpture at Indiana University Northwest. His series of glitched classical sculptures reimagine works of art as a representation of modernism vs. classicism.
Throughout the underpinning of modernist design, aspirations of efficiency and comfort have galvanized visions of what might be possible in the future. Jeremiah Hulsebos-Spofford revisits these foundations, seeking fractures, little failures on the surface that reveal the invisible workflow and the breakdown of functionalism. Inspired by the history of the 1927 architectural competition in Geneva, which asked architects to submit plans for the creation of the Palace of Nations, Hulsebos-Spofford points to the unsettled quandaries and contradictions between classical design, and modernist functionalism.
Within the LGBTQIA+ community, visibility is often a double-edged sword: It can be a tool of self-empowerment, as well as a threat to one’s safety. The radical act of expressing one’s identity, despite rejection, political pushback, and the risk of violence, is a triumph of self-actualization in the face of public scrutiny.
Speaking at the opening of the exhibition earlier this month, Itoje, who was educated at the private boarding school Harrow, says one of the constants in his schooling was “the lack of Black and African history that I was taught”. Moreover, when African history was on the syllabus, it was “a single story or narrative that was told”. He adds: “That story was often depressing, and quite often a saviour/survivor narrative. I want to try and show a fuller picture.”
Black Art: In the Absence of Light (2021) | Official Trailer | HBO
Inspired by the late David Driskell’s landmark 1976 exhibition, “Two Centuries of Black American Art,” the documentary Black Art: In the Absence of Light offers an illuminating introduction to the work of some of the foremost Black visual artists working today.
Bespoke search engines are everywhere and as a search engine optimiser (that’s my day job), I love this kind of stuff. Flim follows in the footsteps of Frinkiac and Filmgrab but with a key difference: AI.
FLIM is the answer to the statement: images are everywhere, movies, TV, music-clips, internet. Images are needed at every creative process level. From Fashion to design, via cinema and music video. To meet that need, Dan PEREZ (C.E.O. of Flim) started in 2011 a website « ffffilm.com ». This site collect screenshots from movies. The FLIM’s ancestor had 50 000 monthly users and more than 30 000 screenshots library. This experience is absolutely clear: there is an empty space for iconographic searching.
Flim’s database has over 300,000 screenshots from movies, TV shows, music videos, and loads more. Each one is categorised by media type, director, director of photography, style, and release date but here’s where the AI comes in: it can detect things like clothing, characters, identified colours, and objects. So if you searched for “table”, you’d get screenshots like this:
That’s a lot of tables. I also tried a manual colour search (magenta, although you can search by colour using Flim’s dedicated swatch search feature) and it worked really well.
The successful outcome of the auction testifies to an irrefutable fact: The void is nothing but a space full of energy, and even if we empty it and nothing remains, according to Heisenberg’s uncertainty principle that nothingness has a weight. It, therefore, has an energy that condenses and transforms itself into particles, in short, in us! When I decide to “exhibit” an immaterial sculpture in a given space, that space will concentrate a certain quantity and density of thoughts in a precise point, creating a sculpture that from my title alone will take the most varied forms. After all, don’t we give shape to a God we have never seen?
Originally launched in 2013 as a digital hub for cultural conversations, Saint Heron’s mission has been to preserve, collect, and uplift stories, works, and archives that amplify Black and brown voices. Now, in its next phase, it will release a dossier of literary and visual retrospectives of Black family and artist lineages through a series of temporary digital exhibitions, viewable on the Saint Heron website. Available for seven to 10 days, they will offer an in-depth look at emerging talent across art, sculpture, photography, design, and artisanship.