Art Therapist

Overview

Art Therapist is one of the Top Ten Hot Jobs of 2007, according to AOL’s popular CareerBuilder.com website.

Art therapy is an established mental health profession that uses the creative process of art making to improve and enhance the physical, mental and emotional well-being of people at all ages. It is based on the belief that the creative process involved in artistic self-expression helps people to resolve conflicts and problems, develop interpersonal skills, manage behavior, reduce stress, increase self-esteem and self-awareness, and achieve insight.

Art therapy integrates the fields of human development, visual arts, and the creative process with models of counseling and psychotherapy. Art therapy is used with children, adolescents, adults, older adults, groups, and families to assess and treat:

  • anxiety, depression, and other mental/emotional problems
  • mental illness
  • substance abuse and other addictions
  • family and relationship issues
  • abuse and domestic violence
  • social/emotional difficulties related to disability or illness
  • personal trauma, post traumatic stress disorder and loss
  • physical, cognitive, and neurological problems
  • psychosocial difficulties related to medical illness

Some art therapists work as part of a healthcare team that includes physicians, psychologists, nurses, mental health counselors, marriage and family therapists, rehabilitation counselors, social workers, and teachers. Together, they determine and implement a client’s therapeutic goals and objectives. Other art therapists work independently and maintain private practices with children, adolescents, adults, groups, and/or families.

If you’re considering this career, keep in mind that an art therapist needs certain personal qualities – such as sensitivity, empathy, emotional stability, patience, interpersonal skills, insight into human behavior, and an understanding of artistic media. An art therapist must also be an attentive listener and a keen observer. Flexibility and a sense of humor are also invaluable.

You can download, save and print a PDF of this career profile:

Art Therapist September 30, 2010 [PDF 62KB]

For more information about pursuing this career, see the American Art Therapy Association (AATA) website.

Also, here is an additional link: Travel Nursing.org

Working Conditions

Art therapists work in a wide variety of settings — including, to name a few:

  • Hospitals and clinics, both medical and psychiatric
  • Out-patient mental health agencies and day treatment facilities
  • Residential treatment centers
  • Halfway houses
  • Domestic violence and homeless shelters
  • Community agencies and non-profit settings
  • Sheltered workshops
  • Schools, colleges, and universities
  • Correctional facilities
  • Elder care facilities
  • Art studios
  • Private practice

Husband and wife team Cortney and Robert Novogratz are The Novogratz

Inspiration:

We’re continually inspired by the power that art has to transform a space. A piece of art adds soul to any space and can directly affect people’s moods and emotions. Whether you’re the artist, or you’re selecting a piece of art for a room, the piece you choose is an expression of who you are. We’re constantly inspired by our travels and our children. From flea markets in Paris, to the vibrant colors of Brazil, to our own neighborhood in New York, inspiration is all around you.

About:

Husband and wife team Cortney and Robert Novogratz are The Novogratz. This hip and artsy couple have developed and designed many unique properties, rebuilt entire city blocks, created fabulous spaces and executed every detail with the utmost style. The Novogratz specialize in creating one-of-a-kind dwellings from wrecks and empty lots, crafting distinctive architectural details throughout, then decorating each room with rare collectibles. Their second book “Home By Novogatz” hits shelves this October. The second season of their hit TV show, “Home by Novogratz”, premiered on August 4th at 7PM(EST) on HGTV. The Novogratz (formerly Sixx Design) took shape in 1995. Robert and Cortney both hail from large families and had parents who were decorating enthusiasts. They are the parents of seven children and currently live and work in a townhouse that they designed and built on Manhattan’s West Side Highway.

Art Spotlight: Art Prize 2012, African American Artist

We Honor and Celebrate African American Artists at ArtPrize 2012

By George Bayard III

It is that time of year again. The annual ArtPrize competition is in full swing. ArtPrize, in it’s forth year, brings together 1,517 artists and performers from around the world to Grand Rapids to compete for the worlds largest art prize, $560,000 in total prize money. The public will decide the top 10 works in the first round (Sept. 19 – Sept. 29) then choose the winners in the second round (Sept. 30 – Oct. 4). Anyone over the age of 16 can register to vote.  Votes are cast on artprize.org, via text message and mobile application. The overall goal of this event is to initiate and continue a dialog about art.

That dialog has been somewhat successful as my colleagues and clients maintain the discussion about art and ask critical questions year round.” How do I locate art by African American artists?” “Why are there no venues in our community?” Do Black artists ever win prize money?” “Why is so hard to register?” These are but a few of the questions that I get every year when ArtPrize is concluded. The Grand Rapids Times has provided a list of African American artists each year if one wants to cast a vote. Derrick Hollowell’s L-Loft at 106 S.Division (second floor) has been one of the few Black-owned venues for ArtPrize located in the 3 mile, downtown area.

It really is not hard to register but could be a bit challenging for someone not “tech savvy”.   You can create an artprize.org account any time.  Then activate your voter account at any of the Registration Sites during ArtPrize 2012. You must be within the ArtPrize boundaries during the event to activate. Want to create an artprize.org account and activate your voter status all at the same time?  Visit any of the Registration Sites during the event with your email address and valid government ID in hand. Registrars will do the rest.  You can now sign up with Facebook, making it a one-click process. Well maybe it isn’t so easy to register. I encourage you to get out and visit the sites, enjoy the artwork and vote for your favorites.  We welcome nationally known artists Alison Saar, Steve Prince and Charles McGee into our community. Here is a partial list of African American artists and their works:

Together – never; except in an exhibit of their graphic designs at the Art Museum

Caroline Tiger, For The Inquirer

Posted: Friday, November 30, 2012, 2:53 PM

Reporters are always asking Paula Scher and Seymour Chwast when they’re going to collaborate. That’s what happens when you’re famous, married, and working in the same industry. Scher and Chwast are firm: Never. “It’s not so much our lack of interest than it would break up our marriage,” Chwast (pronounced Kwahst) tells me, because I can’t resist asking, either.

Later I ask Scher. “No,” she says. “We can’t collaborate. It’s impossible.”

Besides the relational politics, they work in different styles and on different scales. She communicates through typography, and he uses illustration. She works on buildings and multinational corporate identities. He does editorial illustrations for magazines and designs books and posters. But isn’t the exhibit “Double Portrait: Paula Scher and Seymour Chwast, Graphic Designers,” opening Sunday at the Philadelphia Museum of Art, a collaboration of sorts? The museum’s description declares this is the first time these designers, who happen to be married, have exhibited jointly. It turns out the day-to-day of Scher and Chwast’s intertwined creative lives is less about togetherness than it is about two individuals designing side by side.

The exhibit depicts that duality. Inside the gallery, two gigantic lowercase a’s face off on opposing walls. One, designed by Chwast in the 1960s for packaging for India ink, is curvaceous, funny, and suggestive of an ink drop. The other, designed by Scher for a Type Directors Club project, is aggressive and geometric. If the a’s are Chwast and Scher sitting at the heads of the dinner table, the perpendicular walls crowded with posters are the offspring of these two fertile minds. That noisy symphony of type and images displays another shared trait – these are not designers who hold back.

“There’s a commonality of interest,” says Kathy Hiesinger, the museum’s curator of European Decorative Arts after 1700. “They share a sense of humor, and both enjoy retrieving images from the past.” Steven Heller, the prolific design writer and longtime friend of the couple’s, says, “Both have invented more than one visual language that draws on other sources but can be discerned as their own.”

Scher, 64, and Chwast, 81, married for the first time in 1973, divorced five years later, and remarried in 1989. Being 17 years older than Scher, Chwast already had a reputation as an influential graphic designer when they first met. Scher showed up in his office with her portfolio, fresh from the Tyler School of Art. He had already influenced her – as he did an entire generation of graphic design students – in art school.

In 1954, Chwast cofounded Push Pin Studios with Edward Sorel, Reynold Ruffins, and Milton Glaser, classmates from Cooper Union. His allusions to 19th-century woodcuts and surrealism (a couch with human legs, a skyscraper culminating in a fountain pen nib) in posters, advertising, and in the Push Pin Graphic, a promotional magazine that disseminated the studio’s work, were an affront to Swiss modernism. That prevalent style at the time preached straight lines, grid systems, and a lack of imagery. Helvetica, the Swiss style’s favored font, stands as straight-backed as a soldier, but Chwast’s type and illustrations are kinetic, colorful, and loose.

Mixing historical styles is common today, but in the ’50s and ’60s, it was radical. “This was way before anyone was talking about postmodernism,” Hiesinger says. In art school and in the ’70s when Scher was designing album covers at CBS Records, she was influenced by Push Pin to similarly rebel against Swiss modernism. As she explained during a talk about her life in design, Helvetica felt fascist. She responded to art nouveau, pop art, and Victorian typography “not because I was being a postmodernist or historicist, but because I hated Helvetica.”

At Tyler, because her illustration was stronger than her typography, design professor Stanislaw Zagorski suggested illustrating with type to imbue it with the same spirit. “He said the type could function the same way that illustration does,” Scher says. “That’s when I became interested in what letter forms look like and mean in terms of communication.” Push Pin’s work was a shining example.

In 1991 Scher joined design consultancy Pentagram as a partner. The posters and identity she created there for New York’s Public Theatre, with words dancing alongside Savion Glover, became a much-copied style.

Scher famously sketched the logo for Citibank on the back of a napkin after an initial client meeting, but still had to sit through a year of process meetings. Her own process is a lightning strike, while Chwast’s is more deliberate. He gets up early and draws all day. That has affected her greatly. “I really have been influenced by his dedication to his work and the sort of time he puts into it,” Scher says. “Sometimes I was forced to work all the time because I didn’t have anything else to do. I was married to him and that’s what he would do. And then, ultimately, it became habit.”

Major museum shows of graphic design are relatively rare. There have been three in the United States since 1988: Cooper Hewitt’s “Graphic Design: Now in Production” (2012), Walker Art Center’s “Graphic Design in America” (1988), and the Cooper Hewitt’s “Mixing Messages” (1996). In conjunction with the Art Museum exhibit, Scher and Chwast will receive Collab’s 22d Design Excellence award. The award has been around since 1986, but this is only the second time it has gone to graphic designers. “It seemed like it was long overdue,” Heisinger says, adding, “It was an obvious twofer.” It was obvious because together the couple’s work makes up a profound slice of graphic design history, and reflects our country’s cultural and political history dating to the mid-20th century. Also, Seymour Chwast and Paula Scher are kind of like the Warren Beatty and Annette Bening of graphic design – except Beatty and Bening are less opposed to collaborating.

Part of the appeal of the exhibit, running through April 14, is the voyeuristic thrill of seeing, through the close juxtaposition of their bodies of groundbreaking work, how the two have influenced each other. There is something intimate about those images and type waving, chattering, and hollering at one another across the room. Underlying it all are open-ended questions that ultimately make these icons relatable: “If I had not been with him, would I have lived my life exactly this way,” Scher says, “or am I with him because I always wanted to do it this way? I don’t know. I ask myself this question all the time.”

Mariah Carey Improves Her Christmas Classic

By
Posted Wednesday, Dec. 5, 2012, at 10:21 AM ET

The man who books musical guests on Jimmy Fallon has said the show’s strategy for getting great acts is to have them leave saying, “Hey, maybe we had a bad experience on TV one time, but we came to Fallon and it was really fun and different and cool and it sounded great and the audience liked it.”

 

Dave Brubeck Dead: Legendary Jazz Pianist Dies At 91

AP  |  By PAT EATON-ROBB  |
Posted: 12/05/2012 11:55 am EST Updated: 12/05/2012 9:18 pm EST

HARTFORD, Conn. (AP) — Jazz composer and pianist Dave Brubeck, whose pioneering style in pieces such as “Take Five” caught listeners’ ears with exotic, challenging rhythms, has died. He was 91.

Brubeck died Wednesday morning at Norwalk Hospital of heart failure after being stricken while on his way to a cardiology appointment with his son Darius, said his manager Russell Gloyd. Brubeck would have turned 92 on Thursday.

Brubeck had a career that spanned almost all American jazz since World War II. He formed The Dave Brubeck Quartet in 1951 and was the first modern jazz musician to be pictured on the cover of Time magazine – on Nov. 8, 1954 – and he helped define the swinging, smoky rhythms of 1950s and `60s club jazz.

The seminal album “Time Out,” released by the quartet in 1959, was the first ever million-selling jazz LP, and is still among the best-selling jazz albums of all time. It opens with “Blue Rondo a la Turk” in 9/8 time – nine beats to the measure instead of the customary two, three or four beats.

A piano-and-saxophone whirlwind based loosely on a Mozart piece, “Blue Rondo” eventually intercuts between Brubeck’s piano and a more traditional 4/4 jazz rhythm.

The album also features “Take Five” – in 5/4 time – which became the Quartet’s signature theme and even made the Billboard singles chart in 1961. It was composed by Brubeck’s longtime saxophonist, Paul Desmond.

“When you start out with goals – mine were to play polytonally and polyrhythmically – you never exhaust that,” Brubeck told The Associated Press in 1995. “I started doing that in the 1940s. It’s still a challenge to discover what can be done with just those two elements.”

After service in World War II and study at Mills College in Oakland, Calif., Brubeck formed an octet including Desmond on alto sax and Dave van Kreidt on tenor, Cal Tjader on drums and Bill Smith on clarinet. The group played Brubeck originals and standards by other composers, including some early experimentation in unusual time signatures. Their groundbreaking album “Dave Brubeck Octet” was recorded in 1946.

The group evolved into the Quartet, which played colleges and universities. The Quartet’s first album, “Jazz at Oberlin,” was recorded live at Oberlin College in Ohio in 1953.

Ten years later, Joe Morello on drums and Eugene Wright on bass joined with Brubeck and Desmond to produce “Time Out.”

In later years Brubeck composed music for operas, ballet, even a contemporary Mass.

In 1988, he played for Mikhail Gorbachev, at a dinner in Moscow that then-President Ronald Reagan hosted for the Soviet leader.

“I can’t understand Russian, but I can understand body language,” said Brubeck, after seeing the general secretary tapping his foot.

In the late 1980s, Brubeck contributed music for one episode of an eight-part series of television specials, “This Is America, Charlie Brown.”

His music was for an episode involving NASA and the space station. He worked with three of his sons – Chris on bass trombone and electric bass, Dan on drums and Matthew on cello – and included excerpts from his Mass “To Hope! A Celebration,” his oratorio “A Light in the Wilderness,” and a piece he had composed but never recorded, “Quiet As the Moon.”

“That’s the beauty of music,” he told the AP in 1992. “You can take a theme from a Bach sacred chorale and improvise. It doesn’t make any difference where the theme comes from; the treatment of it can be jazz.”

In 2006, the University of Notre Dame gave Brubeck its Laetare Medal, awarded each year to a Roman Catholic “whose genius has ennobled the arts and sciences, illustrated the ideals of the church and enriched the heritage of humanity.”

At the age of 88, in 2009, Brubeck was still touring, in spite of a viral infection that threatened his heart and made him miss an April show at his alma mater, the University of the Pacific.

By June, though, he was playing in Chicago, where the Tribune critic wrote that “Brubeck was coaxing from the piano a high lyricism more typically encountered in the music of Chopin.”

In 1996, he won a lifetime achievement award from the Grammys and in 2009 he was a Kennedy Center Honors recipient.

Brubeck told the AP the Kennedy Center award would have delighted his late mother, Elizabeth Ivey Brubeck, a classical pianist who was initially disappointed by her youngest son’s interest in jazz. (He added that she had lived long enough to come to appreciate his music.)

Numerous jazz musicians were already on their way to Connecticut this week for a birthday concert in his Brubeck’s honor that had been scheduled for Thursday in Waterbury. The show will go on as a tribute concert. Darius, an acclaimed pianist, was among those scheduled to perform along with saxophonist Richie Cannata, and Bernie Williams, former New York Yankees star and a jazz guitarist.

Born in Concord, Calif., on Dec. 6, 1920, Brubeck actually had planned to become a rancher like his father. He attended the College of the Pacific (now the University of the Pacific) in 1938, intending to major in veterinary medicine and return to the family’s 45,000-acre spread.

But within a year Brubeck was drawn to music. He graduated in 1942 and was drafted by the Army, where he served – mostly as a musician – under Gen. George S. Patton in Europe. At the time, his Wolfpack Band was the only racially integrated unit in the military.

In an interview for Ken Burns’ PBS miniseries “Jazz,” Brubeck talked about playing for troops with his integrated band, only to return to the U.S. to see his black bandmates refused service in a restaurant in Texas.

Brubeck and his wife, Iola, had five sons and a daughter. Four of his sons – Chris on trombone and electric bass, Dan on drums, Darius on keyboards and Matthew on cello – played with the London Symphony Orchestra in a birthday tribute to Brubeck in December 2000.

“We never had a rift,” Chris Brubeck once said of living and playing with his father. “I think music has always been a good communication tool, so we didn’t have a rift. We’ve always had music in common.”

UVA Forgotten Cemetery: Archaeological Survey Uncovers 67 Graves, Likely Black Slaves

The Daily Progress, Charlottesville, Va.  |  By
Posted: 12/04/2012 2:53 pm EST Updated: 12/05/2012 9:41 am EST

The nameless graves follow the line of a long-gone fence. They’re mostly marked with fieldstones, if they’re marked at all.

And though they sit just outside the stately stone wall of the University of Virginia Cemetery, it’s unlikely anyone today will know who was buried there generations ago.

Archeologists have found 67 graves in the forgotten cemetery. The dead are probably black and possibly slaves, officials have said, but it’s hard to know any more than that.

“I’m sure they will look as hard as they can to find definitive information, but it may be that we will never have a definitive answer,” University Landscape Architect Mary Hughes said.

She called the fieldwork that’s just wrapping up only the first part of the investigation. Researchers are hoping to use a camera on a balloon today to shoot aerial photos of the site discovered as researchers explored the area in preparation for an expansion of the university cemetery.

Soon, the search will turn to UVa’s “copious” collection, Hughes said.

Researchers will not excavate graves, both out of respect and because they said they don’t think it would be productive. The university will preserve and memorialize the gravesite, officials said.

This isn’t the first time the university has made a discovery like this one.

Hughes cited the Catherine “Kitty” Foster site, found in the early 1990s near Jefferson Park Avenue. Archeologists searching in advance of a parking lot expansion initially found 12 graves. At the time, researchers theorized the people buried there might be descendants of Foster, a free black woman, and her relatives.

“They thought they had some idea who the burials were,” Hughes said.

A few years later, a wider-ranging search ahead of a major construction project in the area turned up another 20 graves. Now, researchers say, it likely was a community cemetery, but specifics remain scarce.

Institutional records aren’t likely to turn up any more information about the recently discovered graves, said Rivanna Archaeological Services’ Benjamin Ford, who is helping oversee the dig. Personal papers might have indirect references to who’s buried there, he said.

Researchers will target their search toward UVa’s immense collection, searching indexes for papers from individuals at the university before and after the Civil War, Ford said.

For example, Ford said, there’s a reference in the 1830s to a professor making a coffin for a dead servant.

“We know they died, we know they were buried in coffins … but there’s no direct reference to burying them back of the existing university cemetery, and I do not think we will find a list or partial list recording individuals who were buried here,” Ford said.

Ford said that so many graves, so poorly marked indicates they almost certainly hold the remains of blacks.

Any other interpretation would be beyond his “understanding of the relationships between whites and blacks in life and in death in the 1800s,” he said.

“I just can’t imagine that we have this number of white individuals buried here without acknowledgement and marking,” he said.

In his assessment, Ford also cites the quote researchers uncovered, indicating that “servants” — probably meaning slaves — were buried north of the official cemetery “in old times” — probably meaning before the Civil War.

Hughes also said the graves could theoretically predate the university’s acquisition of the land in the early 19th century.

When officials announced the find at the beginning of November, researchers had uncovered 30 graves. By the time they’d found the cemetery’s northern and eastern edges, the total had more than doubled.

“I just think we’re all surprised at the number of individuals that are buried here,” Ford said.

And the quote about servant burials has another implication, Ford said: The burials could stretch all the way to the old border of the cemetery, far to the south.

While researchers want to know more, they won’t excavate. Leaving the graves alone is the more respectful course, said UVa’s chief facilities officer, Don Sundgren. And it’s not clear that digging up the remains would reveal much new information, Ford said.

Unearthing a grave can provide clues — based on the particular styles of objects such as buttons, buckles and coffin hardware — indicating broadly when a burial might have taken place, Ford said. But that’s unlikely to reveal who’s buried there or provide information about when other graves were created, he said.

M. Rick Turner, president of the Albemarle-Charlottesville NAACP, said officials should do everything possible — including excavating graves — to figure out whose resting places have been found.

“Our history at the university has been buried so much,” he said. “Oftentimes, we don’t want to find out.”

He criticized the way officials and researchers have spoken of the graves as callous.

Archeologists have asked university officials to permit sample excavations of some of the fenceposts.

“We might be recovering material culture, which would help us, of course, date the fence line,” Ford said. “All we believe now is that it dates to the 1800s, but it might help us date it tighter, closer and indirectly date the burials.”

Bricks and stones might have been used to help support the posts in the holes, and artifacts might have fallen into the holes, Ford said.

The graves have been found in short rows and groups. The mix of children and adults among the dead suggests there might be family groups, Ford said.

Archeologists have found two broken marble headstones in addition to the fieldstones, but no inscriptions, Ford said. That might be because it was illegal for slaves to learn to read and write, or it might have been deliberate, intended to make grave-robbing more difficult. That was common in the 19th century because medical students had no legal way to acquire cadavers, Ford said. Black graves were a frequent target, he said.

Workers will survey the location of each grave, and officials are debating how best to memorialize the unknowns buried there.

Dr. Marcus L. Martin, UVa’s vice president and chief officer for diversity and equity, said one key consideration is determining what should mark the edge of the burial ground. He said he wondered whether it is better to recreate history, with the black graves inside a wooden fence and the official cemetery ringed by a stone wall, or to give the black cemetery a new wall of its own?

Officials haven’t yet decided where the cemetery expansion will go.

The Virginia State Archaeologist could not be reached for comment for this story because he’d been called to Tangier Island to deal with erosion in a cemetery after Hurricane Sandy. ___

(c)2012 The Daily Progress (Charlottesville, Va.)

Visit The Daily Progress (Charlottesville, Va.) at www2.dailyprogress.com

Distributed by MCT Information Services

Richest Black Woman In The World, Folorunsho Alakija, Was A Major Fashion Designer In Africa

The Huffington Post  |  By
Posted: 12/05/2012 2:55 pm EST Updated: 12/05/2012 10:43 pm EST

We didn’t think it was possible, but Oprah Winfrey has been dethroned as the richest black woman in the world. The new leading lady is oil baroness Folorunsho Alakija from Nigeria.

While drilling oil has reportedly made the 61-year-old owner of FAMFA Oil Limited a very rich woman — she is estimated to be worth at least $3.2 billion — Alakija started her ascent to financial supremacy in fashion.

Born into a wealthy family, Alakija studied fashion design in England back in the ’80s and soon after founded the Nigerian clothing label Supreme Stitches. Her one-of-a-kind creations were worn by the who’s who of African society, quickly making her the premier fashion designer in the West African country. In fact, she has been called one of the “pioneers of Nigerian fashion” and stays connected to the industry through the Fashion Designers Association of Nigeria (FDAN).

The well-heeled businesswoman and philanthropist made the switch to oil in 1993 and the rest is history. From the images we were able to dig up of Alakija, she is quite the fashion plate (read: eccentric dresser). But when you’ve out-earned the Queen of All Media by approximately $500 million, you’re allowed to wear whatever you want.

Ventures Africa reports that Alakija owns at least $100 million in real estate and a $46 million private jet. And can you imagine what her closets look like? Move over, Imelda Marcos!

Check out Alakija looking very lovely (and rich) on the November 2012 cover of Geneieve magazine in a dress by Iconic Invanity.

The 2013 LA Art Show

The 2013 LA Art Show presents the art world¹s limitless range featuring exhibitors who appreciate the past, embrace the present and forecast the future. The LA Art Show is the West Coast¹s most comprehensive art experience, with 4 distinct sections: Modern & Contemporary, Historic & Traditional, Vintage Posters, and the IFPDA Los Angeles Fine Print Fair, showcasing the highest caliber galleries enhanced by exceptional programming and special exhibitions.

TICKET INFORMATION
General Admission One Day
Ticket price is $20 with $5 discount when purchased online

Four Day Pass (Admission for One Person) Good for one person: $40 with $5 discount whenpurchased online

OPENING NIGHT PREMIERE PARTY
Wednesday, January 23, 2013
Be the first to preview art from top galleries and enjoy culinary delights and specialty beverages courtesy of L.A.’s finest restaurants and support this year’s beneficiary.

LOCATION
Los Angeles Convention Center
South Hall, 1201 South Figueroa Street
Los Angeles, CA 90015

CONTACT
To contact us, please visit the Contact page here
Patron Level Ticket to Premiere Party $500.00 — 7pm – 8pm
Friend Level Ticket to Premiere Party $125.00  — 8pm -11pm
purchase tickets

Stanley Kubrick Art of the Americas Building, Level 2 November 1, 2012–June 30, 2013

Stanley Kubrick was known for exerting complete artistic control over his projects; in doing so, he reconceived the genres in which he worked. The exhibition covers the breadth of Kubrick’s practice, beginning with his early photographs for Lookmagazine, taken in the 1940s, and continuing with his groundbreaking directorial achievements of the 1950s through the 1990s. His films are represented through a selection of annotated scripts, production photography, lenses and cameras, set models, costumes, and props. In addition, the exhibition explores Napoleon and The Aryan Papers, two projects that Kubrick never completed, as well as the technological advances developed and utilized by Kubrick and his team. By featuring this legendary film auteur and his oeuvre as the focus of his first retrospective in the context of an art museum, the exhibition reevaluates how we define the artist in the 21st century, and simultaneously expands upon LACMA’s commitment to exploring the intersection of art and film.

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Museum to open balcony where U.S. civil rights leader Martin Luther King was shot More Information: http://www.artdaily.org/index.asp?int_sec=2&int_new=58711&b=african%20american#.UKjtBeQ73lc[/url] Copyright © artdaily.org

Picture dated April 4, 1998 shows former Memphis sanitation workers Eugene Brown (L), James Jones (C), and Lafayette Shields (R) standing in front of the National Civil Rights Museum, the site where Martin Luther King was assassinated, after a memorial service for the late civil rights leader in Memphis. The motel balcony in Memphis, Tennessee, where US civil rights leader Martin Luther King, Jr. was assassinated on April 4, 1968 is being opened to the public, a spokeswoman said on November 2, 2012. It is the first time that visitors to the erstwhile Lorraine Motel, now the National Civil Rights Museum, will be able to stand on the very spot outside Room 306 where King was gunned down by sniper James Earl Ray. AFP PHOTO/FILES/Andrew CUTRARO.

WASHINGTON (AFP).- The motel balcony in Memphis, Tennessee where US civil rights leader Martin Luther King, Jr. was assassinated on April 4, 1968 is being opened to the public, a spokeswoman said Friday.

It is the first time that visitors to the erstwhile Lorraine Motel, now the National Civil Rights Museum, will be able to stand on the very spot outside Room 306 where King was gunned down by sniper James Earl Ray.

Connie Dyson, the museum’s communications coordinator, said the upper-floor balcony will be open from November 19 as the historic landmark in downtown Memphis undergoes a $27 million facelift due to finish in early 2014.

“It is our most unique artifact, the balcony,” Dyson told AFP by telephone.

“But with the entire Lorraine building being closed during renovations, we wanted to offer the public an access to the balcony and the room where Dr King stayed, since that was one of the highlights of the (pre-renovation) tour.”

With its slightly disheveled bed, black dial-up telephone and unfinished cups of coffee, Room 306 has been left untouched since the evening when King, 39, was fatally shot at the height of the civil rights movement.

“Nobody’s ever stayed in the room (since King’s death). It’s been a shrine ever since,” Dyson said.

Visitors who until now could peer into Room 306 via a sealed glass window along the interior hallway will, during the renovations, “get a chance to peek… from the outside,” Dyson added.

Ray, a white drifter with a criminal record, was convicted of shooting King with a rifle from a building across the street from the Lorraine. Sentenced to 99 years in prison, he died in April 1998 at the age of 70.

In October 2011 King became the first African american to be honored with a monument along the National Mall in Washington, engraved with words from his stirring 1963 “I Have a Dream” speech for racial equality.

More Information: http://www.artdaily.org/index.asp?int_sec=2&int_new=58711&b=african%20american#.UKjtBeQ73lc[/url]
Copyright © artdaily.org

“WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath” opens in Houston

Alfred Palmer, American (1906–1993), Women aircraft workers finishing transparent bomber noses for fighter and reconnaissance planes at Douglas Aircraft Co. Plant in Long Beach, California, 1942, gelatin silver print, The Museum of Fine Arts, Houston, gift of Will Michels in honor of his sister, Genevieve Namerow.

HOUSTON, TX.- On November 11, 2012, the Museum of Fine Arts, Houston, debuts an unprecedented exhibition exploring the experience of war through the eyes of photographers. WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath features nearly 500 objects, including photographs, books, magazines, albums and photographic equipment. The photographs were made by more than 280 photographers, from 28 nations, who have covered conflict on six continents over 165 years, from the Mexican-American War of 1846 through present-day conflicts.

WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath has been organized by the MFAH curatorial team of Anne Wilkes Tucker, the Gus and Lyndall Wortham Curator of Photography; Will Michels, photographer and Glassell School of Art instructor; and Natalie Zelt, curatorial assistant for photography. After the MFAH premiere, which runs November 11, 2012, to February 3, 2013, the presentation travels nationally to the Annenberg Space for Photography, Los Angeles; the Corcoran Gallery of Art, Washington, DC; and the Brooklyn Museum. Accompanying the exhibition is a 600-page catalogue of the same title, with interviews and essays by the curators, contributing scholars and military historians.

The exhibition takes a critical look at the relationship between war and photography, exploring what types of photographs are, and are not, made, and by whom and for whom. Rather than a chronological survey of wartime photographs or a survey of “greatest hits,” the exhibition presents types of photographs repeatedly made during the many phases of war—regardless of the size or cause of the conflict, the photographers’ or subjects’ culture or the era in which the pictures were recorded. The images in the exhibition are organized according to the progression of war: from the acts that instigate armed conflict, to “the fight,” to victory and defeat, and images that memorialize a war, its combatants and its victims. Both iconic images and previously unknown images are on view, taken by military photographers, commercial photographers (portrait and photojournalist), amateurs and artists.

“WAR/PHOTOGRAPHY promises to be another pioneering exhibition, following other landmark MFAH photography exhibitions such as Czech Modernism: 1900–1945 (1989) and The History of Japanese Photography (2003),” said Gary Tinterow, MFAH director. “Anne Tucker, along with her co-curators, Natalie Zelt and Will Michels, has spent a decade preparing this unprecedented exploration of the complex and profound relationship between war and photography.”

“Photographs serve the public as a collective memory of the experience of war, yet most presentations that deal with the material are organized chronologically,” commented Tucker. “We believe WAR/PHOTOGRAPHY is unique in its scope, exploring conflict and its consequences across the globe and over time, analyzing this complex and unrelenting phenomenon.”

The earliest work in the exhibition is from 1847, taken from the first photographed conflict: the Mexican-American War. Other early examples include photographs from the Crimean War, such as Roger Fenton’s iconic The Valley of the Shadow of Death (1855) and Felice Beato’s photograph of the devastated interior of Fort Taku in China during the Second Opium War (1860). Among the most recent images is a 2008 photograph of the Battle Company of the 173rd Airborne Brigade in the remote Korengal Valley of Eastern Afghanistan by Tim Hetherington, who was killed in April 2011 while covering the civil war in Libya. Also represented with two photographs in the exhibition is Chris Hondros, who was killed with Hetherington. While the exhibition is organized according to the phases of war, portraits of servicemen, military and political leaders and civilians are a consistent presence throughout, including Yousuf Karsh’s classic 1941 image of Winston Churchill, and the Marlboro Marine (2004), taken by embedded Los Angeles Times photographer Luis Sinco of soldier James Blake Miller after an assault in Fallujah, Iraq. Sinco’s image was published worldwide on the cover of 150 publications and became a 2005 Pulitzer Prize finalist.

The exhibition was initiated in 2002, when the MFAH acquired what is purported to be the first print made from Joe Rosenthal’s negative of Old Glory Goes Up on Mount Suribachi, Iwo Jima (1945). From this initial acquisition, the curators decided to organize an exhibition that would focus on war photography as a genre. During the evolution of the project, the museum acquired more than a third of the prints in the exhibition. The curators reviewed more than one million photographs in 17 countries, locating pictures in archives, military libraries, museums, private collections, historical societies and news agencies; in the personal files of photographers and service personnel; and at two annual photojournalism festivals: World Press Photo (Amsterdam) and Visa pour l’Image (Perpignan, France). The curators based their appraisals on the clarity of the photographers’ observation and capacity to make memorable and striking pictures that have lasting relevance. The pictures were recorded by some of the most celebrated conflict photographers, as well as by many who remain anonymous. Almost every photographic process is included, ranging from daguerreotypes to inkjet prints, digital captures and cell-phone shots.

The MFAH curators have been joined on this ambitious project by an international advisory committee: Hilary V. Roberts, head of collections management for the Imperial War Museum Photograph Archive in London; John Stauffer, chair of the history of American civilization and professor of English and African and african american studies at Harvard University; William Sheldon Dudley, former director of naval history for the U.S. Navy Department and retired director of the Naval Historical Center, Washington, DC; Jeffrey William Hunt, director of the Texas Military Forces Museum in Austin; Xavia Karner, chair of the Sociology Department at the University of Houston; and Paul J. Matthews, founder and chairman of the Buffalo Soldiers National Museum in Houston. Additionally, Bodo von Dewitz, senior chief curator of the Museum Ludwig in Cologne, Germany; and Liam Kennedy, director of the Clinton Institute for American Studies at University College Dublin, contributed essays to the catalogue.

Girl on Trail: Proper foot striking … is it really that important?

I’m becoming pretty familiar with my feet.

More specifically, I’m becoming familiar with how much abuse they’re getting while I’m training for this half-marathon. My ankles are covered in blisters, the sides of my pinky toes have never-ending peeling skin, and I get weird toe cramps after a long run.

It’s not that I’m wearing the wrong shoes, it’s just that I’m running like a maniac. All the time.

Which, recently, got me thinking about the whole concept of the “foot strike.” In running, this refers to how your feet land on the ground when you run. If you’ve never thought about it while on a run, you will now.

In recent years, the “Chi Running” method made the foot strike concept a little more popular, mostly because it advocates a mid-foot strike as opposed a heel strike—the one that most people use. Talk to 10 different running experts and you’ll probably come away with 10 different opinions about foot strikes. Some believe in toe, some mid-foot, some heel, and some just say to run “naturally.”

Here are the basics behind each type of foot strike. Try them all out and see if you notice a difference in your pace or how you feel after a run:

read more….

Coolest commutes on two wheels

Over the last 5 years, commuting by bike has risen 25%, according to the U.S. Census Bureau. Dozens of companies have sprung up to fill the demand.

Oakland-California based Xtraclycle is out to prove that bike commuting means more than just riding to work, but using pedal power for routine chores as well.

Its extended bikes are more like trucks — able to carry up to 300 pounds — making the bicycle a natural choice for all manner of errands.

“We’ve seen a huge spike in sales the last few months,” said Nate Byerley, the company’s chief operating officer, crediting the recovering economy.

This model starts at $1,099.

Word, Shout, Song: Lorenzo Dow Turner

Exhibit Details

Opening Date:

June 15, 2012

Closing Date:

December 31, 2012
DuSable Museum

Museum Hours

Tuesday—Saturday, 10:00 a.m.–5:00 p.m.
Sunday, Noon–5:00 p.m.
(Closed Mondays)
Closed Thanksgiving
Admission Information

Museum Location

740 East 56th Place
Chicago, Illinois 60637

Word, Shout, Song: Lorenzo Dow Turner Connecting Communities through Language

This exhibition documents the historical journey made by people from Africa to the Americas, along with their language and music. In the 1930s, Lorenzo Dow Turner discovered that the Gullah people of Georgia and South Carolina retained parts of the culture and language of their West African enslaved ancestors. Turner’s research produced a living treasury of previously unknown traditions, songs, and folkways that also uncovered and illuminated the connections with West African and Afro-Brazilian communities. On view are rare photographs, recordings, and artifacts collected by Turner from those Gullah communities in the United States, Brazil, and West Africa.

Sierra Leone Mende Wm funeral reenact
Mende women reenacting a Mende funeral ceremony.
Courtesy Anacostia Community Museum/Smithsonian Institution

Ring Shouters Georgia
Ring Shouters, 1930
Courtesy Anacostia Community Museum/Smithsonian Institution

Nigeria - 2  men & tape recorder
Two men with tape recorder.
Courtesy Anacostia Community Museum/Smithsonian Institution

Lorenzo Dow Turner portrait
Lorenzo Dow Turner portrait

Organized by Smithsonian Anacostia Community Museum

Researched, Designed and Presented by the Smithsonian Anacostia Community Museum. This traveling exhibition is made possible by the James E. & Emily E. Clyburn Endowment for Archives & History at South Carolina State University,