---------- Forwarded message ----------
From: The Carrack Modern Art
Date: Wednesday, December 14, 2011
Subject: IMPROMPT2 Community Art Show - Third Friday Durham at The Carrack
To: akira.morita@gmail.com

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Dear Akira ,

Imprompt2, our second community art show, is on view at the Carrack this weekend only!
 
Please join us on Friday, December 16 from 7 - 10PM during Third Friday Durham.
 
Thanks to an amazing show of support from over 200 backers connected to the Durham community, the Carrack successfully raised enough funds to cover all of 2012's rent, utilities and insurance. We are so grateful for your help and we hope you will come celebrate with us.
Send this to your friends!
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Durham Sculpture Project | 109 Cricket Ground | Durham | NC | 27707

From David Airey's blog, Identity Designed:

Contributed by Bobby Martin of New York-based OCD.

During construction, the Museum for African Art (MFAA) wanted to conceal
the work in progress, while teasing whats to come and allowing full access
to the public space near Duke Ellington Circle, as well as preserve the
views of the park from the interior. Even under construction, the sight
line from the second floor to the Harlem Meer was not to be missed.

Robert A. M. Stern developed a window pattern based on African textiles and
domiciles. To conceal without concealing, OCD layered on a second, third
and fourth application of African patterning. These were translated into
the MFAA brand colors and modernized a bit. The effect is a peek-a-boo
teaser that lets the light shine in and out.

The AfriSans typeface is the core of the MFAA identity system. Inspired by
the buildings architecture, each letterform locks into the figures around
it. To build a fully integrated system, every letterform had to be drawn
and programmed twice: opening up and opening down. Each headline makes a
uniquely Museum for African Art tesselating statement.

Fall Benefit Silent Auction, invitation system

Capital Campaign, customisable consistency

Design: Jennifer Kinon, Bobby C. Martin Jr.

Typography: Jesse Ragan

Photography: Ari Burling

View more brand identity work on The Original Champions of Design website.
Follow OCD on Twitter.

Visit the Museum for African Art website.

///////////////////////////////////////////
Copernicus Science Centre

Posted: 08 Nov 2011 06:47 AM PST
http://identitydesigned.com/copernicus-science-centre/

Contributed by Katarzyna Maciąg of Warsaw-based Mamastudio.

The Copernicus Science Centre wayfinding system was designed to highlight
the buildings architecture and its surroundings in a subtle but clear way.
The designers task was to come up with a unique, custom-made system that
would immediately create associations with the Copernicus Science Centre
structure. The characteristic form of the building was used by Mamastudio
as a source of inspiration. The irregular forms that were visible on
architectural plans have been repeated in the shape of information modules,
signs and icons. The typography used (Museo) repeats the shapes and rhythm
of the icons to ensure further consistency. Associations with the Centre
were additionally enhanced by the usage of the colours present in the
institution’s identification system.

The Copernicus Science Centre in Warsaw is built on an open plan which
means there are a few walls on which signage could be placed. Mamastudios
solution was to create special three-dimensional and free-standing forms of
whose shapes are inspired by the architecture and which are used as a
source of direction. Maps and plans placed on the blocks help visitors find
their way in the science centre.

Minimal use of colours, simplicity and consistency of design ensured
visibility on the multi-colured background of numerous exhibitions and
often changing exhibits.

The system is intuitive and easily navigable, noticeable in two languages
(Polish and English) and clearly recognizable without being overwhelming or
driving attention away from the exhibition.

Wayfinding system for The Copernicus Science Centre, author: Mamastudio
www.mamastudio.pl

Art Direction: Magdalena Ponagajbo, art director partner, Mamastudio

Three-dimensional forms created by Piotr Stolarski

Halfway is kind of a funny thing. Many writers probably haven’t hit
25,000 words yet. Good news though, we’re not actually halfway yet! You
have until next Tuesday! Tonight, I attended a write-in where we had
someone join us at 0 words, still ready to take on the challenge. Two
others hit 50,000 at the gathering (congratulations to Jeffy and Danielle
and all the other who have hit 50k already). Halfway is a great marker,
but it’s not really all that important. It’s just a friendly reminder
you are halfway through the time allotted for the challenge.

Halfway is the place to check your pace, adjust for the duration of the
journey and continue on. There’s still plenty of time to meet your
writing goals.

It’s also a time and place for a party! Thanks to the amazing Richard
Hugo House for hosting us, yet again, we’re lucky to have the space to
allow as many writers as possible gather and boost our word count. The
party is on the 12th this year, which is great because it’s an all-day
write-in! Come catch up or get ahead!

When: November 12, 2011 10am - 6pm.
Where: The Richard Hugo House: 1634 11th Ave Seattle, WA
Who: All NaNoWriMo Participants, regardless of word count â€" high or low!
We want to see you!

There is space for a lot of writers! We hope to see you there at some
point in the day. Feel free to come at any time, stay for the whole event
or just a few hours. There will be duckies, games, word sprints, novel
excerpts, cake (seriously, there will be cake), fellowship and
inspiration.

See you there!
Renda Dodge
Municipal Liaison
http://www.nanowrimo.org/en/participants/lheannon

From the organizers:

Hello Playwrights~

There are just a few spots left in this year's PlaySlam! if you'd like
to include your scripts, send 'em on in...! Read more below....
To fill these remaining slots, the deadline has been extended to Monday,
November 14.
Who knows~it could be the easiest $100 you ever made! And please pass
this along to your fellow playwriting friends~

Best, Jeri Lynn

Jeri Lynn Schulke
Artistic Director, ArtsCenter Stage
The ArtsCenter
919-929-2787 ext 221
Theatre@ArtsCenterLive.Org

Submissions being accepted for the 9th Annual
PlaySlam!

ArtsCenter Stage in collaboration with The Playwrights Roundtable
announce the 9th Annual PlaySlam! currently accepting submissions.
PlaySlam! is November 19 @ 8pm with rehearsals starting at 5pm

This is theatre at its liveliest and least rehearsed and voting at its
most irregular! Join us for an evening of convivial competition in
which one-to-three-minute plays vie for fame and fortune and the
audience calls all the shots!

HOW IT WORKS:

* All playwrights submit 2 scripts (1 play for each round) of
1-to-3 minutes in length.
* Only 1 play per round accepted
* The acting ensemble performs all Round 1 plays.
* The audience votes on their 5 favorite plays.
* The acting ensemble performs the 5 Finalist/Round 2 plays.
* The audience votes on their favorite Round 2 play.
* The Scorekeepers combine the votes from Rounds 1 and 2.
* The playwright with the most votes from both rounds wins the
cold, hard cash!

HOW TO SUBMIT:

Submit 2 plays (indicate which play is the Round 1 play and which is the
Round 2 play) of 1-to-3 minutes in length (NO LONGER than that-the
Timekeeper will cut off any play that goes beyond 3 minutes) as a WORD
or PDF File. Each script should include:

* A Title Page with Characters List and Setting.
* A tagline or 1-sentence description of your play-The Emcee will
use these to introduce your plays to the audience.
* Clear identification as to which play you would like to feature
in Round 1, and which you would like to save for Round 2.

Submit all scripts to Jeri Lynn Schulke at theatre@artscenterlive.org

Submission deadline is November 4, 2011.
Only 15 plays will be accepted and it's first-come, first-served, so
submit your play today!

The winning playwright takes home $100.
**Playwrights must be present to win.** So, pack the audience with
friends and family and obtain an unfair advantage!

________________________________

The ArtsCenter 300-G East Main Street, Carrboro, NC 27510
919-929-2787 ext. 201 or www.artscenterlive.org

This message was sent to theatre@artscenterlive.org from:

The ArtsCenter | 300 G East Main St. | Carrboro, NC 27510

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Submission deadline is November 4, 2011.   
Only 15 plays will be accepted and it's first-come, first-served, so submit your play today!

The winning playwright takes home $100. 
**Playwrights must be present to win.**  So, pack the audience with friends and family and obtain an unfair advantage! 

This message was sent to theatre@artscenterlive.org from: The ArtsCenter | 300 G East Main St. | Carrboro, NC 27510

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*John Boylan's Next Conversation*
**

This episode: "In Search of the Fifth Estate"

Tuesday, November 15, from 7 to 9 pm

Admission is free. Tell your friends.

This roundtable conversation series happens at Vermillion, an art gallery,
bar, and neighborhood gathering place at 1508 11th Ave, Seattle (
http://www.vermillionseattle.com/). For more information on the series,
call John Boylan at 206-601-9848.

If you want to link to this announcement, you can do so at
http://boylanconversation.wordpress.com/

This month, I want to talk about us, about civil society. About We the
People, about engagement in our future, and the burgeoning possibility of
the rise of the Fifth Estate. Read on below.

*The Guests*

I'm still thinking about having official guests, but it's getting late, and
I may not. Do you have ideas? In any case, I'm really interested in hearing
what you have to say.

*The Story*

Like many people lately, I've been thinking a lot about us as a citizenry.
I've been thinking about "We the People," about what's called civil
society. I'm wondering how civil society works and how much of it we can
hope to muster in a world of billions of flickering, sedating glass teats.
It's an especially important question now, given the politics we have and
the future we face.

With millions of voices on the Internet, with the surprising magic of
Tahrir Square, and with the success of Occupy Wall Street in getting
America's deepening inequality into the national discourse, an old idea is
coming back to the fore.

It's the wonderful notion that civil society can be not just a brake on the
machinations of those in power, but can actually be a foundation for
building something new, a just, sustainable, and maybe most important,
exciting future. It's the idea that with today's connectivity,
decentralized media, imagination, and the force of numbers, we can create a
fifth estate.

The idea of a fifth estate is an extension of the old fourth estate, a
popular name for the press. (In the United States, the first three estates
are the three branches of the federal government; historically in Europe,
they were the clergy, the nobility, and the commoners, as in the House of
Commons.) The fourth estate is often seen as a check on the power of the
other three, but we know how that goes. Enter the fifth estate, seen as an
engaged, aroused, interconnected, and organized and vocal citizenry.

So what does that effective civil society, that fifth estate, look like? Is
it people camped along the fringes of the SCCC campus? Or is it something
more? I've long had ambivalence about the value of taking to the streets.
Maybe it's latent American puritanism, but street actions just seem too
easy: you just show up, and maybe you carry a cardboard sign. Where's the
work, the hours spent on telephone trees, the canvassing, the substance of
social organizing? Politics, the affairs of the people, takes hard work.
Doesn't it?

And of course, there's the perennial question in this series: what role
does art play in this world of a dynamic, engaged civil society? I love
street theater and giant puppets, but the question nags: are they about
something more than entertaining and cheering on the already committed?
What role do they have in building a vital fifth estate?

Come. I think this one will be a rousing discussion.

*Plug*

Café Nordo is back. "Aboard Pan Am Flight 892, bound for the 1962 Seattle
World's Fair, Chef Nordo Lefeszcki, Mojo Spirits, and six of Seattle's
hottest performers team up to create an evening of retro-inspired cuisine,
gorgeous cocktails, and international intrigue." It's a great show, with
excellent food, madcap entertainment, excellent drinks, and a dollop of
agitprop thrown in for good measure. Details and tickets at
http://www.cafenordo.com/index.html. If you want to go, move fast. It is
selling out.

Review at
http://seattletimes.nwsource.com/html/thearts/2016673058_nordo06.html

John Boylan's Next Conversation

This episode: "In Search of the Fifth Estate"

Tuesday, November 15, from 7 to 9 pm

Admission is free. Tell your friends.

 

This roundtable conversation series happens at Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle (http://www.vermillionseattle.com/). For more information on the series, call John Boylan at 206-601-9848.

 

If you want to link to this announcement, you can do so at http://boylanconversation.wordpress.com/

 

This month, I want to talk about us, about civil society. About We the People, about engagement in our future, and the burgeoning possibility of the rise of the Fifth Estate. Read on below.

 

The Guests

I'm still thinking about having official guests, but it's getting late, and I may not. Do you have ideas? In any case, I'm really interested in hearing what you have to say.

 

The Story

Like many people lately, I've been thinking a lot about us as a citizenry. I've been thinking about "We the People," about what's called civil society. I'm wondering how civil society works and how much of it we can hope to muster in a world of billions of flickering, sedating glass teats. It's an especially important question now, given the politics we have and the future we face.

With millions of voices on the Internet, with the surprising magic of Tahrir Square, and with the success of Occupy Wall Street in getting America's deepening inequality into the national discourse, an old idea is coming back to the fore.

It's the wonderful notion that civil society can be not just a brake on the machinations of those in power, but can actually be a foundation for building something new, a just, sustainable, and maybe most important, exciting future. It's the idea that with today's connectivity, decentralized media, imagination, and the force of numbers, we can create a fifth estate.

The idea of a fifth estate is an extension of the old fourth estate, a popular name for the press. (In the United States, the first three estates are the three branches of the federal government; historically in Europe, they were the clergy, the nobility, and the commoners, as in the House of Commons.) The fourth estate is often seen as a check on the power of the other three, but we know how that goes. Enter the fifth estate, seen as an engaged, aroused, interconnected, and organized and vocal citizenry.

So what does that effective civil society, that fifth estate, look like? Is it people camped along the fringes of the SCCC campus? Or is it something more? I've long had ambivalence about the value of taking to the streets. Maybe it's latent American puritanism, but street actions just seem too easy: you just show up, and maybe you carry a cardboard sign. Where's the work, the hours spent on telephone trees, the canvassing, the substance of social organizing? Politics, the affairs of the people, takes hard work. Doesn't it?

And of course, there's the perennial question in this series: what role does art play in this world of a dynamic, engaged civil society? I love street theater and giant puppets, but the question nags: are they about something more than entertaining and cheering on the already committed? What role do they have in building a vital fifth estate?

Come. I think this one will be a rousing discussion.

 

Plug

Café Nordo is back. "Aboard Pan Am Flight 892, bound for the 1962 Seattle World's Fair, Chef Nordo Lefeszcki, Mojo Spirits, and six of Seattle's hottest performers team up to create an evening of retro-inspired cuisine, gorgeous cocktails, and international intrigue." It's a great show, with excellent food, madcap entertainment, excellent drinks, and a dollop of agitprop thrown in for good measure. Details and tickets at http://www.cafenordo.com/index.html. If you want to go, move fast. It is selling out.

Review at http://seattletimes.nwsource.com/html/thearts/2016673058_nordo06.html

 

This from Brooklyn Based:

Coffices II

The author in the backyard at Sit and Wonder in Prospect Heights.

The response to last year’s coffices article was overwhelming. Many
media outlets took the idea and ran with it, sussing out coffice
etiquette along the way. How much should you spend per hour? ($3) How many
hours is too many? (12) Is it okay to bring your kid to a coffice? (No.)
What about your dog? (Sure.) Is cofficing an inherently offensive
behavior? (No way!)

There’s even an urban dictionary entry for coffices now.

Throughout Brooklyn, cafés with free wifi, outlets and comfy workspaces
continue to pop up. While some Brooklynites protest the very notion of
coffices, the majority of Brooklyn freelancers, artists, writers and
philosophers remain highly appreciative of nomadic work spaces. Walk into
a your local coffice and look at the people sitting with their work and
their laptops. Perhaps you see stragglers, but we see Brooklyn dynamic
freelance culture (and often enough, ourselves).

Above all, the main response to Coffices I was a desire for more reviews.
We’ve included five of writer Jon Reiss’ top picks in today’s email,
but on Brooklyn Based we have many, many, many more coffices, organized
geographically by North Brooklyn (Greenpoint, Williamsburg and Bushwick),
Mid-Brooklyn (Bed-Stuy, Clinton Hill, Fort Greene, Prospect Heights, Crown
Heights) and South Brooklyn (the Slope, Red Hook, Carroll
Gardensâ€"everything south of Atlantic Avenue).

Happy working!

Outpost Café, 1014 Fulton Street
Layout/Aesthetic: 5
Outpost is perhaps the perfect combination of warmth and functionality.
The tri-level, outdoor seating area is relaxed and beautifully decorated
with vegetation, a deck and a wooden entranceway made of tree branches. It
feels either like an enchanted forest where Ewoks live, or like the
terrain of the final Planet of the Apes movie where the humans and the
apes battle for control. Best of all, it’s the first outdoor seating
area I’ve found that provides outlets! Inside, DJ tables, local art and
varied seating make for perfect place to sit and work on rainy days.
Vibe: 5
I made a few requests of the staff including a request for water, and they
were especially kind and patient with each one. Outpost really feels like
it was built to be the perfect coffice.
Coffee: 4.5
Outpost brews Dean’s Beans, definitely a new contender in the race for
best beans. Dean’s is similar to La Colombe body and acidity-wise but
its flavor is far more interesting than La Colombe. This is one of my
favorite coffees.
Wifi: 3.5
What a bummer! Outpost’s internet is its one weakness without a doubt,
but it’s worth mentioning that for a weakness, it’s decent wifiâ€"2.3
on Speedtest is just slightly less than what one needs for a fast reliable
internet work. But, it seems that the café’s router has to be reset
often. However, since the staff is friendly, asking them to reset the
router isn’t such a big deal.
Plugs: 4.5
They’ve got outdoor plugs! Inside is also quite well covered. The tables
that aren’t close to outlets are few and far between.
+1 For all kinds of cake and creative coffee drinks.
Total: 23.5
Outpost might be the winner of best coffice. It’s got everything you
could want with a slight weakness in the wifi department.

Breukelen's studious vibe makes work fly by.

Breukelen Coffee House, 764 Franklin Avenue
Layout/Aesthetic: 5
After visiting nearly every coffee shop in Brooklyn, it’s hard to be
surprised when it comes to ambiance, but Breukelen Coffee Shop surprised
me. With a front room dedicated mostly to coffee ordering and making, and
an entire back room for workers with a community table surrounded by
personal tables, brick walls and nothing else, the space makes for a
surprisingly minimalist coffice mecca with an industrial vibe. Vibe: 5
The ultra-friendly Seattle-transplant working the espresso machine simply
asked me why I was taking pictures and conversation ensued. In the back
room, people study hardâ€"the music is turned down and silence reigns.
This is by far one of the best places to get work done in Brooklyn.
Coffee: 4
Even after walking all the way here, I nearly skipped Breukelen when I saw
the Stumptown sign in the window, but I soldiered on, ordered my coffee
and sipped. Breukelen Coffee House brews the best Stumptown, outside
Stumptown itself that I’ve tasted and the organic milk, while not a
necessity, certainly doesn’t hurt.
Wifi: 5
Breukelen has Optimum Online and clocked 20.5 mpbs on Speedtest. All hail
Breukelen.
Plugs: 4.5
The outlets are set up so that almost anyone sitting at the long community
table can plug in, as well as anyone at the smaller tables.
Total: 23.5
I had a feeling a soon as I walked in that this would be among the
winners. If you live close, go here. If you’re visiting, go here.
Breukelen Coffee House might be the coffice king.

Goodbye Blue Monday, 1087 Broadway
Layout/Aesthetic: 5
For my money, GBM is one of the coolest venues in the city period, but you
wouldn’t assume it’s a coffice at first glance. Based pure on
ambiance, it’s perfect. You pretty much have to see it to believe it.
Gorillas, Virgin Marys, rocking horses and a big rainbow umbrella are just
a sampling of the kooky decor. Ambiance-wise GBM is kind of like the
Shopsin’s of coffices.
Vibe: 4
There’s two reasons why GBM didn’t get a perfect score in this
category. The music is loud, yes, but when I walked in they were playing
old Oi! bands like The Oppressed, so I simply cannot dock them for that.
The punk rock girl at the bar was genuinely friendly, and seemed to be
happy to have me sitting there. So, there’s still the two issues: light
and time. GBM is dark all the time, so unless you sit by the door, it’s
a bit hard to read, and they don’t open till 11am.
Coffee: 4
There’s no espresso, but GBM brews Gilley’s in a no-nonsense
straight-forward coffee machine. Since Gilley’s are some of the best
beans, the result is great coffee.
Wifi: 4
The wifi hit 4mbps, which is about double what one should need.
Plugs: 3.5
There are three power strips, which is enough for most people to plug in
and since it’s not very busy during the afternoon, there’s almost no
reason why you shouldn’t be able to snag an outlet.
+1 for full menu including buffalo wings.
Total: 21.5
Goodbye Blue Monday is not what you’d expect from a coffice, but if the
right tweaks were made, it could be one of the best in Brooklyn. As it is,
it’s the best in the neighborhood.

Baked, 359 Van Brunt Street
Layout/Aesthetic: 4.5
Red Hook has me smitten. Baked is minimal in its décor, but effective.
The orange on wood color scheme is fun and unique. The booths are
comfortable and perfect for sitting and working. Though Baked is primarily
a bakery, it functions perfectly as a coffice and is definitely among the
best I’ve been to.
Vibe: 4.5
This is one of those places that actually seems to encourage customers who
want to sit and work. Somehow, the deliciousness that seeps from every
pore of this place adds to the vibe. Also, when I walk into a place where
I intend to spend some time and there’s a stack of magazines that
include Entertainment Weekly and GQ, and Louder Than Bombs is playing on
the sound system, it warms my heart.
Coffee: 4
So, we meet again Stumptown. Baked offers a choice of two different
Stumptown roasts, one of which, the Hairbender has none of the cloying,
sour taste that tends to ruin most Stumptown coffee.
Wifi: 4
To be clear, anything above 10mbps on Speedtest gets a 4.5, and Baked hit
17 mbps on download, which puts it among the fastest cafés for wifi.
Oddly, Baked’s internet also has a incredibly fast upload speed, which
usually doesn’t matter very much, but there’s circumstances under
which such a fast upload could come in handy. In short, this is one of the
best places for wifi in Brooklyn.
Plugs: 4.5
Nearly every single little booth has an outlet, save for maybe one. I’m
very impressed.
+1.5 For their incredible treats, Baked deserves the coveted extra .5.
Don’t leave Baked without buying a salted caramel bar.
Total: 23
This is without a doubt one of the top three coffices in Brooklyn.

Postmark Cafe, 326 6th Street
Layout/Aesthetic: 3.5
Postmark is simple and straightforward in appearance. Half the room is
exposed brick and besides a corkboard covered in postcards, the walls are
pretty much bare.
Vibe: 4
Postmark doesn’t bowl me over with its coolness, but that’s not really
what a good coffice does. The café is understated, which gives it a
relaxed feel that surpasses most other coffices. You can tell that this is
a place people rely upon and I think if I were a Park Slope resident, this
would be my coffee shop of choice.
Coffee: 4
This is the first coffice I’ve been to that brews Puerto Rico Coffee Co.
While the espresso seemed a bit underwhelming, the drip coffee was near
perfect. Also helping the score here is the affordability factor, this is
some of the best cheap-yet-good coffee in Brooklyn.
Wifi: 4
Postmark is one of the titans of fast wifi coffices. On Speedtest,
Postmark clocked 7mbps and it’s unrestricted and that’s with a full
house of people sucking down wifi alongside their lattes.
Plugs: 4
Postmark is well covered with big block outlets. This place could be full
with pretty much every patron plugged in. Good show.
+.5 for some baked goods
Total: 20
Postmark is definitely the best coffice in this section of Park Slope, and
what it lacks in flash it makes up for in functionality.
Posted on 11/03/11 | Jon Reiss
==============================================

From the organizers:

Just a quick reminder that IDNY: New York City Architecture + Design
Meetup has a Meetup in one week. Are you going?

Ambika Roos added this Meetup for IDNY: New York City Architecture +
Design Meetup

What: IDNY @ Duravit Showroom

When: Thursday, November 10, 2011 6:30 PM

Where:
Duravit NYC
105 Madison Avenue
New York, NY

Join us in the sleek and lovely Duravit showroom for a night of tasty food
and drinks, incredible company, and stimulating talks.
Our party this month will highlight sustainability, with particular
attention given to interdisciplinary, cutting ed...

Click here to say you're going
http://meetup.designerpages.com/events/37690412/t/me1.2p_rt

Add info@meetup.com to your address book to receive all Meetup emails To manage your email settings, click here Meetup, PO Box 4668 #37895 New York, New York 10163-4668 Meetup HQ in NYC is hiring! http://www.meetup.com/jobs/

From the organizers:

Just a quick reminder that IDNY: New York City Architecture + Design
Meetup has a Meetup in one week. Are you going?

Ambika Roos added this Meetup for IDNY: New York City Architecture +
Design Meetup

What: IDNY @ Duravit Showroom

When: Thursday, November 10, 2011 6:30 PM

Where:
Duravit NYC
105 Madison Avenue
New York, NY

Join us in the sleek and lovely Duravit showroom for a night of tasty food
and drinks, incredible company, and stimulating talks.
Our party this month will highlight sustainability, with particular
attention given to interdisciplinary, cutting ed...

Click here to say you're going
http://meetup.designerpages.com/events/37690412/t/me1.2p_rt

Add info@meetup.com to your address book to receive all Meetup emails To manage your email settings, click here Meetup, PO Box 4668 #37895 New York, New York 10163-4668 Meetup HQ in NYC is hiring! http://www.meetup.com/jobs/

From the organizers:

FRONT GALLERY: BURK UZZLE
November 1 - November 29 | Flanders Gallery

OPENING RECEPTION: FRIDAY, NOVEMBER 4
6:00 - 9:00 p.m.

It is a daunting task to present works from the career of any accomplished
visual artist that spans over fifty-five years, using only the modest span of
exhibition space that a gallery can offer. However, when the career in
question
is that of Burk Uzzle, the youngest photographer ever to be hired by Life
Magazine in 1962, then the challenge of succinctly presenting his trajectory
seems almost foolhardy. This is a man who not only achieved early success
with
photojournalism, but who also went on to be a two-term president of Magnum
Photos, the cooperative photographic agency formed in 1947 by Henri
Cartier-Bresson and his peers. Uzzle fortuitously found himself in the
thick of
events like the Civil Rights Movement and the Summer of Love, but only his
skill could capture scenes like his now iconic image of a couple locked in an
embrace at Woodstock. He is a prolific photographer with an eye for an image
who literally has decades of work in a vault as a testament to his
achievements.

Because of the near impossibility of summarizing his impressive range,
Flanders
Gallery does not profess to offer a retrospective of Uzzle's ouevre. Instead,
it seeks to present one theme that emerges from these years of image-making.
While considering the stacks of black-and-white photographs and color prints,
the boxes of contract assignments and independent projects, and the countless
negatives of individual compositions and related works, it became evident
that
Uzzle is frequently drawn to seriality in life.

The series â€" at its most basic in the visual world a group of intentionally
related works or objects â€" would hold a natural appeal to any
photojournalist
attempting to narrate in the form of a photo-essay. Uzzle's careful selection
of twenty images from hundreds taken in the wake of Martin Luther King's
assassination is a powerful example of related photographs deriving emotional
resonance and meaning from their juxtapositions. However, this exhibition's
selections also illustrate seriality in his works beyond the narrative
impulse.
In Burn Series, combusted objects transform into formal studies, their
charred
remains captured in sinuous curves and crisp angles.

When seriality manifests within Uzzle's individual photographs, the resulting
compositions often suggest fascinating social implications. In Wall, the
line-up of young children clasping hands share not only their Sunday best,
but
also societal norms and pride in appearance. The natural environment and the
manufactured world clash in the meet-up of a pony and rocking horse in Pink
Stripe. Desert Prada reminds the viewer that high design is itself a form of
serial branding.

These examples of pattern, repetition, and relatedness begin to offer one
prism
through which a viewer can consider Burk Uzzle's career. For a man who has
witnessed and recorded so much, such qualities tie the world together while
subtly distinguishing themselves from one another. They are a metaphor for
one
method of editing and processing the incredible variety of human existence.

BACK GALLERY: J. LUCIAN SCOTT
November 1 - November 29 | Flanders Gallery

OPENING RECEPTION: FRIDAY, NOVEMBER 4
6:00 - 9:00 p.m.

In 1992, J Lucian helped to found the Elton John AIDS Foundation and
witnessed
firsthand the prejudice and hypocrisy that accompany a crisis, and the burden
of stigma on the affected populations worldwide. He began using
photography as
meand to document the struggle of people living with AIDS. As the crisis
continued to progress, this experience brought clarity to his own humanity
and
is the basis for many of his photographic projects.

Born and raised on a tobacco farm in North Carolina, J Lucian Scott resides
between his family farm and his home in Los Angeles. His current series of
photographs are based on the collective experience of a bucolic childhood
growing up in the South and as an identical twin, both of which have greatly
influenced his work. The photographs merge figurative elements and
classicism
with the realities of his life experience, and range from portraiture to
landscape and still life.

J Lucian is exhibiting his Southern Series with Flanders Gallery of
Raleigh, NC
during the month of November, 2011. In addition to his fine art projects, J
Lucian has worked with commercial clients on national ad campaigns and
catalogue projects.

BACK GALLERY Feature: PETER GLENN OAKLEY

After working as a stonemason for a decade, Oakley turned to an interest in
stone carving. Working with white and black marble, his current series is
focused on creating stone replicas of everyday products such as styrofoam
takeout boxes, a 1906 Corona IV typewriter, an egg carton, a bar of soap, a
telephone, and soon, a mercedes diesel engine. “I’m interested in the
relationship between incidental forms and intentional forms,” he explained.
“These things look the way they look because they’re designed to do
the things
they do.”

The theme throughout Oakley's work is the juxtaposition of the historical use
of marble to portray the ideal form, and his use of marble showing non-forms.
Vanishing forms, or non-formal objects that, placed in this new context, are
suddenly recognized for their formal loveliness, which has lain hidden
somehow.
The execution in marble also serves to prove he has studied this non-formal
thing formally, and convinces the viewer to now see this thing that was
basically invisible before.

By non-form, Oakley attempts to define an object that is common among us, but
is never looked at as a form; not appreciated. It is a form that is taken for
granted. Something Baudrillard-like happens in that moment, because now there
is this beautiful thing, divorced from all context, that was created in that
instant. It still looks like all the others, but now bears no relation to the
others and stands utterly alone. The anthropomorphism in these forms is what
intruiges the artist.

GALLERY HOURS:
WEDNESDAY - SATURDAY: 11 - 6PM
Other times are available by appointment

UPCOMING EVENTS & EXHIBITS:

NOVEMBER 4th, 2011
Exhibit Opening Reception:
FRONT GALLERY
Burk Uzzle: photography
Location: Flanders Gallery
Time: 6 - 9 p.m.

BACK GALLERY
J. Lucian Scott: photography
Peter Oakley: sculpture
Location: Flanders Gallery
Time: 6 - 9 p.m.

NOVEMBER 20, 2011
Champagne and Conversation
with Burk Uzzle and
J. Lucian Scott
Location: Flanders Gallery
Time: 4-6pm

DECEMBER 2nd, 2011
Exhibit Opening Reception:
Mia Yoon
Derek Toomes
Ani Hoover
Location: Flanders Gallery
Time: 6 - 9 p.m.

Flanders Gallery | 302 S. West Street | Raleigh, NC 27603 | Phone:
919.834.5044 | flandersartgallery.com

References

1. http://www.burkuzzle.com/
2. http://jlucianscott.com/
3. http://www.flandersartgallery.com/artistprofile/peter-glenn-oakley

Flanders Gallery | 302 S. West Street | Raleigh, NC 27603



Burk Uzzle, J. Lucian Scott, Peter Oakley | November 2011   Burk Uzzle, MLK Series "End Racism" Burk Uzzle, Burned Seven Burk Uzzle, Burned V Book Burk Uzzle FRONT GALLERY November 1 - November 29 | Flanders Gallery OPENING RECEPTION: FRIDAY, NOVEMBER 4 6:00 - 9:00 p.m. It is a daunting task to present works from the career of any accomplished visual artist that spans over fifty-five years, using only the modest span of exhibition space that a gallery can offer. However, when the career in question is that of Burk Uzzle, the youngest photographer ever to be hired by Life Magazine in 1962, then the challenge of succinctly presenting his trajectory seems almost foolhardy. This is a man who not only achieved early success with photojournalism, but who also went on to be a two-term president of Magnum Photos, the cooperative photographic agency formed in 1947 by Henri Cartier-Bresson and his peers. Uzzle fortuitously found himself in the thick of events like the Civil Rights Movement and the Summer of Love, but only his skill could capture scenes like his now iconic image of a couple locked in an embrace at Woodstock. He is a prolific photographer with an eye for an image who literally has decades of work in a vault as a testament to his achievements. Because of the near impossibility of summarizing his impressive range, Flanders Gallery does not profess to offer a retrospective of Uzzle's oeuvre. Instead, it seeks to present one theme that emerges from these years of image-making. While considering the stacks of black-and-white photographs and color prints, the boxes of contract assignments and independent projects, and the countless negatives of individual compositions and related works, it became evident that Uzzle is frequently drawn to seriality in life. The series â€" at its most basic in the visual world a group of intentionally related works or objects â€" would hold a natural appeal to any photojournalist attempting to narrate in the form of a photo-essay. Uzzle's careful selection of twenty images from hundreds taken in the wake of Martin Luther King's assassination is a powerful example of related photographs deriving emotional resonance and meaning from their juxtapositions. However, this exhibition's selections also illustrate seriality in his works beyond the narrative impulse. In Burn Series, combusted objects transform into formal studies, their charred remains captured in sinuous curves and crisp angles. When seriality manifests within Uzzle's individual photographs, the resulting compositions often suggest fascinating social implications. In Wall, the line-up of young children clasping hands share not only their Sunday best, but also societal norms and pride in appearance. The natural environment and the manufactured world clash in the meet-up of a pony and rocking horse in Pink Stripe. Desert Prada reminds the viewer that high design is itself a form of serial branding. These examples of pattern, repetition, and relatedness begin to offer one prism through which a viewer can consider Burk Uzzle's career. For a man who has witnessed and recorded so much, such qualities tie the world together while subtly distinguishing themselves from one another. They are a metaphor for one method of editing and processing the incredible variety of human existence. View More Photographs by Burk Uzzle   J. Lucian Scott J. Lucian Scott   Peter Glenn Oakley Peter Glenn Oakley J. Lucian Scott BACK GALLERY November 1 - November 29 | Flanders Gallery OPENING RECEPTION: FRIDAY, NOVEMBER 4 6:00 - 9:00 p.m. In 1992, J Lucian helped to found the Elton John AIDS Foundation and witnessed firsthand the prejudice and hypocrisy that accompany a crisis, and the burden of stigma on the affected populations worldwide. He began using photography as a means to document the struggle of people living with AIDS. As the crisis continued to progress, this experience brought clarity to his own humanity and is the basis for many of his photographic projects. Born and raised on a tobacco farm in North Carolina, J Lucian Scott resides between his family farm and his home in Los Angeles.  His current series of photographs are based on the collective experience of a bucolic childhood growing up in the South and as an identical twin, both of which have greatly influenced his work.  The photographs merge figurative elements and classicism with the realities of his life experience, and range from portraiture to landscape and still life. J Lucian is exhibiting his Southern Series with Flanders Gallery of Raleigh, NC during the month of November, 2011.  In addition to his fine art projects, J Lucian has worked with commercial clients on national ad campaigns and catalogue projects. View Photographs by J. Lucian Scott     Peter Glenn Oakley BACK GALLERY Feature After working as a stonemason for a decade, Oakley turned to an interest in stone carving. Working with white and black marble, his current series is focused on creating stone replicas of everyday products such as Styrofoam takeout boxes, a 1906 Corona IV typewriter, an egg carton, a bar of soap, a telephone, and soon, a Mercedes diesel engine. “I’m interested in the relationship between incidental forms and intentional forms,” he explained. “These things look the way they look because they’re designed to do the things they do.” The theme throughout Oakley's work is the juxtaposition of the historical use of marble to portray the ideal form, and his use of marble showing non-forms. Vanishing forms, or non-formal objects that, placed in this new context, are suddenly recognized for their formal loveliness, which has lain hidden somehow. The execution in marble also serves to prove he has studied this non-formal thing formally, and convinces the viewer to now see this thing that was basically invisible before. By non-form, Oakley attempts to define an object that is common among us, but is never looked at as a form; not appreciated. It is a form that is taken for granted. Something Baudrillard-like happens in that moment, because now there is this beautiful thing, divorced from all context, that was created in that instant. It still looks like all the others, but now bears no relation to the others and stands utterly alone. The anthropomorphism in these forms is what intrigues the artist. View More Sculptures by Peter G. Oakley   GALLERY HOURS: WEDNESDAY - SATURDAY: 11 - 6PM Other times are available by appointment   UPCOMING EVENTS & EXHIBITS: NOVEMBER 4th, 2011 Exhibit Opening Reception: FRONT GALLERY Burk Uzzle: photography Location: Flanders Gallery Time: 6 - 9 p.m. BACK GALLERY J. Lucian Scott: photography Peter Oakley: sculpture Location: Flanders Gallery Time: 6 - 9 p.m. NOVEMBER 20, 2011 Champagne and Conversation with Burk Uzzle and J. Lucian Scott Location: Flanders Gallery Time: 4-6pm DECEMBER 2nd, 2011 Exhibit Opening Reception: Mia Yoon Derek Toomes Ani Hoover Location: Flanders Gallery Time: 6 - 9 p.m.               Flanders Gallery   |  302 S. West Street   |   Raleigh, NC 27603   |   Phone: 919.834.5044   |   flandersartgallery.com

 

This message was sent to dipika.kohli@design-kompany.com from: Flanders Gallery | 302 S. West Street | Raleigh, NC 27603

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*[image: BE_Lecture_Kundig_Image.jpg]
*

*
*

*Tom Kundig: Landscape, Community, and Craft*

*
*

*Monday, November 7*

*6:30 pm*

*Kane Hall 130, UW Seattle Campus*

Join the UW College of Built Environments for our first BE Lecture of the
2011-12 Academic Year: a lecture, reception, and book signing. Tom Kundig
(of Seattle-based Olson Kundig Architects) redefines the practice of modern
architecture. Drawing upon a deep devotion to craft, Kundig’s designs unite
nature with manmade materials, transforming steel and concrete into rich
tactile experiences. In this lecture he illustrates how the role of place,
materials and setting combine to create his bold but sensitive designs.

*One of the most recognized architects in North America, Tom Kundig is the
recipient of some of the nation’s highest accolades, including the National
Design Award for Architecture from the Smithsonian’s Cooper-Hewitt National
Design Museum; four National AIA Honor Awards; six National AIA Housing
Awards; numerous local and regional AIA awards; the 2011 World Architecture
News House of the Year; and an Academy Award in Architecture from the
American Academy of Arts and Letters. And in addition to the firm receiving
the 2009 National AIA Firm Award, Olson Kundig Architects has twice been
named one of the Top Ten Most Innovative Companies in Architecture by Fast
Company. Most recently, he was named to the Wallpaper*150, a list of people
who have contributed meaningful artistic creations to the world over the
past 15 years.*

*
*

*Learn more about this and other events at www.be.washington.edu/events*

Project Images + Credits: Rolling Huts (Tim Bies), Slaughterhouse Beach
House (Benjamin Benschneider),Outpost (Dwight Eschliman), The Pierre
(Stuart Isett) (projects clockwise from upper left) Tom Kundig Houses 2
book cover (Benjamin Benschneider) (center) All images

provided by Olson Kundig Architects - www.olsonkundigarchitects.com

Tom Kundig: Landscape, Community, and Craft

Monday, November 7

6:30 pm

Kane Hall 130, UW Seattle Campus

Join the UW College of Built Environments for our first BE Lecture of the 2011-12 Academic Year: a lecture, reception, and book signing. Tom Kundig (of Seattle-based Olson Kundig Architects) redefines the practice of modern architecture. Drawing upon a deep devotion to craft, Kundig’s designs unite nature with manmade materials, transforming steel and concrete into rich tactile experiences. In this lecture he illustrates how the role of place, materials and setting combine to create his bold but sensitive designs.

One of the most recognized architects in North America, Tom Kundig is the recipient of some of the nation’s highest accolades, including the National Design Award for Architecture from the Smithsonian’s Cooper-Hewitt National Design Museum; four National AIA Honor Awards; six National AIA Housing Awards; numerous local and regional AIA awards; the 2011 World Architecture News House of the Year; and an Academy Award in Architecture from the American Academy of Arts and Letters. And in addition to the firm receiving the 2009 National AIA Firm Award, Olson Kundig Architects has twice been named one of the Top Ten Most Innovative Companies in Architecture by Fast Company. Most recently, he was named to the Wallpaper*150, a list of people who have contributed meaningful artistic creations to the world over the past 15 years.

Learn more about this and other events at www.be.washington.edu/events

Kundig Houses 2 book cover (Benjamin Benschneider) (center) All images

provided by Olson Kundig Architects - www.olsonkundigarchitects.com