Featured Artist Janina Ciezadlo's

"Art is Business"

Janina A. Ciezadlo is an artist and critic in Chicago. She is a contributing writer for the New City, and her work has appeared in the Chicago Reader; Afterimage, The Journal of Media Arts and Cultural Criticism; Bridge; Artscope and the Chicago Art Critic's Association publications. Several of her poems and photographs have appeared in afterhours, a journal of Chicago poetry and art. She has participated in Chicago Calling and Bauhaus 9090. Her scholarly work has appeared in the Yearbook of Interdisciplinary Studies and the Proceedings of the Society for the Interdisciplinary Study of Social Imagery.


She has been a participant in an International Arts Journalism Institute in the Visual Arts sponsored by the National Endowment for the Arts and the US Department of State (Cultural Programs), a resident at Ragdale and an Artist-in-Residence at Oxbow and the recipient of a Works-in-Progress grant from the Illinois Arts Council (for Luminous Herbarium).
Ciezadlo has served as President and Vice-President of her part-time faculty local and was the recipient of an award from the Chicago Women's Caucus for Art (2010) for art and contributions to women in the arts.

Janina during the Phantom Gallery Exhibition in 2009

FEATURED ARTIST Pearlie Taylor- December 2011

"Art is Business"

Pearlie studied at the American Academy of Art in Chicago and the Historic South Side Community Art Center under Dr. Margaret Burroughs. Pearlie’s artwork has been described as a mixture of abstract modern and contemporary. Her influences range from Jackson Pollack, Richard Dempsey to Dale Chiluly. Pearlie has worked in a variety of mediums but more often chooses acrylics for the depth of color and her wet in wet painting style.
Hustle and Flow

Pearlie is the recipient of African American Alliance of the Arts Award for Excellence in Abstract Art. In 2008 her paintings were recognized by the Museum of Science and Industry Black Creativity Exhibit.
Her work is currently being shown at Gallery Guichard in Chicago.


History of Sojourner Truth Multicultural Art Museum


The Sojourner TruthMulticultural ArtsMuseum has been actively involved with youth and young adults in the South Sacramento area since 1996 when it developed numerous creative arts programs under the National Academic Youth Corps.  Its purpose was to enable youth from culturally diverse backgrounds to stretch their minds and imaginations and to provide a safe environment that stimulates creativity, promotes healthy lifestyles, and develops social skills.  After obtaining a 501C non-profit status in 2002, Sojourner Truth Center has offered scores of no- or low-cost programs, workshops, and activities on site and out in the community to thousands of youth.  The Center’s programs have positively affected the lives of its participants and the cultural environment of the community. 

The Art Museum was founded as collaboration between Sojourner Truth Multicultural Art Museum and the Florin Business Arts Complex where the Museum is housed.  It offers a diverse spectrum of theme-oriented murals, art installations, exhibitions, events and programs representing African American, Mexican, Latino, Asian, Alaskan, Pacific Islander, Eastern, and Native Cultures.

Sojourner Truth Multicultural Arts Museum (also known as SOJO Museum) was awarded official Sacramento Museum status in 2008, and in February 2009, participated very successfully in the highly attended Sacramento Free Museum Day. 



History of Sojourner Truth

The Multicultural Arts Museum and Development Center, representing diversity and progress, is named for Sojourner Truth who, although born a slave, worked tirelessly for abolition, women’s rights, non-violence, and civil and economic advancement of oppressed people. 

Born Isabella Baumfree circa 1797, she escaped from slavery as a young woman and by the 1840s had become a powerful speaker against slavery.  Uneducated but deeply spiritual, she explained her choice of the name Sojourner Truth, “I felt God called me to travel the land ... being a sign unto them.”  Throughout her life, Sojourner was passionate about advancing suffrage for all people.  During the Civil War, she gathered supplies for black volunteer regiments and, in tribute to her efforts, was received at the White House by President Lincoln in 1864.  She was appointed that same year to the National Freedman's Relief Association where she worked diligently to better conditions for African-Americans.  Recognized and acclaimed by numerous important figures in history such as Harriet Beecher Stowe and Frederick Douglas, she met with two presidents—Lincoln and Grant—in the White House, and had U. S. senators sign her Book of Life in senate chambers.  She continued to travel and speak out for human and civil rights well into her senior years until her death in 1883.

The Sojourner Truth Multicultural Art Museum is aptly named for this outstanding woman whose life inspires us to celebrate and develop the spirit and diversity of all people through programs and services designed to strengthen and stimulate creativity.  It is our desire to offer the widest scope of programming to our community, and we continue to seek resources and encourage the involvement of those who share our vision. 



We invite you to join us in spreading our wings with Sojourner Truth.

"Art is Business"

Practice Affirmations: Positive affirmations Featured Artist Renee Baker

Re-posted by  Alpha Bruton, from Renee Baker


Good morning- to each of you that are truly friends I share this tidbit of information..When you ain’t about nothing, nothing bothers you much...When you are about the mission given to you by the
Creator, watch out!!! I thank each of you for your support all the way round..
WE HAVE TO FOCUS FORWARD....
that’s all. Karma, God, the Creator, etc will take care of the nasty ones...you know them well. I also want each of you to not be affected by any negativity from me..
I’M AN OPTIMIST ALWAYS AND WON’T WEIGH MYSELF OR YOU DOWN WITH THE NONSENSE ANYMORE..
We can all get caught up in the swirl and that’s what they want..to be able to separate, confuse, divide and conquer..It’s a big lovely world out there and we each have to claim our piece in it..

This country is full of the bitter ones..let them eat each other
.....I’M MOVING FORWARD/WHATEVER THAT MEANS/I’VE GOT A LIFE THAT IS DESTINED TO CREATE PEACE HARMONY AND LOVE...



About keeping strong...Scripture first,(whatever your Holy book is) then all these hints can be helpful..

Negative self talk and negative energy can affect you in many ways and cause you additional stress. Because of this, developing more positive self talk is an important way to reduce stress in your life. You can help yourself maintain a positive frame of mind—which will help with positive self-talk—by surrounding yourself with positive energy in your life. You can get that by adding the following elements to your life:


Uplifting Music: Listening to music   that not only has a soothing melody, but an uplifting message, can be great   for developing positive self-talk. Have you ever had a song ‘stuck in your   head’ for a few hours or days, the lyrics repeating themselves in your mind?   If those lyrics were positive and inspirational, that would be a good thing.   It’s a much better mental soundtrack to have than a running stream of   complaints, criticisms or self-limiting thoughts, or even songs that had more   depressing or sad lyrics. (When times get tough, I often think of Wilson   Phillips’ classic, “Hold On”, but there are dozens of good ones out   there.)

Inspirational Books: Books on   strength, personal power, enlightenment, or self help can be good resources to   help you change your outlook and the things you say to yourself. Rather than   triggering habitual self-defeating thoughts, you can find yourself thinking of   new can-do concepts when times get tough. (For shifting your paradigm, I love   Gary Zukav’s “The Heart of the Soul”, or Sarah Ban   Breathnach’s classic “Simple Abundance”.)

Positive People: One of the most   important ways you can get (and keep) positive energy in your life is with the   company you keep. Do your friends uplift you, or bring you down? Are they   critical, or complementary? Ideal friendships provide support when you’re   down, fun when you’re up, wisdom when you’re lost, and positive regard. Good   friends can inspire you to reach greater heights, and see your strengths even   when you don’t always. Pay attention to how your friends make you feel, and if   they’re less than supportive, start putting your energy and time toward people   who are better suited to be your friend. (For more on social support and   friendships, see the Relationship Section.)

Practice Affirmations: Positive   affirmations can subtly but pervasively change your self talk from negative to   positive. See this article for some creative ways to begin working positive affirmations into your life.

LOVE Y’ALL- Renee’

Documenting and Archiving Your Creative Practice

Re-Posted by Alpha Bruton, for Chicago Artists Resource Creatives at Work Forum:

Creatives at Work Forum: 

stevens_HWLC_case.jpg
 

Harold Washington Library Center
 
Archiving one’s work is a critical aspect of a career in the arts, but with all the sketchbooks, notes, letters, pamphlets and flyers stacking up what do you decide to keep? How do you organize it? And where does it all go? This panel will be addressing these very questions, providing insight on how to organize your creative legacy.

Leslie Patterson is a reference librarian in the Art Information Center of the Chicago Public Library and has curated the Chicago Artists' Archive since 2006. The Archive began in the 1930's and continues to document Chicago artists to the present day, with over 10,000 artists now included.

Queen Meccasia E. Zabriskie is a Doctoral Candidate in the Department of Sociology at Northwestern University. The title of her dissertation is Dancing Diaspora: Understanding Embodied Knowledge in the West African Dance and Drum World in Chicago, IL. She is a collaborator on an oral history project titled Black Theater is Black Life: Theatre and Dance in Chicago.

Tempestt Hazel is a curator, writer, overall art supporter and co-founder of Sixty Inches From Center. She received her BA in Art History and Visual Arts Management from Columbia College Chicago.

Nicolette Michelle Caldwell is co-founder and co-executive director of Sixty Inches From Center: Chicago Arts Archive and Collective Project. In addition to her work with Sixty Inches From Center, she is also an independent curator, arts writer and journalist.

Barbara Ciurejis a Chicago-based photographer and graphic designer. She is a former president of , Artemisia Gallery a women's cooperative that closed after 30 years of operation in 2003. She is heading up an initiative to archive the gallery's history, both the work at the gallery and that of its members.

The Chicago Modern Orchestra Project presents the first Brown Rice Cooker Createfest

Tuesday, September 27 - Thursday, September 29


The Chicago Modern Orchestra Project presents
the first Brown Rice Cooker Createfest,
 with presentations and performances that take place
 over more than 30 hours of amazing programming --
Brown Rice
 4432 N. Kedzie Ave.
 Chicago, IL  60624


 
Wednesday, September 28
 3:00 p.m.: Chicago Modern Orchestra Project presentation
 4:15 p.m.: Vincent Davis/Preyas Roy Duo
 5:15 p.m.: Alpha Bruton, visual artist, Kaleidoscope
 6:15 p.m.: Greg Blackburn/Elizabeth Diaz Duo
 7:15 p.m.: Ernest Dawkins
 8:15 p.m.: Savoir Faire
 9:15 p.m.: Ben Lamar's MOUNTAIN
 10:00 p.m.: JoVia
 10:50 p.m.: Saalik Ziyad Collective
 12 midnight Jayve Montgomery/Cliff Ingram Duo
 
Thursday, September 29
 3:00 p.m.: Renee Baker solo
 3:25 p.m.: H.V. Cramond -- poetry
 4:15 p.m.: Chicago Modern Orchestra Project presentation
 5:00 p.m.: Clarke Consortium
 6:15 p.m.: Charlie Newman -- poetry
 6:30 p.m.: Saalik Ziyad
 8:00 p.m.: Dee Alexander and the Evolution Ensemble
 9:35 p.m.: Douglas Ewart Trio
 10:45 p.m.: Dan Godston / Anthony Poretti Duo
 10:55 p.m.    David Boykin
 12 midnight  Jayve Montgomery-AudioVisual Improv on being Arrested at BNA
 
 $10 suggested donation
 
 Brown Rice
 4432 N. Kedzie Ave., 1st floor, Chicago, IL 60625
http://www.brownricemusic.org/
 Doors open one half hour before performance time, all ages. Brown Rice is a half block north
 of the Montrose / Kedzie intersection, close to the Kedzie station
 on the CTA brown line. Please call 630-258-7554 for more info.

“Berlin-Chicago Kaleidoscope: Cultures Connecting” at Mess Hall

Sunday, October 2 (4 p.m.- 9 p.m)
6932 North Glenwood Avenue, Chicago, IL  60626
Chicago Artists Month is a citywide, collaborative effort showcasing Chicago visual artists and their work throughout October. Coordinated by the Chicago Department of Cultural Affairs and Special Events in partnership with the Chicago Office of Tourism and Culture, Chicago Artists Month showcases over 200 events, ranging from exhibitions to open studio tours and neighborhood art walks presented by museums, galleries, cultural centers, artists collaborates, and other organizations throughout the city. The primary goal of Chicago Artists Month is to raise awareness of our visual arts community's extraordinary quality and depth. 
"Berlin-Chicago Kaleidoscope: Cultures Connecting" includes an exhibition, presentations, and performances. Phantom Gallery Chicago Network (directed by Alpha Bruton) and International Art Adventures (directed by Marianna Buchwald) are co-presenting this event. The presenters invite the public to join them—regarding an intensive process of communication on behalf of our shared ideals to fight racism, work for world peace, and to educate and inspire a broader audience through art and culture.

"Berlin-Chicago Kaleidoscope" Cultures Connecting" has been an exercise of networking in the global artistic community—creating collaborations and pathways of understanding and generating dialogue with fourteen artists from the Chicago area and Berlin.
Participants include—Chicago: Alpha Bruton, Curator, Director of the Phantom Gallery Chicago Network; Marianna Buchwald, Director of International Art Adventures; Dan Casillas, musician; Javier Enriquez, artist; Kathryn Gauthier, artist; Alan Emerson Hicks, artist; Jayve John Montgomery; visual artist and musician; Jacqueline Moses, artist; Gabriel Patti, artist, and curator; Lewis Rice, artist in Berlin: Daniel Goritz, musician; Ina Lunkenheimer, owner of Lunkenheimer Gallery; Christian Mayrock, artist; Peter Vicente, artist, and host; Piotr Wolodkowicz, artist.
4:00-6:00 p.m.: Presentations by visual artists who participated in "Berlin-Chicago Kaleidoscope: Cultures Connecting" during the summer of 2011.

5:00 p.m.: "Artists for a Sunday Dinner." While in Berlin, we shared dinner with many artists in their homes in Berlin and Hannover—for a conversation about "Cultures Connecting." In that spirit, we will have a dinner during which each participating artist contributes perspectives on what they got from the trip—including projects that include poets, writers, puppeteers, musicians, and performance artists. In addition, we will talk with Berlin-based musicians and visual artists and share dinner with Berlin-based musician Peter Vicent via Skype call.

6:00 p.m.: Presentation by the International Art Group and Phantom Gallery Chicago Network
7:00 p.m.: Short films by Jayve Montgomery presenting Kaleidoscope: The United States of America

Black Panther Art: Emory Douglas

Text by Laura Havlin

"A retrospective of the artist's highly political and iconic visual branding from the 60s-80s is about to open in London Emory Douglas, The Outsiders, 8 Greek Street, London, August 18 - September 10, 2011"



As the arts and culture officer for the Black Panthers from 1967 to 1980 Emory Douglas effectively created the visual branding for the civil rights movement. His uniquely stylized illustrations for their leaflets, posters and newspapers depicted black people in a way that hadn’t previously been seen in mainstream media. By utilizing an aesthetic that borrowed from the right-wing advertising images of the day to communicate the Black Panther’s left-wing ideals, Douglas’ work provoked empathy and understanding without being exploitative.

On August 18th a retrospective of Douglas’s work will open at The Outsiders on London’s Greek Street, with the man himself giving a talk on the historical context of his work the following evening. To coincide with this planned visit, Dazed Digital spoke to the artist about the continued relevance of his work and what he makes of the current unrest in the United Kingdom.

Dazed Digital: Your work for The Black Panthers utilized typically right wing, typically mainstream advertising-style imagery to communicate a left-wing agenda – how important was that?

Emory Douglas: I was trying to appeal to an ideal for a constructive purpose instead of exploitation. I took that same commercial framework and applied it to race to raise people’s awareness of the situation that they lived in.


DD: Your work reads like an advertising campaign for the issues of concern.

Emory Douglas: It is like an advertising campaign in some ways – to inform, enlighten and educate people – to inspire them. The artwork gave a visual interpretation of the struggle so it complemented what was going on during that time. It also helped make a lot of the issues clearer, particularly when you had a lot of folks who weren’t into reading a lot of material but learned through observation and participation; they could get the jist of what was going on and what we were saying through the artwork itself.

DD: Does it help a cause if it has recognizable visual branding?

Emory Douglas: Of course, but that is something that would have to evolve out of the movement. This was manufactured but it was created at a time and out of that particular time evolved artwork that caught the attention of the people and became symbolic and transcended our wildest imaginations. You see it all the time in social movements with political art, but symbolically having an art form that people gravitate to have to come out of the movement itself.



Art is very powerful at creating change because it’s everywhere, it’s very subliminal – it can have a very powerful impact. Sometimes art can just be there but it can have some impact on the individual, it can give some insight, it can be inspiring.

DD: What issues do you find yourself exploring in your current work?

Emory Douglas: I’m dealing with the issues of HIV AIDS, health, the prison industrial complex, I deal with the black on black endangered species violence that’s taking place – so I deal with those issues in my artwork. Today, I deal with war and the devastations of war, and issues of peace.

DD: What do you make of the situation in the United Kingdom?

Emory Douglas: I’ve been keeping up with the news and checking on my computer and I can see that there are some of the same things going on. Some things change but some things stay the same – you still have high rates of unemployment and young people see that and there is frustration. It doesn’t take a rocket scientist to understand that when you have a collapse of worldwide systems – bank systems, economic systems – and you spend billions of dollars to prop them up and the average person can’t make ends meet, people can become very frustrated at what they see. In situations of not having the respect of the police or authorities, all those things build up and those things are like a spark that lights the fire.

DD What do you think about the riots?

Emory Douglas: Well, the Black Panther Party was never involved like that, they always said to be organized in protests and demonstrations. You have to be organized with what you’re going to do because what you’re really doing here is destroying your home and your community and you create more fear in people who may support you than support, even though they understand and feel the same way living under the same circumstances that you do. Once things settle down and the dust is clear hopefully these folks will come to realize that. Perhaps in the future they can learn from that and come together as a more powerful force to demand justice and equality.

Chicago Calling Arts Festival Sunday Oct 2, 2011 @ The Mess Hall

Berlin Chicago Kaleidoscope- "Cultures Connecting"

Please join us! The Mess Hall is located at 6932 North Glenwood Ave., Chicago, Illinois.
Cozied up next to the Morse Street Red Line stop. Our meetings are pot lucks, beer and wine. Everyone is invited!


This project, "Berlin-Chicago Kaleidoscope Cultures Connecting" has been an exercise of networking in the global artistic community, creating collaborations, and pathways of understanding, generating dialogue with fourteen different artists from various communities throughout the Greater Chicagoland , and Berlin.


12:30 pm to 3:30 pm Chicago Calling Arts Festival

4pm - 6pm "Artist Gather for a Sunday Dinner at Mess Hall"

One of the things that we did at most host houses in Berlin and Hannover was to share the dinner table, for conversation and dialogue "Cultures Connecting". During dinner each artist discussed, talk about, and contribute different prospectives of what they got from the International Art Adventures, including projects, that intersected with poets, writers, puppeteries, musicians, and performance artist.
Chicago Calling via Skype, will call on musicians and visual artists from East Berlin, to share at the dinner table conversations, that as artist how they each survived, behind the Iron Curtain. Peter Vicent (Musician), Addi Kremer, (poet/photographer) who leaves in Hannover, and Ina Lukenhiemer (gallerist/photographer) who lives in Pankow, Karen Zdgzsche (tour guide)some interesting stories of their  time growing up during the cold war,and the fall of the Berlin Wall.

Marianna Buchwald's Theater Project in Hannover Germany


6pm- 7pm- International Art Group, and Phantom Gallery Chicago Network.





9:00pm Short films, Jayve Montgomery presenting Kaleidoscope
"The Untied States of America"



Chicago Artists Month “Artful Networks”

International Art Group, Marianna Buchwald, presenter
Co Curator Kathryn Gauthier  

1505 W. Morse, Ave , Rogers Park

Location Insight Arts

October 10th, 6-9pm, Presentation

Sponsored By:










BREAKING NEWS

Alan Emerson Hicks and I took a bike tour of most of the featured exhibition/installations on the map. This installation "KW69 Breaking News" was placed in a the Entrance Room, Staircase, Main Room, and the Small Room each space lent it self to the installation concept with the images and statements by the artists.


FUKUSHIMA AND THE CONSEQUENCES


LEIKO IKEMURA invited artists architects

09-06 – 17.07.2011

After the earthquake, the following tsunami and the nuclear disaster at Fukushima, Japanese artist Leiko Ikemura asks what importance art has in such a moment. Due to these recent occurrences, KW Institute for Contemporary Art in Berlin interrupts the exhibition series KW69 to provide space for an interdisciplinary discourse.

Leiko Ikemura invited artists to react to the catastrophe in Japan and to illuminate the conflict between nature, progress, economy and the human. The exhibition showed works which reflect upon the current situation in Fukushima and Northern Japan, questioning our attitude towards the earth and the cycle of creation and destruction.


Born 1951 in Mie Prefecture, Japan. B.F.A., Academy of Fine Arts of Seville. Lives and works in Berlin and Cologne, Germany. Currently a professor at the Berlin University of the Arts. Solo exhibitions at the Toyota Municipal Museum of Art, Kunstmuseum Liechtenstein, Kunsthalle Recklinghausen, the Ulm Museum, the Vangi Sculpture Garden Museum, Museum zu Allerheiligen Schaffhausen, etc.

KW60 was made possible thanks to the support of the Friends of KW and the Tandem Lagerhaus und Kraftverkehr Kunst GmbH.





KW Institute for Contemporary Art, D-10117 Berlin
The exhibition based in Berlin invitesd visitors from Berlin and around the world to view the contemporary art of Berlin. Since the fall of the wall Berlin has developed into one of the world’s most important centers for the production of contemporary art. As a creative and cosmopolitan city, it draws many artists from Germany and abroad.

From June 8th to July 24th, the exhibition showed – in a format exemplary for the city’s dynamic art production – the work of some 80 emerging artists who live and work in Berlin. The exhibition covered the full range of contemporary art practices from paintings and drawings to sculpture, photography, film and video, as well as installations and text based works.


Courtyard at the KW Institute for Contemporary Art, D-10117 Berlin

Many of the participating artists had developed new works especially for based in Berlin. Several of Berlin’s well-known project spaces were also invited to use the venues within the exhibition to present selections of their own programme.






"BASED IN BERLIN 2011"



Center for Documentation and Exhibition

Permission given by Michael Geib, Dipl. Geogr, to use translated documents of the History of US Americans in the Rhieland Palatinate.




Die Plakate des Herrn Lesmeister
Docu center Ramstein

1935 – 2006




Han Lesmeister was born in Ramstein and, after finishing Volsschule (elementary, secondary school) there he spent three years studying graphics ad painting at the Meisterscule (trade school) in Kaiserslautern.

Beginning in the mid 1950’s until 1966, Hans Lesmeistter worked for the American military in Eselsfurth, on Ramstein Air Base and in Stuttgart. It seems likely that a fellow student who already worked on the base, Has-Joachim Schwitzke, helped Lesmeister find a position at the Flieger Haus sometime around 1954. He was one of six Germans working there and, as “club artist”; he produced the advertising posters for productions ad events taking place at the Flieger Haus in addition to teaching art and handcraft courses.
Chet Baker Performing in Ramstein


While in Stuttgart form 1958-1959, e also produced posters and took over other graphic design work. When he came back to Ramstein Air Base in 1960, he took a position as an architectural draftsman and stayed until 1966. During this period, his only painting was occasional portraits for the Americans. Beginning in 1966, Hans Lesmeister began working for German films. From 1966-1981, he worked as an architectural draftsmen for Bayer, a window company, and from 1981-1996 for Kommerling, another window manufacturer. Sometime in the early 1980s, he became a member of the Lanstuhl “Friend so Painting “ society and began consistently producing artwork for their annual exhibitions after only producing the occasional piece as a favor to family and friends since the mid-1960s.

Another exhibition I found interesting was Drei Fotografen Hinterm Zaun- 60 Jahre US-Depot Miesau


There has been a US ammunition depot at Miesau since 1949. It thus counts among the oldest military establishment of the US forces in the Rhineland-Palatinate. At the same time it is one of the most “secret”. A wire mesh fence of some 14 miles in length surrounds the gigantic area. What is hidden behind it can only be surmised and speculated. From the outside, it looks like a green fenced-in wilderness, in which mysterious lights wink at night. Its 60th anniversary was an occasion for the Center for Documentation and Exhibition of the History of US Americans in the Rhineland-Palatinate, the docu center ramstein in short, to send three photographers behind this mysterious fence. Those in command of the military depot were kind enough to support the enterprise and to allow glimpses of it.


The three photographers take up three different positions in their work; Isabelle Girad de Sucanton that of the press photographer, Jorg Heieck that of the documentary photographer and Thomas Brenner that of the staging photographer. For reasons of secrecy they were not allowed access to some areas in the depot. Nevertheless, their camera lenses give us personal impressions of the largest US ammunition depot in Europe which is normally closed to outsiders.

From the 1950s to today, from the Korean War to the present involvement in Afghanistan, ammunition supplies were and are dealt with via the depot in Miesau. From the second year of its existence, local nationals have also worked at the Ammunition Center next to US soldiers and Labor Service Units. At the height of the cold war, almost 1,700 Germans were occupied at the Center. In the 1990s, the constant reduction in the number of German employees began and the Labor Service units were disbanded. Today, 115 German nationals still work at the Ammunition enter Europe.

Isabelle Girard De Soucanton- (No images available online)

Title of the Works: “Report on the Miesau Depot


The main point of observation with the photo journalist Isbelle Girad de Soucanton is the people, some of whom have been working at the Miesau depot for a very long time. Here, she did not want to take momentary photos of these persons at work, but of a consciously-posed work situation, seemingly frozen. With the exception of the portrait of the deputy director Han-Jurgen Becker, taken in front of a model of the depot, it is not even discernable with the other persons photographed that their work takes place behind the high fences of an ammunition depot. So the photographer combines the portraits in her photo report with detail photographs of precisely these fences surrounding the depot.

Jorg Heieck


Title of the Works: Selection from “Mieau I-XXII”



In the landscape photos which the documentary photographer Jorg Heick has taken of the ammunition depot in Miesau, the function of the location is not at first sight apparent. In most pictures, intensive green dominates views almost always s empty of people. It is only clear from things of secondary importance, a container or a truck parked in the forest, that this is not an abandoned place, that the calm is deceptive. As in a game of hide-and-seek, one only discovers indications of the secret use of the area by looking closely in the luxuriant, natural growth.

Thomas Brenner


Title of the Works: “Fat Boy”



In the distance of the depot seemingly empty of people, Thomas Brenner places a black-clad person holding a red fabric bomb. He calls it “Fat Boy” in allusion to the atom bombs “Little Boy” and “Fat Man” dropped on Hiroshima and Nagasaki in 1945. A photo gives the impression of “Fat Boy” being a cuddly bomb, the woman in the black mask holding it firmly pressed to her. More disturbing is the black man, whose size, attitude and stature are intimidating enough in themselves. The bomb in his hand becomes a threat. In this way, Thomas Brenner stages a modern, satirical Dance of Death with people and the red “Fat Boy” in front of and in the ammunition depot.











BAHMAN JALALI

SPECTRUM International Prize for Photography


Bahman Jalali, on exhibition May 29 to August 21, 2011



I would be remised if I didn’t mention this exhibition I visited while in Hannover at the Sprengel Museum. I spent the first hour of the tour in this exhibition investigating all of the narratives, and slide video installations of the show.

Hahman Jalali (1945-2010) is one of the central figures I contemporary photography in the Middle East. He dedicated over 40 years of his life to preserving Iran’s visual memory. He was a photographer writer, university instructor and founder of a museum. Many of his projects were realized in collaboration with his wife, the photographer Rana Javadi.


The exhibition at the Sprengel Museum Hannover is based on the first extensive exhibition of his works at the Fundacio Antoni Tapies in Barcelona in 2007.

“This Bahman Jalali retrospective marks the first time that visitors in Germany will have an opportunity to engage with artistic, historical political and social questions related to Iran, both as they are manifested in Jalali’s own work as well as in works by nineteenth –century photographers. “



WHOSE ART IS IT ANYWAY?



http://www.sojoarts.net/

SHONNA MCDANIELS is the Executive Director of Sojourner Truth Multi-cultural Art Museum & Development Center in Sacramento, California.

SHADES OF BROWN

Background: I went to an art exhibit in 2008 at the California State Fair and saw a collaboration piece done by three Caucasian female artists that really inspired me. The idea was to have depicted the style and expertise of each artist; the painting took on new life and meaning with each artist’s contribution. So, I thought I would like to do a similar piece and include three African American artists from SOJO Multicultural Development Center.

I approached two artists, Debra Ledet and Joyce Carley, to share with them the inspiration I got from this project; after Joyce shared the same excitement, we immediately started to do some research and came up with the idea of having images of three African Women and pictures in the surroundings that would reflect pride in our culture, history, our strengths, and pride in our beauty.

I drew sketches of ideas I was envisioning and met with Joyce to garnish her thoughts and opinions? We both agreed on images for the mural sketched them out. She asks her husband Ed Carley to build a screen for the surface.

I discussed with Joyce the idea of working in oils since I’m an oil painter. She works in acrylic paints to focus on the background. Joyce and I are mixed-media artists, and we both use fabric in our art. With this project, the collaborative commodity was the use of cloth and incorporation of African shells; I painted all the images of the people as my expertise is in photo realism and my medium being oiled.

We unveiled “Shades of Brown” at the Sacramento Convention Center during Sacramento City Council’s Black History Program in February of 2008. The piece has exhibited again at the Kuumba Gallery, Downtown Second Saturday outdoor exhibits, and returned to the Sojourner Truth Art Museum collection, where it was on display through 2009. We agreed that the original art was valued at $10,000 posted on all labels when exhibiting the painting.

Unauthorized Removal of the painting from the Art Museum:

In the middle of 2009, the piece was in an exhibit at the Sojourner Truth Art Museum. Joyce walked in and removed it from the wall, along with some other details that she actually had on display. I have not seen the piece since! Joyce has before been making prints, tile pieces, and plates with just her signature on them. Finally, in one of the last attempts to reach her over the phone, she said that the piece belonged to her; she designed it she painted, she invested money into having her husband build the screen. It was her project and belonged in her collection.

“I still consider it to be a collaborative piece because that was the purpose and plan when we started the project.”