Researchers coax self-assembling materials into flowers, corals and other complex shapes.
“Double Portrait, Marci” by LaToya Hobbs
Hearne Fine Art,1001 Wright Ave., is hosting a reception from 5-8 p.m. tonight for “Beautiful Uprising,” an exhibition of woodcuts by Little Rock artist LaToya Hobbs. Hobbs will give a gallery talk Saturday at 11 a.m. and a panel discussion, “Relevance of HAIR,” at 1:30 p.m. tomorrow afternoon.
From Hobbs’ artist statement:
My work is an investigation of the point where the notions of race, identity, and beauty intersect concerning women of African descent. In this exploration, women, those with whom I have personal and virtual interactions, play a role that is paramount, making them the source of my inspiration and an integral part of my creative process.
Hobbs receives her MFA degree from Purdue this month.
The exhibition continues at Hearne through June 8.
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LaToya Hobbs at Hearne Fine Art | Eye Candy – Arkansas Times
The Los Altos Rotary's raffle proceeds will go to 'SOPUDEP,' the sister school of Los Altos High School that suffered a devastating blow in the earthq.
May 20, 2013: [Note: This special holiday edition of Raina's show was originally broadcast on April 23rd.] Pop quiz: what makes a studio recording different …
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The fine art of stage banter CBC Music – Free Streaming Radio …
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Or, to put it more bluntly: WHY I HATE MATT KINDT!!!!
Last week First Second shipped Red Handed: The Fine Art of Strange Crimes, the latest graphic novel by Matt Kindt. It costs $26.99 for 266 pages, and frankly, we should be happy they didn’t charge twice as much, because it would still be totally worth it.
Let’s consider Matt Kindt. Look at him on the dust jacket of this book (or in this picture), with his dashing salt-and-pepper hair and his sad yet mischievous eyes. He’s very soft-spoken, ridiculously humble, and I HATE HIM SO MUCH!!!!! I mean, the dude just sits around and cranks out these giant slices of comics awesomeness. I didn’t read his DC work, because he wasn’t drawing it, but everything else the dude has ever done (and I’ve read almost all of it) is pure genius. He didn’t write Pistolwhip, so it’s not quite as good (although Jason Hall is a pretty good writer), nor did he write The Tooth (but it’s still pretty good), but when the absolute worst thing you’ve ever done is probably an A- or at the very worst a B+ (that would be Revolver), you know you’re hitting on all cylinders. Seriously, Matt Kindt, what the hell? He’s just done yet another graphic novel to join two others as three of my favorites of this century, and his ongoing series – sure, why not do an ongoing series as well? – is kicking all kinds of ass. Just for fun, he wrote one of the best Black Widow stories ever a few years ago, probably with his left hand while he was writing and drawing something else with his right hand. Goddamn, Matt Kindt is a comics genius.
So you can probably tell I loved Red Handed. It’s not quite as good as Super Spy, which is saying like it’s not quite as good as having sex while you’re hitting the World Series-winning home run and giving your acceptance speech for your Best Director Oscar, but what is, really? Kindt decides to write a somewhat surreal detective story – in the most recent issue of Mind Mgmt, he did a brief detective story, so maybe he’s had it on his mind recently. His character in this book, Gould, is a homage to Dick Tracy (who was created by Chester Gould) – he even resembles Dick Tracy. Gould lives in Red Wheel Barrow (yes, that’s the name of the city), where we learn that the unsolved crime rate has plummeted – the actual crime rate hasn’t changed, but Gould solves everything, often without even thinking about it too much. He’s just that good. But suddenly he’s confronted with a crime wave of, well, strange crimes. A woman steals chairs and stores them in her apartment. A man steals a Picasso and chops it into 100 pieces. A novelist steals road signs from across the city. A washed-up magician goes on a pickpocketing spree. A elevator repairman starts breaking them just so he can fix them. A man makes a fortune suing people. Some of these are obvious crimes, while others fall into a gray area. Is Sweeney, the man who provokes people into hitting him so he can sue them, committing a crime? Is the photographer who isn’t all she seems committing crimes? Even as Kindt shows all these crimes or quasi-crimes, he’s tying everything together – you see certain characters show up in crucial places, and it’s fun to see how Kindt brings it all together. Meanwhile, at certain intervals, we get pages of black panels in grids with word balloons in them – two people are debating crime, what constitutes a crime, if there’s such a thing as a “moral” crime, and other philosophical things. It’s somewhat clear that one of the speakers is Gould, but Kindt leaves it mysterious as to which one is Gould and who the other person is and why it’s so dark. It’s an effective device, though, because as the one speaker points out, if no one gets hurt and no one is victimized, is it a crime? What is an accomplice and how far does that person’s responsibility extend? Gould lives in a world where the crime gets solved, which is why we think he’s arguing for a more black and white view of the world. But we don’t know until the very end if that’s really him (maybe he’s arguing as a Devil’s Advocate) and what the circumstances are. When it’s revealed, it’s a devastating conclusion.
What makes the book so good is that conclusion, which Kindt slowly builds to and which is really a punch in the gut. Without it, the book would be a very clever mystery (or series of mysteries) but it wouldn’t have the emotional resonance that it does. Gould and his wife, Annalyse, are at the center of the book, as Gould seems to care more about solving the crimes than he does about his wife. He’s not cruel to her, just somewhat indifferent, and as we move through the book, we see how this upsets Annalyse even as Gould, the ever-observant detective, misses it. The relationship forms the crux of the grand scheme of the book, which isn’t really about their relationship but makes Gould view it differently. I’m not going to give away anything more than that, because it really is cool seeing how Kindt slowly draws us in through the weird crimes and then hits us with some powerful, emotional stuff. The way he tracks the “criminals” – whether they are or not – is fascinating, too, because he provides enough backstory about all of them that we can understand why they’re doing what they do. We might not agree with their choices, but we get why they make them. As with so many of his other works, Kindt almost effortlessly creates these fascinating, flawed characters who are totally unique yet completely believable. And then he puts them into this amazing plot, which makes them even more interesting.
I’ve often mentioned that Kindt’s art is an acquired taste, but I should probably stop, because it’s too good to imply that you need to get used to it to appreciate it. He remains a supremely inventive artist in terms of laying out the pages, and in this book, we get a lot of different things. He tells some of the backstory in small strips that look ripped from the newspaper, and he adds short news briefs updating us on what happened after Gould “got his man.” These strips are in black and white and are illustrated a bit more “simply,” meaning that Kindt keeps the figures somewhat basic and even appears to have “forgotten” to erase the blue pencil lines from the original sketches. Meanwhile, in the main story, he gives us a few pages that look like old-school paperbacks from the 1950s, he does a wonderful fade from a photograph into the real-life situation being shown in the black and white, and he turns the book on its side toward the end to give us “newspaper-style” pages (which leads to the only problem with the book – some text is buried so far inside the crease where the pages meet that it’s illegible). Kindt colors the book himself with watercolors, which allows him to change the tone, like when Terry is in Hawaii, without changing the look of the book too much. He changes the brightness of the colors not only in flashbacks, but in other places too, depending on the situation in which the characters find themselves. Toward the end, there’s a tragic and gorgeous two-page spread in an autumn forest, and Kindt’s impressionistic painting work makes the scene even more heart-rending. Kindt uses sound effects really well, too, which is just another bullet in his arsenal.
Red Handed is brilliant, an easy candidate for best graphic novel of the year, and it just shows that when it comes to comics, there aren’t currently many better creators than Matt Kindt. If you haven’t caught up with Mind Mgmt yet or you just want a complete story, do yourself a favor and pick this book up. If you don’t end up hating Kindt as much as I do because he’s just so damned talented, I might have to shun you. Matt Kindt = Genius is provable using MATH, and you just can’t argue with MATH!
Works by artist Molly DeVoss are featured in first exhibit at the new Trinity West Fine Art in the Dallas Design District.
The Dallas Design District has landed a new gallery, Trinity West Fine Art, which features, according to a press release, wide-open white spaces overlooking the Trinity Strand Trail and Trinity River, at the northern end of the district. Sounds like the view itself could be considered artwork!
Artist Molly DeVoss at work
The opening exhibit showcases the work of Molly DeVoss, a longtime Design District (and Santa Fe, N.M.) resident and her “Freedom Series,” which “intends to move us beyond the impediments that hold us back from happiness.” The show has three distinct focal points, “Intrinsic Fear,” 13 figurative works expressing freedom from the demons inside us, “Atua,” expressing freedom from dogma, lies and limitations put on us by others, and “Yesteryear,” diminutive works that express freedom from our pasts.
The show runs through May 25. Trinity West Fine Art curators also plan to host brown bag talks from time to time; check the website for more information. The gallery is at 2335 Valdina St., Dallas.
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Design District gets a new gallery, Trinity West Fine Art, with Molly …
Opened in 2007 by Slovakians who made a fortune in Russia (the winery cost a reputed €30 million), Elesko features the Zoya Museum, a full-on fine art gallery with an exhibition Karásek VS Africa on show yesterday.
Fine Wine, Fine Art, Slovak Style « Pendock Uncorked
Shoppers in Albert Road will soon be able to see work from University of Portsmouth students in the windows of 16 businesses.
Students from Year 2 Contemporary Fine Art, came up with the idea for ‘Albert Road Trail’ in order to bring contemporary art to a wider community audience. They wanted to exhibit their work in a community setting and forge links with local businesses.
Works on display range from painting and sculpture to photography and installation.
The event will run from Monday 13 May to Saturday 18 May 2013, with a celebration launch event on the evening of Wednesday 15 May.
An exhibition guide which includes a map of the trail will be available nearer the time. For updates, further information and enquiries follow @albertroadtrail on Twitter, like on Facebook or visit their blog.
Originally posted here:
Year 2 Contemporary Fine Art Show | UoP News
When Matt Kindt’s characters aren’t planting themselves at Red Wheel Barrow’s lonely diner counters in the Eisner and Harvey Award-winning comics writer, artist, and colorist’s Red-Handed: The Fine Art of Strange Crimes, they mull paintings or true love, or debate whether victim-less crimes are in fact malicious at all. Only there is no shortage of deviousness in this dark and beautiful book, where art links a set of vignettes as compelling as their visuals and distinctive cast.
An elevator repairman snaps “upskirt” photos and peddles them to a smut ring contact at a newspaper stand. A con artist’s quite lucrative con rests entirely on the aggressions of others. An art thief offers a technical spin on his vocation that sets him apart from the more standard fare, such as the pricey suit-clad types in Robert Kirkman’s current monthly, Thief of Thieves. And each Red-Handed figure, provocative in his or her own manner, has a complicated role in the larger story.
The intriguing characters (and in some sense, story lines) that span Kindt’s body of work inevitably share an infrequent commonality or two. For a visually arresting graphic novel in 2010 called Revolver, Kindt worked post-apocalyptic anxiety into his pages as newspaper photo editor Sam struggles to balance what appears to be two realities at first, each feeling, smelling deceptively real. The book is more Vertigo than Groundhog Day—its urban dwellers in the alternate “life” find themselves damned with a mass avian flu outbreak, deranged motivational speakers, and emptied city streets under recent implementation of martial law. Fresh wire copy streams across each page’s footer in Revolver, announcing local and national end-times madness with the page numbers fed into headlines so that they’re actually part of the breaking news. A similarly elaborate plot unfolds in MIND MGMT, Kindt’s first monthly solo series. The inaugural volume was collected in an April 2013 trade from Dark Horse.
A plane crash yields mass amnesia for its survivors in MIND MGMT, and a crime novelist, navigating writer’s block and the anxiety to deliver a product at least as popular as her last work, peers into this phenomenon. There are unruly government agents, immortals, and more. Ads, positioned where actual ads would normally be in a comic, are riddled with secret codes that tie directly into MIND MGMT. Supporting material was worked into any and all available space—specifically in the comic’s back matter, or up and down the margins of the pages, set in the straight type that mirrors Revolver‘s harrowing news headlines. It would be difficult to thoroughly process all of what Kindt is trying to do with MIND MGMT simply by picking up the first trade collection. The 152 pages in MIND MGMT Volume One: The Manager don’t include all of the “bonuses” that Kindt prepared for his monthly series, and he wrote as much in May of 2012, when he took to the letters section of the first issue to advocate for buying monthly comics (after confessing that he hadn’t been for some time). “I’m basically making this into a monthly book that would get me reading monthly books again,” Kindt wrote. “And I hope it gets you to do the same.”
The aesthetic that we’ve come to associate with MIND MGMT—which undoubtedly helps hook its monthly devotees, personal letter from the creator or not—blankets Red-Handed. There’s an array of purposefully yellowed, coffee-spotted pages, bleached watercolors, Polaroid frames, abrupt shifts toward horizontal comic strips-within-a-comic, and weathered newspaper inserts that set Kindt’s work apart from nearly everything in the shop. Text and graphic design integration are fundamental to Red-Handed‘s strong appearance, as Kindt manipulates the flow of the story with shifts in lettering and sprinklings of stylish typefaces. Sure, this book is somewhat of an exploration of old detective fiction, but Kindt funnels his narrative through a swirl of complex human emotions and atypical mischief, all of which unfold within a half-mile’s distance of a practiced gumshoe named Gould. And even as the finest representation of the past proves the most trafficked these days—personal digital photography filters lend a vintage appeal to reproductions of our routines, while TV studio heads scramble to capture a pitch-perfect method of celebrating decades long-gone—each page that Kindt produces is marked by an ability to communicate nostalgia that is immediate and striking.
PopMatters critic Shaun Huston examined the relationship between words and images in comics, suggesting that a comic’s “drawings provide critical context for those words” in a late 2011 column for the site. “It is easy to let one’s eyes just slide over the pictures in the panels while attending to the dialogue,” wrote Huston. Like 2012’s Underwater Welder from Jeff Lemire (a sometime-collaborator of Matt Kindt’s), Red-Handed is one of those books that reminds us of how often we can be swept into racing past a comic book’s wordless sequences, or simply ingesting dialogue while neither appreciating page composition nor understanding why the perspective employed in panel “A” wouldn’t necessarily support the action in panel “B”.
Compelling interplay between Red-Handed‘s crafty and credulous throws shine on the work’s more enduring moments, such as when Kindt lends unlikely tenderness to an exchange between an aging pickpocket and his mark on a crowded subway train, or to a heist man’s recounting of his convictions to a new lover, set against a Hawaiian sunset. Each encounter is framed in extremes, so that micro scenes drawn from on-the-ground perspectives of townspeople swiping a store marquee’s letters can render the cast comically pint-sized. Evocative closeups, on the other hand, signal for reader restraint. It’s practically hypnotizing when Kindt brings someone to the fore in this novel. The minimal use of hard, black-ink sketch lines and watercolor washes goes just far enough to summon sympathy for Red Wheel Barrow’s wealth of rounded, weary faces, and it halts us in our tracks, too, so that we can make sure to lean over and get a close look.
Red Handed Page 36
Red Handed Page 37
MIND MGMT Volume One
MIND MGMT Volume One
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Comics Creator Matt Kindt's 'Fine Art' | PopMatters
Dan LuVisi is a concept artist who has worked in motion pictures, advertising and comics. He’s also done some video game work for companies like Microsoft, Collission Games and Acony, the now-closed developers of Bullet Run.
A reminder: Fine Art showcases not just an artist’s professional work, but their personal projects as well (like his own graphic novel), so not everything you’re seeing below is the result of LuVisi working on the comic or movie in question. Pro artists are allowed to do fan art too, you know!
Fine Art is a celebration of the work of video game artists, showcasing the best of both their professional and personal portfolios.
Originally posted here:
Fine Art: Batman,' 80s Ladies And… Walking Sharks | Kotaku Australia