Actor Fanny La Croix that's Fanny wearing the peach-coloured scarf in today's pic and I spent the morning at Place Kensington, a Montreal seniors' residence. We were working with a group of lively, totally with-it seniors who will be taking part in this year's Blue Metropolis Literary Festival. I'm not supposed to tell you too much about the Blue Met event -- but I can tell you it involves seniors and storytelling and it's going to be hilarious. I'm helping seniors find their stories and put them into words; Fanny is in charge of making their on-stage performances stellar.
Luckily for us, the seniors we've met so far are natural storytellers. We'll be heading next to the Cote St. Luc Library, and lin March to the Atwater Library to continue our work. The gentleman in today's pic is named Sam. He's working on a wonderful story about his porcelain collection. The woman wearing the grey top is Sarah, and she's got an unforgettable story about a famous historic funeral which she attended as a child. Before you came, I was writing down different episodes, hoping to tell my children and grandchildren, and you have reinforced this process.
The woman wearing glasses is Eve -- Eve has some homework to do on her story! And the woman in blue closest to me is Sheila, who is 92 years old and in remarkably fine shape. I like Sheila's story so much I've been telling it to all my friends!
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I don't want to give away too much -- except to say it involves a cheeky budgie. Sheila's family lives in Toronto. And you know what Sheila answered? Fanny did vocal exercises with the seniors there were several more who attended, but who were not around when we found someone to snap today's pic , as well as an exercise called "dropping in" which encouraged participants to return to a memory and really feel it.
Sheila not only cracked me up with her story and her witty comment, she also made my day when she talked about the impact our work has had on her: "You triggered something in me. I'm going to write more stories. So keep your eyes and ears open for more details about the upcoming Blue Metropolis Literary Festival. Our storytelling evening is going to be one event you won't want to miss.
And something tells me you'll need to get your ticket early. This one's gonna be sold out! I'm just home from my second of three days of writing workshops at St. Thomas High School -- and I have a lot of fun stuff to tell you! See the kids with me in today's pic? They're students from Mr. Rowland's Grade Seven English class. I worked with three groups of students today -- Mr. Rowland's, Mr. Katz's and Mr. The boy in the middle of the pic, wearing a grey shirt, is Harry.
What I liked about Harry is that he's an original thinker. Here's the proof: I was telling the students how I sometimes steal pens. I don't mean from stores I do it because I'm always running out of ink -- which is a problem if you're a writer who loves jotting stuff down! Anyway, Harry raised his hand and asked, "Don't you like when your pen runs out? Doesn't it make you feel happy that you used a pen? I will never again get grumpy when one of my pens runs out of ink.
Instead, I'm going to think of what you told me -- and feel happy about it. The answer to the question is: I had the flu, and felt too woozy to even sit up in bed and hold a pen! There was time for a writing exercise with Mr.
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Katz's students -- so I had them write about a moment in their lives when they felt they changed. Madurta wrote something beautiful, which she gave me permission to share in today's blog. It's a powerful beginning to your story, and it shows us you are a courageous young woman. Here goes:. I'll tell you what happened. I was six years old and I was always alone.
Some kids came and made fun of me and punched me. This happened for three years. Madurta, I want to say that though you were working with difficult material today, you told your story in a compelling, moving way. I love the line "I'll tell you what happened. The details of the bullying you experienced are important to your story.
It won't be easy for you to keep writing this piece, but I think you should. And I think you need to also write about your own resilience, how you overcame the experience and how it may continue to affect you to this day. You know what, Mardurta? Our world needs more stories about bullying -- and resilience! I ended my day with Mr. Thomas's class. Because I was preparing for a quick getaway I wanted to beat the school buses parked outside , I didn't write down students' names. But these kids were great. Thomas's class They were keen to learn about body language, and to hear the story of my monkey man charm.
I'll be back at St. Thomas next Wednesday. I'll bring my lunch and have it in one of the library's study rooms during junior lunch. Hey, if any of you want to come and chat about writing, or show me your work, that would be a great time to do it! Many thanks to the teachers, to librarian Mrs.
Pye for arranging the visit, to librarian Mrs. Thom for being there today, and to the kids for being wonderful. See you guys next week! You don't have to be old to be smart! If you know me, you know I'm obsessed with body language. Teachers need to understand body language to manage our classes; writers can use body language to let readers learn more about our characters.
When I was working with the Grade Three's, I noticed a student named Tevin who was in perfect what I call "thinking position. Notice how he is resting his chin in his hand. Admittedly, Tevin's glasses also make him look extra-smart! Keep all that thinking up When I was discussing the importance of re-writing, a student named Rowan commented, "You have to try it once, and then do it over and over again until you like it. When we talked about how writers have to be readers writing and reading go together like siblings or cousins , Nathan and Anais both told me they read every single night.
Anais added, "I have a clamp light from Ikea. Can't you just imagine a girl named Anais reading late at night, underneath the yellow light from her clamp light?! Some of the kids knew what feminism was, but others were less sure. Which led a student named Lucien to ask one of my favourite questions of the day: "Is it true a man can rob a bank better than a woman? Of course, you'll want to know my answer! I told Lucien that I thought bank-robbing was a bad plan for anyone, no matter our gender. But, that being said, I told him that if a woman really had to rob a bank, well, I'm sure she'd be just as good at it as a man!!!
After recess, I worked with the Grade Four classes. I'd met most of these students when I visited Evergreen last year, so I did a quick review of my writing tips, and then moved on to new subjects. Because these students are just the right age for my Princess Angelica chapter book series, we talked a lot about how I got the idea for the first story, and about the upcoming books in the series. I explained that I found my inspiration for Princess Angelica, Part-Time Lion Trainer , which is coming out this spring, at the Ecomuseum, a place that many of these students have visited, because it's near their school.
I also told the story of the monkey man charm I wear every single day. That charm has also inspired a book -- my first picture book! A student named Connor raised his hand to ask me an important question: "Are you going to keep the monkey man in your casket? Good question, Connor! I told him I'd rather give the charm to my daughter or to a museum.
No sense in burying it! A student named Hzaz asked me a question that made me super happy. He asked, "Is it normal when you go to bed, to have all these thoughts for a book? What you need to do, Hzaz, is write all those ideas down so you can use them in your books! Later, when we were talking about grief, a student named Stuart told us about his guinea pig, Snowy.
Snowy died on Mother's Day. Stuart asked, "Why did he have to die on a holiday? Try to capture not only how much you miss Snowy -- but also how much you loved him, and what made him a special guinea pig. So I think you can figure out why my morning was sweet. Thanks to the teachers for sharing your kids with me, thanks to librarian Tina Hausen for arranging today's visit, and thanks to the kids It was our second visit.
We are part of a team of writers and photographers working with students across the province, helping them to produce a chapter for this year's edition of Quebec Roots. It's up to the students to choose a subject for their chapter. In the fall, these kids decided they wanted to write and take photos of the geese who visit their playground. The students have been writing stories and taking photos in preparation for today's visit. I showed the students how I go about editing writing. We put their words on the screen, and I got right to work, tightening up the language, and making some sentences shorter and more clear.
Because we needed some more written material, I threw out a few topics for the students to work on in small groups. Though I give myself credit good work, Mo! I have to admit I cracked up while I was putting it all down on the computer, and editing their material. I shouldn't be giving away too much -- but how about I just give you one of my favourite lines from the goose report card? The line appears as a comment after the goose student's French grade.
Oh, I forgot to tell you that the student named their goose student Stinky Honkalot! If you want to read more, you'll need to get yourself a copy of Quebec Roots when it comes out in the spring Before Pierre and I left today, I asked the kids to tell me what they learned about writing. Tristan said, "We need to use our imagination. Thanks, Ms. Arcamone is the beautiful dark-haired woman in today's pic ; thanks to Pierre for being my partner at Kingsdale; and special big thanks to the kids for being fun, and hardworking and making me laugh!
Maybe we'll see you guys at the book launch!! But my morning at St. I can't quite tell you why. Maybe it's because Grade Seven was a pivotal year in my own life; it's when I decided I wanted to become a teacher and a writer. Twelve going on thirteen is also the age my mum was when she entered Theresienstadt, the Nazi concentration camp where she spent nearly three years. So, this morning, when I looked out at the three Grade Seven classes I was working with, I thought a lot about my mum and her story which inspired my historical novel What World Is Left.
It also helped that the teacher of the remarkable students I worked with is the remarkable Miss Scott. They came up with some of the best ideas in the book! So, how about I tell you some of the most interesting things that happened with Miss Scott's classes this morning? I was talking about body language with the first group when I noticed a student named David twiddling his pen.
When I pointed out the twiddling, I noticed that another student named Muhammad was smiling and leaning in towards David. Clearly, Muhammad was enjoying the fact that I was teasing David. And as it turned out, the two boys are friends. I also learned that David was twiddling because he was tired.
So, being snoopy an important trait in a writer! Guess what he told me? Great news, David! Twiddle away! In the same group, when I talked about What World Is Left , a student named Cynthia asked, "Did your mum feel better after telling you her story? But as I told Cynthia, my mum definitely feel better after sharing the experience.
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For one thing, she'd been a bad sleeper most of her life, but after telling me about what had happened to her during the war, she began sleeping better. Finding out my mum's story also did a lot to improve our relationship. It's hard to feel upset with a person once you know what they have been through. Today's pic was taken at the end of my workshop with Miss Scott's second group. The student is Danica, and she pulled that book out from her desk when I told her class that my mum knew Anne Frank.
My arms got tingly they tingle whenever something amazing or interesting happens when Danica showed me the book. During the second class, I also met a student named Pearla. It's a name I'd never heard before and I wrote it down for my list of possible names to use in upcomig books. Thanks, Pearla! Actually thanks to your folks for coming up with the cool name!
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I had lunch in the library, where I met with a few students to chat one-on-one about writing. I was impressed by a student named Peder who is half-Norwegian and half-Inuit. What a cool mix! Peder told me he is working on a book inspired by George Orwell's In fact, a couple of weeks ago, Peder had what he described as, "a vivid nightmare of a world.
Interestingly, the characters in Peder's dream were all gender neutral. Use that in your book too, Peder! Peder had been in the second class I taught, and when I asked him if he learned anything from my talk, he told me: "I learned I should read and write more. If I ever write anything, I want to revise it over and over. I want to learn people's stories. I want to know. You'd think I couldn't possibly have had three wonderful classes in a row Miss Scott's last group was the liveliest of them all -- in fact, I had to ask them to STOP asking questions so sorry, you guys, but we only had 45 minutes together And you know what else?
I think your question touches the very heart of writing fiction. I'll be back for two more writing workshops at St. I'll do my best to stick around for lunch. That's because I'd like to see what writing might emerge from this morning's workshops. Thanks to my friend, librarian Mrs. Pye for the invite; thanks to Miss Scott for sharing your students and from bringing my lunch in the library ; and thanks to the kids for being wonderful, inquisitive and bright Grade Sevens!
Hello hello I worked with three groups of secondary III students. English is a second language for these students -- but they're very good at speaking and writing it. All of the students are reading my historical novel, What World Is Left , so besides sharing my usual writing tips, I told the students the story behind the book I also told them my favourite story -- it's about the monkey man charm I wear on my necklace. With the first group their teacher is my friend Mr. Lord , I talked a little about bilingualism.
I told the students a line I read recently which really touched me: "Every time you hear an accent, it's a sign of courage. When I was discussing the importance of revising our work, I used the word "brouillon" which means "rough draft" in French. I told the students that I much prefer the sound of the word "brouillon" to :"rough draft.
I know my first drafts are VERY rough.
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The second class was with a lovely substitute teacher named Laurie. With that group, I talked about how it has been possible for me to turn something I love writing into a career. Afterwards, a young man named Matthis told me, "It isn't always possible to follow your passion. What about writing a book about a young hockey player who has had three concussions and works part-time at the local grocery store? You know, Matthis, there is a big market for sports stories for teens I bet a lot of young people would be interested in reading it.
And of course, I want to read it too! Here's a little shout-out to a student named Tommy-Lee Tremblay. I just want to tell you that you've got the kind of name that belongs on a book cover. Or else maybe I should have a Tommy-Lee Tremblay as a character in one of my books!
Students in the last group also Mr. Lord's students had heard that I had discussed body language earlier in the day -- so I showed them some of my tricks for analyzing body language. I explained that writers use body language in our stories. It's one more way to bring characters to life. I told these students that I always hate my frist drafts. I asked them if they ever love anything they write when they first write it. A student named Louis said: "Sometimes I write one sentence and I think it's fantastic. Here I am on the train I forgot to mention that I boarded a while ago and am now writing from my seat Maybe you're just lucky -- and talented.
Good for you that you think some of your sentences are fantastic, even before you rewrite them. Thanks to the students for being smart, lively, open and great listeners. Thanks to Mr. Lord for the invite. Catch the stories, talk to old people and find out their secrets, then take the stories you catch -- and share them with the rest of us! I'm just home from an incredibly fun and stimulating visit to Montreal's Ecole Nationale de Cirque where I did two writing workshops for young people who have come to Montreal to train to become circus performers.
My workshops took place in the school's library -- a place that is close to my heart. That's because it was in this very same library that I started researching my YA novel Learning the Ropes. It was also there that I met librarian Anna-Karyna Barlati, who really introduced me to all things circus! What made today's visit unusual and special for me is that the young people I worked with already know a lot about some of the things I love to discuss, such as the need for discipline and hard work if we want to get better at what we do.
We also talked about courage. It takes courage for authors to tackle difficult subjects, but as a student named Lily explained, working on a circus act also requires courage. Lily explained that she needs courage when she does ropes or tissu: "When I'm about to do my big drop and I'm face down, I think, 'Am I going to hit my head on the mat? These students also understood when I explained how much re-writing I do. That's because they go over their moves again and again And when I said that I often feel frustrated when I write, a student named Lola said she felt the same way when she was learning to do a hands-free cartwheel: "I did it once, but then I couldn't do it a second time.
If you know me, you'll know I'm obsessed with body language. Well, there was a lot of nodding when I was sharing my writing tips today. Sometimes, I get the sense that one of the young people I am working with is meant to be a writer. I had that feeling about many of the students I met today. A student named Andrea, who does the Cyr wheel, confirmed my hunch about her when she told me, "I'm the kind of person who doesn't understand things until I write them down. That's what writing is all about! So I'm going to end tonight's blog entry with something Anna-Karyna told my second group: "Hold those stories of who you are.
That's what we all need to do -- hold the stories of who we are. Whether we use words or physical movement or music or paint to tell our stories, the main thing is holding onto them -- and when we're ready, sharing them with the world. Thanks Diana and Anna-Karyna for making today's visit possible.
Thanks especially to the students. My book Learning the Ropes is pretty good -- but think how amazing your books about circus life are going o be!!! Now get to work!!! We are here as part of the Blue Metropolis Literary Foundation 's Quebec Roots program, helping students use words and images to produce a chapter that will be published this spring in a real book! English is a second or third language for most of the students at Tukisiniarvik School. Most have grown up speaking Inuktitut. And many of the students we've been working with this week are reluctant to put words on paper.
They are a lot happier when they are taking photographs with Thomas! I think part of the issue is that their fear of making a mistake. I've been trying to tell them that making mistakes is an important part of the writing process. I make mistakes all the time. So today's small triumph came when we dropped in to visit Abby's class, which is down the hall from Edna's class we've been working with Edna's students for the Quebec Roots project.
Because most of the kids at Tukisiniarvik were in the gym, preparing for the Christmas party, Thomas and I only had two students: Diane, who's 14, and her 12 year old brother Sakiriasi. Thomas started the lesson by showing them some photos and talking about his work as a photographer. I took over for the second half. I asked them to remember being five years old. Diane wrote about playing with her best friend and her dog.
Sakiriasi wrote about going hunting for caribou with his dad. Sakiriasi has been hunting since he was four! You'll find proof of today's small triumph in the first pic -- that's the two kids, with Abby and me -- all of us showing off our writing! Perhaps you are wondering what the second photo is all about. That's a photo taken by one of Edna's students -- it's a shot of the arena here in Akulivik. The students have decided to focus their chapter on the arena, a popular destination in town. Thomas was showing Edna's students this pic yesterday Thomas observed the boarded up windows on the second floor of the arena.
You'll see them in the second photo. And he asked the students, "What happened to those windows? It turns out that Thomas was right. It also turned out that one of the boys in the class admitted that he had broken one of the windows. And guess what? I got him to write a poem about it!
We called the poem "Slingshot" since that's what he used to shatter the glass. I'm going to share a few lines from his poem here:. I don't know about you, but I love the simple straightforward language and the part about feeling good and bad. I often have mixed feelings about things. I also admire that the student was brave enough to write about something difficult.
As I've been telling the kids in Akulivik, trouble in a story or poem is like gasoline in a Ski-Doo -- it gets things moving! But another thing I've been telling the students here -- perhaps the most important thing I can share with them -- is that they're the real experts about life in the North. Use trouble to fuel your stories, and take a lesson from Diane and Sakiriasi and don't be afraid to make mistakes! I'm reporting in today from Tukisiniarvik School in Akulivik, Nunavik. Teams of writers and photographers are travelling to six schools across the province of Quebec.
We're helping students to use words and photos to capture the communities where they live. We are working with Edna's senior students. Yesterday, we spent the morning discussing possible topics. Every chapter in the Quebec Roots book, has its own topic, and it's important for the Blue Met team that students come up with their own topics. In other words, it's not up to us to tell the students what to write or take photographs about!
So far, it looks like Edna's students want to write about the arena, a popular hangout in town. What's interesting is that in Akulivik, the arena is more of a place for the local boys than for the girls. Not that the girls aren't athletic -- in fact, it turns out that many of the girls are into volleyball. And it also turns out that most of the girls love to sew. The zamboni, the machine used to clean the ice at the arena, has been broken since October.
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But that hasn't stopped the boys from playing hockey. This morning, I got students to do a group poem called "Zanboni. You know what I love about that stanza of our group poem? That I can hear the kids' voices! Can you hear them too? Also, before I sign off for today, I want to tell you one more thing that happened this morning. Because we had some spare time, Thomas and I did mini photography and writing workshops with Jill's secondary students.
We only had three students in our class -- but it was kind of amazing! Usually, I start with the writing that's because students tend to be less interested in learning about writing, so I'm like the soup and salad and Thomas is the DESSERT , but we thought we'd change things up, so Thomas did his mini photo workshop first. Dessert before soup and salad! You should have seen the students' faces during Thomas's workshop -- especially when he showed them photos students took when Thomas and I were here for Quebec Roots in The students recognized some of their friends.
When it was my turn to work with the students, I talked about the importance of rewriting. And because I know the girls love to sew, I found a way to compare writing to sewing. A student named Jessica said that that had happened to her many times. Jessica said, "I felt mad. Rewriting is frustrating work -- like pulling out stitches when you are sewing a parka.
But in the end, it's worth it -- because you get a good story, or a beautiful warm parka! But you know how I know my mini writing workshop really was a success?! Because at the end, I asked the girls, "Do you want me to give you homework? Then a student named Annie, said "YES! Annie, thanks for making my day. Tukisiniarvik School, thanks for the warm welcome.
To Edna's students, I hope you learn a lot this week about writing and photography. We look forward to reading and seeing your work. Here's to words and images! One of the things that made today's visit extra-fun is that Miss Beddia was once my student at Marianopolis College. There is a special pleasure in having taught someone who has become such a talented teacher.
I worked with two groups and I had to be super speedy with the first group that's because bad weather here in Montreal made the trip to Joliette longer than I expected. But I'll give those kids credits because they managed to keep up with me! I demonstrated how writers tend to be snoopy by asking a student named Sam why his thumb was wrapped in a bandage. You'll never guess what I found out! That Sam makes his own sushi. He was preparing sushi early this morning for his lunch when he cut his thumb which explains the bandage.
Later, when I was telling the students they should interview their grandparents in order to uncover their secrets, Sam told us a great story about his grandmother: "She accidentally lit a Costco on fire. Maybe it wasn't a Costco, but she said it looked like one. I think there's a book in there! During the brief exercise I did with the first group, I asked students to write about a moment in their lives when they needed courage.
Julianne wrote about coming to Quebec from Guatemala and attending a French school when she didn't speak a word of French: "I felt dumb very dumb. A student named William asked me, ""Why do you write books that won't be popular in ten years? Gaming is taking over. And I told him that I have friends who write the scripts for video games With the second group, I tried a different writing exercise.
I asked the students to remember a fight they had been involved in, or else witnessed. Matis wrote about an ice fight, and recalled his "thoughts of future revenge. I'd like to know more about what went through your head during the ice fight. Alyssia wrote about a schoolyard fight. She remembered, "I could hear everyone cheering and taking a video.
Keep writing that story, Alyssia! As I was telling the students today, memory is an important part of the writer's toolbox. Most students use their memory to prepare for tests. But I think memory can also be put to excellent use as a source of inspiration for stories. Examining notes, statements, titles, letters, and interviews in light of what they reveal about his work at large, Frances Richard unearths archival, biographical, and historical information, linking Matta-Clark to Conceptualist peers and Surrealist and Dada forebears. Publishing the Struggle constitutes an introspection for us, questioning the contents and forms of political publications.
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Cultural remapping, hybrid and subversive form-making and discursive histories are tactics explored in Name, Thing, Thing to locate potential channels of articulation in decolonizing typography. Ludovico is the editor and publisher of Neural, a magazine for critical digital culture and media arts.
For more than twenty years now, he has been working at the cutting edge and the outer fringes of both print publishing and politically engaged digital art. It is to pursue strategies that instrumentalise the oppressors in service of the oppressed. It is by no means a clean path. Trojan Horse attitudes pose many questions about authenticity, autonomy, agency and honesty. Some contexts demand total stealth. However, without ideological transparency, there is little hope of systemic change. This requires a masterful control of seduction, desire and incentive; guiding by stages towards a radical idea.
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Richly detailed case studies and conceptual frameworks are brought up to reveal, behind the seductive appearance of Swiss architecture, the implicit conflicts between shared values and individual expression, artistic integrity and economic interest. The book lifts the veil on Johnson's controversial and endlessly contradictory life to tell the story of a charming yet deeply flawed man. A rollercoaster tale of the perils of wealth, privilege, and ambition, this book probes the dynamics of American culture that made him so powerful, and tells the story of the built environment in modern America.
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What's an encounter with anything once it's seen as an incitement to composition? What's a concept or a theory if they're no longer seen as a truth effect, but a training in absorption, attention, and framing? Phillips argues that Kiesler established a new career trajectory for architects not as master builders, but as research practitioners whose innovative means and methods could advance alternative and speculative architecture.
Indeed, Kiesler's own career was the ultimate uncompromising model of a research-based practice. In exploring the public meaning of ingeniously defended private meanings, de Certeau draws brilliantly on an immense theoretical literature to speak of an apposite use of imaginative literature. Now, the lake has been re-assembled to exceed the value of what was lost - without refilling its shores and depriving Los Angeles of its water supply.
In Spoils of Dust the lake's peculiar redemption is the backdrop for investigating contemporary relationships between landscape design, control, and perception. The lake-like terrain is the most intimate display of modern technocratic vision and exposes the limits of invention and control of infrastructural ecologies. Whether by observations of dust or scenery, it is as much the product of how we perceive and value landscape today. Answering its analysis, the book concludes with a visual atlas and proposal to induce more imaginative outcomes and perceptions. First, he offers a new understanding of the architectural image itself.
Following Gilles Deleuze and Henri Bergson, he develops an account of the image that is nonrepresentational and constructive—images as constituents of a primary, image world, of which subjectivity itself is a special kind of image. Second, Cache redefines architecture beyond building proper to include cinematic, pictoral, and other framings. Complementary to this classification, Cache offers what is to date the only Deleuzean architectural development of the "fold," a form and concept that has become important over the last few years.
For Cache, as for Deleuze, what is significant about the fold is that it provides a way to rethink the relationship between interior and exterior, between past and present, and between architecture and the urban. Filmed with drone cameras and moved by hidden performers, the haptic quality of the sculptures recedes into the background in service of the overall appearance of the film, allowing the sculptures to become temporary actors in the film. Between the regularity and randomness of architectural development, the new always emerges from what already exists.
Every Zustand—every state of affairs, condition, configuration, every image in this book—attests only to the outcome of transformation. With its thematic focus and careful selection, this topography includes mostly buildings that likely would never have appeared again in an architectural book after their initial publication. The book shows an exuberant multiplicity of formal languages, where one or another of them may effectively attain a new, unexpected quality.
The goal was to reconsider binary distinctions in the early 21st Century, to confront how such oppositions operate at the foundations of capitalism, gender, sexuality, and our cultural institutions, and to survey how these divisions have increasingly eroded in our contemporary moment.
Exploring the relation between artistic production, public institutions, and social change, the anthology examines a creative economy where contradictions are usually self-generated, and where contemporary practices roam across different formats and disciplines and display a certain self-awareness and criticality towards their institutionalization. It is impossible to represent architecture without representing the human form.
This book collects more than 1, scale figures by architects but presents them in a completely unexpected way: it removes them from their architectural context, displaying them on the page, buildingless, giving them lives of their own. They are presented not thematically or chronologically but encyclopedically, alphabetically by architect Aalto to Zumthor.
In serendipitous juxtapositions, the autonomous human figures appear and reappear, displaying endless variations of architecturally rendered human forms. Four of the essays are detailed studies of major buildings, including both critiques written at the time the buildings were made and comments on extant buildings that contributed to their rediscovery. Other pieces represent broader studies of historical movements and ideas, interpreting their significance within the context of contemporary architecture. All of the essays are based on direct experience, whether through quiet contemplation or candid interviews with architects, builders, or inhabitants.
An architect by training, Scalbert writes with the purpose of illuminating the design efforts made and enriching the form of the architectures he describes, and his essays thus contribute to many key moments in the architectural history of the past three decades. The third part comprises short essays by Latin American architects, along with two interviews with local figures, looking at key aspects and topics against a backdrop of the many challenges the region poses for the production and communication of architecture. This publication tells the unusual story of the Integrated Centres of Public Education CIEP , a radical but relatively unstudied public architecture initiative in Rio de Janeiro in Conceived by the world-renowned architect Oscar Niemeyer, the intellectual and politican Darcy Ribeiro, and state governor Leonel Brizola, the program addressed the massive urban migration that Rio de Janeiro was experiencing at that time, which spurred demand for new schools.
As a result of the experimental program, over five hundred CIEP schools were built using a standardized system of simple concrete parts. Title announcements and introductions for each segment are set in the typeface Make Do, and are "spoken" by an avatar model named Serena, rendered through the text-to-speech platform SitePal.
Accompanying audio visual material to the issue can be found at www. In this fifth and penultimate issue, we explore the microscopic in movement: from shooting stars to shifting sands, bacteria in Estonia and particles in Geneva, mosquitoes in fascist Italy and tuberculosis in Indian cities, micro-plastics floating in the Pacific Ocean, Roman weeds and their mysterious migration to Copenhagen.
In the 15th anniversary issue of Log, number 44, architects representing diverse perspectives each question, in different ways, the place of architecture and architectural discourse in the world today. The first edition of FRONT is an expansive program of 11 interconnected "Cultural Exercises" that address aesthetics in relation to political change and societal uncertainty. The exhibition interweaves critical approaches to museum exhibitions, public and educational programs, residencies, publications and research strategies in a multi venue presentation unfolding across Cleveland and its surroundings.
The book serves to illustrate the pervasion of the signature ziggurat form in their body of work. AA Bronson, the last living member of General Idea, was instrumental in creating this book, whose design in based on Katsura: Tradition and Creation in Japanese Architecture, an influential publication from his childhood. The book consists of paintings that are fully illustrated in color alongside images of drawings, installation, sculptures, and other works that incorporate the ziggurat form, and is accompanied by a foreword written by Bronson and an interview with Hans Ulrich Obrist.
The issue proposes several facets of Indigenous struggles in Turtle Island. Most of them depict Native lives in spaces that are not the reservations where the colonial narrative usually situates them. Oil, as we know, is a non-renewable resource. But where does it come from? How is it produced? And what if it will end up? From separate waste collection to thermal insulation, from recycling to pollution reduction, this story shows us that it is not true that we cannot change the world, because everyone can make a difference.
A book to learn more about sustainability and today's problems, in a simple and ironic way. The colorful charts, graphs, and maps presented at the Paris Exposition by famed sociologist and black rights activist W. Du Bois offered a view into the lives of black Americans, conveying a literal and figurative representation of "the color line.
Du Bois's Data Portrait s collects the complete set of graphics in full color for the first time, making their insights and innovations available to a contemporary imagination. As Maria Popova wrote, these data portraits shaped how "Du Bois himself thought about sociology, informing the ideas with which he set the world ablaze three years later in The Souls of Black Folk. Moulding and casting are widely used techniques in modern and contemporary art making.
Their use and application can be found in many other areas of production and material transformation not immediately associated with art practices, and in times before casting became an acceptable form of sculptural production in its own right. Moulding and casting are ancient techniques of giving and taking form and shape to objects and sculptures, and they continue to do so.
And yet the way casts are symbolised, the way meaning and values are attributed to these works cast in plaster, has often shifted. This book does not follow in the wake of an exhibition, nor were the artworks in the book produced before the book. Created to stand alone as well as side by side, and along specific timelines — the timelines of the artist and of those who inspired her —, they are shown for the first time here. The book contains color reproductions, printed on graph paper, of figures, spirals, patterns and vases, a self-portrait of the artist as well as photographic documents inspired by Emma Kunz, an early 20th-century Swiss artist, healer and visionary.
Kunz is chiefly known for her geometrical drawings, which she executed on graph paper with the aid of a pendulum. Civil society is disintegrating, and hard-won freedoms are being undone. Yet from this maelstrom has emerged an intense clarity: a desire for sobriety, self-control, altruism, generosity, and the pursuit of mental and physical wellbeing. We are more aware, informed, engaged, and alert to social injustices — particularly of race, gender and geography. We are woke. But is this miraculous awakening to structural inequalities true or merely tokenistic? Is wokeness a fad, or a systemic, generational shift in social ethos?
It was a restaurant that emerged from the broken infrastructure of the metropolis — a weird idyll in a rundown town where you could eat alchemical concoctions and drink cheap sake with the neighbourhoods' hungry artists. This exhibition brings together creations by around 30 artists and craftspersons, based around the imaginary of childhood, its foundation myths and contemporary transformations.
For this exhibition, Camille Henrot brings together an extensive group of her own works along with contributions from international artists with whom she maintains a productive dialogue. It reveals the way the notion of the week reassures us—giving us routines and a common framework—just as much as it alienates us, creating a set of constraints and dependencies.
Each of the seven parts of the exhibition is accordingly dedicated to a day of the week, an allegory for a series of emotions and activities associated with each day which the artworks reflect. Botanist Jean Massart made a series of landscape photographs in Flanders between and to depict natural vegetation in the landscape and the relationship between agriculture and geography. A fourth series was made by Michiel De Cleene in A varying emphasis on documentarian, artistic, and scientific aspects can be seen in each. The collection now serves research on urbanization and landscape mutations.
This is the fourth volume in Karma's volume facsimile printing of Lee Lozano's Private Book project. It is primarily a calendar of Lozano's personal, artistic and chemical interactions in — A prolific writer and documenter of both her art and her relationships, the public and private, the painter Lee Lozano —99 kept a series of personal journals from to while living in New York's SoHo neighborhood. In she rigorously edited these books, thus completing the project. This is the fifth volume in Karma's volume facsimile printing of Lee Lozano's Private Book project.
Eleven of these private books survive, containing notes on Lozano's work, detailed interactions with artist friends and commentary on the alienations of gender politics, as well as philosophical queries into art's role in society and humorous asides from daily life. This second issue of Contango presents contributions from writers and artists whose work undermines dominant power structures through research, aestheticization, activism, and self reflection.
It explores variations on the negotiation of power, the strategy behind legislation and the art of the bluff. As a discipline, landscape architecture has distanced itself from gardening, and landscape architects take pains to distinguish themselves from gardeners or landscapers. Landscape architects tend to imagine gardens from the office, representing plants with drawings or other simulations, whereas gardeners work in the dirt, in real time, planting, pruning, and maintaining. In Overgrown, Raxworthy calls for the integration of landscape architecture and gardening.
Each has something to offer the other: Landscape architecture can design beautiful spaces, and gardening can enhance and deepen the beauty of garden environments over time. Growth, says Raxworthy, is the medium of garden development; landscape architects should leave the office and go into the garden in order to know growth in an organic, nonsimulated way. In a series of insightful texts and striking color photographs, Hailey and Wylie capture the texture of life in Slab City. They show us Slab Mart, a conflation of rubbish heap and recycling center; signs that declare Welcome to Slab City, T'ai Chi on the Slabs Every morning, and Don't fuck around; RVs in conditions ranging from luxuriously roadworthy to immobile; shelters cloaked in pallets and palm fronds; and the alarmingly opaque water of the hot springs.
The study of medium is transscalar and transhistorical. Therefore, media are part of a continuum, and architecture is inseparable from medium. These include articles about about images and digital commons, heating systems and thermostats, sea level rise and flood-monitoring apps, search lights and public space, media walls and megastructures, social media capitals and suburban sprawl, surveillance and library architecture.
These stories are grounded in the theories of medium design, mediascapes, and media politics. Perspecta 51 provides new histories and fresh responses to the notion of medium that might illuminate possibilities for its productive use and misuse by architects.
Comprising a series of twenty conversations conducted by Thorne with the artists, curators, and educators behind these schools, the book maps a territory at once fertile and contested. The book uses of two separate layers of black ink, allowing Suter to create double images and merge patterns and screens.
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Departing from pages scanned from her collection of second-hand books on natural science, precision machinery, and art history, she freely manipulates and reorders them within the space of this volume, which can be seen as a condensed exhibition on paper. It is a journey along visual phenomena that reconnects us with the endless curiosity and patience of our younger selves leafing through an encyclopaedia, sensitive to its visual correspondences. The effects of weathering and the slouch or deformation of structures over time are often seen as endearing informal enhancements to the rigidity of precise compositions.
A more extreme but equally well understood example is the classical ruin. In it, a technological assembly a building is undermined to a degree that the total final effect is coproduced by the original composition and its material disassembly. Since at least Romanticism such ruins—almost always in stone—have garnered a level of appreciation that can be considered connoisseurship.
In all of these instances there is happenstance; the appearance of a complex, stochastic logic of matter—both its crystalline or organic growth and its complex degradation in its environment—that is outside of and contrary to our instrumental control, unraveling our intended arrangements. This interplay of happenstance and control extends well beyond these familiar occasions and their attendant sensibilities.
They are all accidents, and as such they represent only a small, historically aestheticized, subset of an interplay that potentially exists in every technological assembly. How do we make sense of the Earth at a moment in which it is presented in crisis? Geostories is a manifesto on the environmental imagination that renders sensible the issues of climate change and through geographic fiction invites readers to relate to the complexity of Earth systems in their vast scales of time and space.
The book is organized into three sections—terrarium, aquarium, planetarium, each of which revisits such devices of wonder that assemble publics around representations of the Earth. The series of architectural projects becomes a medium to synthesize different forms and scales of knowledge on technological externalities, such as oil extraction, deep-sea mining, ocean acidification, water shortage, air pollution, trash, space debris, and a host of other social-ecological issues. Through design research, Geostories brings together spatial history, geographic representation, projective design, and material public assemblies to speculate on ways of living with such legacy technologies on the planet.
The new Jacobin is about children - the future workers in our society, the easily oppressed, our most precious resource or a drain on parental income. Inside the new issue, the modern nature of childhood is discussed through articles which range from the effects of social spending on our kid's lives to the gulf between a normal birth and a Beyonce birth.
The Space of Ableism is the nineteenth issue of The Funambulist, which begins the fourth year of its existence as a magazine. Just like structural racism should be addressed through considerations about white supremacy, and homophobia through considerations about heteronormativity, we should not consider disabled bodies without the system that creates such a category in the first place, namely ableism. In other words, disability, as we understand it in this issue and as some of us experience it is not an anatomic, biological, or neurological condition but, rather, a political one.
The Ordinary articulates a potential genealogy for this practice and for the genre of books that derived from it. These conversations also question the assumptions underlying this practice and whether in its ubiquity it still remains a space of opportunity. Grosvenor has made significant contributions as a sculptor over the past fifty years, but relatively few books have been published about his work. Between the Ticks of the Watch is the catalog to the exhibition of the same name at the Renaissance Society.
The show featured artists Kevin Beasley, Peter Downsbrough, Goutam Ghosh, Falke Pisano, and Martha Wilson, who together presented a platform for considering doubt as both a state of mind and a pragmatic tool. Between the Ticks of the Watch traces how doubt can eat away at the foundation of understanding itself, calling into question the very possibility of knowledge—or at least demanding recognition of its limitations. Featuring two new in-depth essays, a poetic text, and contributions by the artists featured in the exhibition, this catalog further presents doubt as a critical means for identifying new avenues of inquiry.
The texts open space for the germination of novel forms and concepts, or questioning structures of power that have long been in place. Taking its title from Ralph Ellison's Invisible Man, exhibition Black Is, Black Ain't April 20 — June 8, explored a shift in the rhetoric of race from an earlier emphasis on inclusion to a present moment where racial identity is being simultaneously rejected and retained.
Curated by the Renaissance Society's Associate Curator and Education Director Hamza Walker, the exhibition brought together works by twenty-seven black and non-black artists whose work collectively examines a moment where the cultural production of so-called "blackness" is concurrent with efforts to make race socially and politically irrelevant. This publication unfolds the formal and conceptual inheritances that are operative in Syms' practice.
A new text by Christina Sharpe offers a close reading of the visual and aural gestures in the exhibition; a transcriptions of Syms' performative lecture, Misdirected Kiss, cites a range of borrowed artistic, literary and theoretical references for further study; and a poetic text by artist Diamond Stingily expresses her own familial inheritances and illustrate Syms' relational and dialogic methodology. As a noun, it recalls for the artist significant geographical contexts.
Gross, James Rondeau, and Matthew Goulish. What Is Different? Since the early s Tillmans has been working on truth study centre, a cycle of works concerned with absolute claims of truth in social and political contexts. Circling around contemporary issues of newly resurfaced right-wing populism, the phenomenon of fake news, and psychological findings such as the backfire effect, Tillmans, rather than analyzing the status quo, focuses on what has changed in the past ten, twenty, thirty, forty years.
Why are societal consensus and institutions now under attack? Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent. Thus, painting is not restricted to the limits of its own frame, but possesses a specific potential that is located in its material and physical signs. Its value is grounded in its capacity to both reveal and mystify its conditions of production. Unhoused: Adorno and the Problem of Dwelling is the first book-length study of Theodor Adorno as a philosopher of housing.
Entangled as we are in juridical and financial frameworks that adhere to a very different logic, these figurations ask what it means to organize, design, build, and cohabit in ways that enliven non-exclusive relations to ourselves, others, objects, and place. Extraction Empire examines both the historic and contemporary Canadian culture of extraction, with essays, interviews, archival material, and multimedia visualizations. The essayists and interviewees—who include such prominent figures as Naomi Klein and Michael Ignatieff—come from a range of fields, including geography, art, literature, architecture, science, environment, and business.
All consider how Canadian life came to be mediated through mineral extraction. When did this empire emerge? How far does it reach? Who gains, who loses? What alternatives exist? On the th anniversary of the creation of Canada by Queen Victoria's Declaration of Confederation, it is time for Canada to reexamine and reimagine its imperial role throughout the world, from coast to coast, from one continent to another. Dimensions of Citizenship. Globalization, technology, and politics have altered the definition and expectations of citizenship and the right to place.
Dimensions of Citizenship documents contributions from the seven firms selected to represent the United States in the Venice Architecture Biennale. This paperback volume profiles and illustrates each of the US Pavilion contributions and contextualizes them in terms of scale.
He investigates these relationships through the act of drawing using notions of time, space, and speed, which are artfully mediated by the precision of mathematics and tempered by abstraction. Featuring nearly drawings, this extensively visual monograph includes essays by Kenneth Frampton, Michael Sorkin, Mark Wigley, and Lebbeus Woods, whose critical perspectives alongside texts and commentaries by Webb shed light on an extraordinary body of work.
Although none of the stores ever opened, they were intended to make previously unfamiliar produce and products—sultanas from Australia, oranges from Palestine, cloves from Zanzibar, and rum from Jamaica—available in the British Isles. The Empire Remains Shop speculates on the possibility and implications of selling back the remains of the British Empire in London today. Bringing together contributors from a variety of backgrounds, Distributed presents the act of distribution as a subject of significant social and economic importance and argues that it merits serious creative consideration.
The importance of the client in shaping our built environment, whether it comes to buildings, neighbourhoods, or entire cities, is not sufficiently included in urban and architectural discourse, and thus largely forgotten, underestimated, and neglected. What kind of design methods should be developed for better partnerships and results? How can communication between clients and designers be advanced? Which projects might never have happened without an ambitious and creative client?
The first part offers a retrospective look at the biennial together with architectural historian Michael Hays, in which what it shows about the qualified autonomy, framing, and partnerships seen in current practice is discussed. Design critic Alexandra Lange reveals the surprising histories behind the human-made elements of our children's pint-size landscape.
Her fascinating investigation shows how the seemingly innocuous universe of stuff affects kids' behavior, values, and health, often in subtle ways. And she reveals how years of decisions by toymakers, architects, and urban planners have helped--and hindered--American youngsters' journeys toward independence. Seen through Lange's eyes, everything from the sandbox to the street becomes vibrant with buried meaning. The Design of Childhood will change the way you view your children's world--and your own. Drone brings together researchers from diverse disciplinary backgrounds whose work seeks to understand and represent the nature and extent of drone operations.
AWFJ on 93 Queen: "A compelling glimpse inside an insular community and a fascinating portrait of a determined feminist. The Guardian on 93 Queen: "Incredible No Film School on 93 Queen: "A film that starts a conversation. Journal De Montreal: "Playing Hard addresses the philosophical dimension of games and the entertainment industry.
We attend the theater involved in creating a videogame. North Jersey. The Daily Beast: "Groundbreaking AV Club: Can marijuana help treat cancer? Briskly engrossing. Sceen Creek on Playing Hard : "Story telling is top-form Geeks Out on Netizens: "Stunning FF2 Media: "One of the most timely docs at Tribeca Northern Stars: "A film about dreams realized and dreams crushed Scene Creek on Playing Hard: "Engrossing Chartier never drops the ball as the emotion weight is carried out till the final moments of dialogue.
Things like this aren't suppose to happen. Geeks of Doom: "Love and Bananas is a wonderful documentary that brings to light a serious issue throughout the world. Hollywood Reporter: "Deeply affecting Pop Matters on Netizens: "Interesting and emotionally gauging. Film Forward on Netizens: "Insightful Lowen delves into the emotional, mental, and financial damages this kind of highly personal assault can inflict. Film Journal on Netizens: "Cynthia Lowen crafts an absorbing documentary that is part biography part discourse. The best third act of any music doc since Searching for Sugarman.
Entrepreneur: "Untold numbers of women endure horrific threats and abuse online. Lowen's film is first-class. Hollywood Times: "Love and Bananas is a heartwarming and hopeful film that exposes the plight of Asian elephants and the people who work tirelessly to save them. In the Seats on Netizens: "Poignant Very highly recommended.
Film Journal on Love and Bananas: "Gut wrenching yet ultimately optimistic Big Picture Big Sound: "This is an outstanding documentary and I suspect that it has an excellent chance of winning the best documentary award at this year's Tribeca Film Festival. It's a must-see.
Christian Cinema: "Beautifully shot, wonderfully scored, and innocently portrayed, Summer in the Forest is a powerful film. NY Times: Maineland is "Astute and absorbing Film Journal on Summer in the Forest: "Upbeat and inspiring NY Times Critics Pick Maineland "takes up a large and complicated set of topics and addresses them with understated delicacy. A must see. Stray Bullet - "a film that should make noise. Jean-Cosme Delaloye knows how to film America- The journalist sometimes trades his pen against a camera.
It likely will jolt you, too. NY Times: Kangaroo is "'breathtaking Huffington Post: "Berlinger's stock-in trade: socially conscious approach to advocacy that is also cinematically groundbreaking. On the field and off, we are all so much alike. Grammy Awards: Two Trains A Runnin' promises to provide a meaningful look into a crucial moment in our musical and cultural history. Vancouver Observer: 4 Stars- This is a charming and ultimately very emotional film.
Film Journal International: It's rare that a documentary can bring new light to familiar subjects, and rarer still to find a greater meaning from them Roger Ebert. The 13th Floor review: Bang! NY Times: A loving narrative of personal relience Trustmovies on Art Bastard "This talented but far-too-unrecognized fellow and his story prove such fun to get to know that the film's 84 minutes simply fly by. York Mix: "Films to see in York in July. Telegraph: "Captivating Summer in the Forest could not be more timely.
The Fan Carpet: "A remarkable reversal of conventional wisdom, [Summer in the Forest] shows that the answers we crave can be found among some of our most marginalized people. The Spectator: "Summer in the Forest is a powerful new film.. The Upcoming: "Summer in the Forest is thoughtful and refined.
Daily Express: "Revolutionary,. Daily Mail: "Summer in the Forest is.. Rosa Monckton: "Summer in the Forest is a film that could, and should, change your life. SideWalk Film Festival announces their lineup: Bang! ABQ Journal: "This is a photographer who deserves to be a household name. Dorkshelf re Becoming Who I Was: " Forbes: "BANG! For a film that beautifully tells the story of a truly incredible emotional and spiritual journey, the jury awards the grand prize for documentary filmmaking to Becoming Who I Was.
Variety: A charmingly intimate portrait that ultimately assumes epic-journey proportions Seattle Weekly: "Little Potato is as topical as it is timeless. Jet Space Magazine: Little Potato "one sees a small, vulnerable family trying to escape a cold, bitter nation because their own hearts are curious, formidable and warm.
The Stranger: "Though Little Potato is only 14 minutes long, it packs more life and surprise and beauty and humor and poignancy into those minutes than seems possible. City Arts Online: "Filmmaker Wes Hurley uses animation and archival photos from his childhood in Russia to lend visual oomph to his short autobiographical documentary Little Potato.
It displays unlikely acceptance and a rare glimpse into gay life outside the United States. Movie Bit: 4 stars This movie tells a compelling story abouthow little is actually known about such an iconic animal, and how close they are to becoming extinct. Popgates: Mr. Montages Magazine: Shooting Ourselves " The project links memory and the everyday to a specific built environment, and highlights the importance architecture has in shaping our lives and the experience thereof.
Green Film Fest: Last of the Longnecks "Exploring the plight and extinction of giraffes and the implications of their demise in our rapidly changing world. SF Gate: Bang! Nonfics: Behind the Music 'Bang! Vineyard Gazette: "One Big Home, spreading the message of restraint to preserve town character. San Francisco Examiner: Bang! Sports Illustrated: Former NBA point guard Kenny Anderson discusses the role basketball played in his life and opens up about his new documentary, "Mr. San Francisco Chronicle: Bang!
The Bert Berns Story "his importance extended beyond the charts. Deadline: Bang! Chibbs "Ten years after retirement from a career as a professional athlete, Kenny Anderson finds that basketball is easy, but life is difficult. Mother Jones: This film [Jackson] about reproductive rights has never been more relevant.
Unseen Films: Compulsively watchable and irrepressibly hummable, Bang! Film Journal: Mr. Chibbs "somber portrait of a man still trying to grow up in the shadow of his own legacy. Shadow and Act: Chasing Trane "The smart, passionate, thought-provoking and uplifting documentary is for anyone who appreciates the power of music to entertain, inspire and transform. The Village Voice: Mr. Chibbs "One of Campbell's strengths is pacing. She lets Anderson's story unfold along with his memories. Hollywood Soapbox: "Chasing Trane proves to be an intimate portrait of a man and his musical risk-taking as a dominant saxophonist.
Jazz Times: "Scheinfeld offers a portrait that takes in the socio-historical and spiritual context in which Coltrane created his masterworks. It makes us yearn for more. Criterion Cast: "Chasing Trane, director John Scheinfeld introduces us not just to John Coltrane the legendary jazz icon, but also the man behind the myths and the legends.
Cinema Scope: "Chasing Trane functions as a solid primer for newcomers, while its stunning performance clips, winsome home movies and teeming cavalcade of interviewees—will keep aficionados perfectly engaged.