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A Stone Head of a Deity, Lepinski Vir Culture, Middle Danube Region, Mesolithic Period, 7th/6th Millennium B.C.
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The story of the summer, and perhaps of the last year, has been the long wait for Donald Trump to go too far. Within weeks of the announcement of his candidacy in June 2015, seasoned observers of the political game were regularly declaring that the reality TV star had crossed the line that separates viability from oblivion, that he had broken this or that unbreakable rule and was therefore doomed.![]("http://chimpfeedr.com/img/?url=http%3A%2F%2Ffeeds.feedburner.com%2F%7Er%2Fnybooks%2F%7E4%2FevfKE7JVvQg&width=540&mix=42dfe-culture")
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As the months wore on, Trump went from showing tendencies toward demagogy to practicing it on a daily basis. The absence of restraint seemed part of the attraction for followers soon numbering in the millions.![]("http://chimpfeedr.com/img/?url=http%3A%2F%2Ffeeds.feedburner.com%2F%7Er%2Fnybooks%2F%7E4%2F8FBejgGfLIA&width=540&mix=42dfe-culture")
There is a fine line between perseverance and stalking in chasing what you hope to achieve in your career. Those who keep going after they've been turned down run the risk of continued rejection, but something compels them to carry on until they reach their prize. Often, the stories that end in success involve someone going nearly overboard in their pursuit: These ambitious souls just don't pitch an idea to a client they physically make the product and then send it to everyone at that company for consideration.
And that is where Dominic Grijalva's story begins. The 24-year-old Fresno State graphic design student and self-professed theater geek has been enamored with Hamilton creator Lin-Manuel Miranda, so much so that he has followed Miranda's every move on social media and decided to do a personal project that paid homage to Miranda's shows. While most people would stop at completing the project, Grijalva went one step further by simultaneously connecting with Miranda on social media and sending Miranda and 50 members of his cast the final work.
The perseverance has paid off for Grijalva. He can now add freelance designer for Miranda's official artist merchandise site, Tee-Rico, to his resume.
We recently asked Grijalva about how he got Miranda's attention, the process behind this major commission, and how he balances being a full-time student with an exciting freelance design career.
When I watched the 2008 Tony performance of his earlier show In the Heights, I became a Lin-Manuel Miranda fan. As a fellow Latino actor, I was inspired by his work and excited to see what he'd do next. I really liked that Miranda engaged with his social media followers, and would reply or comment to posts on Twitter, Facebook, and Tumblr. Occasionally, he would respond to me, and I always wondered if he knew who I was.
At the end of summer 2014, Miranda reached 96,000 followers — an inside reference from In the Heights — and asked fans what he should do to mark this milestone. I Tweeted that he should do a one-man show of In the Heights and post it to YouTube. Miranda responded that he was going to follow some of his favorite fans, and the next morning I received an alert that he was following me.
A few months later, I was going to produce In the Heights in my hometown of Selma, California, and I jumped at the opportunity to tweet Miranda this question: “What's a piece of advice for someone who wants to produce In the Heights?” Miranda responded: “Cast team players. The play is about community and themes of the show need to translate into the cast.”
I took this advice to heart, and it worked. Coincidentally, my summer 2015 opening of In the Heights overlapped with the opening previews of Hamilton, and it felt very special. I had never seen Miranda perform live and hadn't been to New York in 10 years, so a friend and I bought $100 tickets to see Hamilton in the summer 2016. As Hamilton started attracting buzz, I continued to interact sporadically with Miranda on Twitter.
In November 2015, I was taking a printmaking course and our assignment was to create a design to etch in metal. I was struggling for ideas, and, while listening to Hamilton's soundtrack, a lightbulb went off. An eye chart popped into my head, and I immediately went on InDesign to work on my idea for four straight hours until I was done because I didn't want to lose momentum. I ended up being terrible at working on metal, so embarrassingly enough, I failed the course — sometimes the execution doesn't work, but the idea does.
I still thought the image could be something bigger, so I decided to turn the Dueler Eye Chart into a holiday card for friends and family. A close friend advised me to send the card to Hamilton's cast and crew as a thank you, and I figured I'd get a Twitter mention at most. I sent 50 copies to friends and family and 50 copies to Hamilton's cast and crew. I included a personal 4×5 placard stating my appreciation for Hamilton and what it meant to me as an artist.
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College student Dominic Grijalva meets his creative hero Lin-Manuel Miranda.
Mid-December, I received a Tweet from an ensemble member encouraging me on my journey to make a living as a designer. They noted that it can be difficult to have a sustainable career in the arts, so all artists must work hard to remain relevant — especially if you depend on your body as your instrument. A few days later, I watched Star Wars on opening day and took a picture of Miranda's name in the closing credits for writing the Cantina Band music. I Tweeted Miranda the picture, congratulating him, and he replied, “Hey, we love your eye chart — thanks so much!”
At this moment, I realized he actually knew who I was. In January, I started seeing pictures on social media of my eye chart popping up in dressing rooms. It was surreal.
In March, I randomly noticed that Miranda had fiddled with his Twitter page, and it was doing something funky to his Facebook page. I took screenshots of how to correct the issue and sent Miranda a direct message with this information. A few hours later, he Tweeted, “Thanks to Dominic who helped fix this issue!” Two days later, I woke up to a barrage of Facebook and text messages, and didn't know what happened. Miranda had accidentally publicly Tweeted me when he meant to send this direct message, “Hey, I have this idea and I would like to get your brain involved. Please send me your email.”
In the middle of a two-show-day, Miranda had been brainstorming how to give back to fans and artists who were creating amazing Hamilton-inspired artwork, while expanding his brand into merchandising.
After a few email exchanges and calls with Miranda's brother-in-law, who represents him and handles merchandising, I received a proposal to create some sketches for In the Heights-inspired T-shirts.
You followed Miranda closely. At any point did it ever feel like borderline stalking?
(Laughs) I never felt like a stalker. In the past, if a celebrity favorited one of my Tweets, I would reply in all caps, “OMG!” But, that doesn't add any substance, and it's the equivalent of screaming at someone. With Miranda, I just tried to be intentional and tactful with my interactions. I was such a fan and reminded myself that I'm doing this because I respect him, and would love the opportunity to work with him someday.
Based upon the number of characters in the play, songs, and inside jokes and references, I was tasked to create a few sketches, which would work on apparel and could be expandable. In all, I submitted a handful of sketches and over 100 ideas. This exceeded his team's expectations, and Miranda and his team narrowed the field to seven sketches. All seven designs made the cut, and are available for purchase online.
I negotiated terms of the commission with Miranda's brother-in-law, Luis, and the process felt very natural. I receive royalties per item sold. Tee-Rico is big on promoting their artists' work, and they always include our Twitter handles and websites on their site, and tag us when customers send pictures wearing our designs. Family is very important to Miranda, and his family members work with him and help run Tee-Rico. Now, I am part of the Tee-Rico family, and it reminds me of my family. I feel safe and cared for, and it has been great connecting with other Tee-Rico artists. I know that my creative ideas are heard and valued, and I feel fortunate to work with someone I respect and admire.
I am still a full-time college student and will be graduating in December 2017. Tee-Rico is understanding of my responsibilities, and I'm able to manage my course load, theater schedule, and juggle freelance projects. I am currently using revenue earned from Tee-Rico to pay off my student loans.
Typically, I try to schedule all day classes or evening classes to block my time. All of my clients know that I'm a student, so my schoolwork comes first. On Mondays, Wednesdays, and Fridays, I have afternoon classes, so I'll crank out my freelance work in the evenings. On Tuesdays, and Thursdays, I take night classes, so I'll work on my freelance projects earlier in the day. At times, everything overlaps, so making lists allows me to prioritize my deliverables. I always have my laptop on me, so that I can work from anywhere! On weekends, I might catch up on some freelance work, but I spend a lot of time at the theater.
I'm actually doing this right now! I just opened a show and it's consuming a lot of my time, in addition to my classes. However, on my first call with Tee-Rico, Luis said, “I know you're a student, so your schooling comes first. Work on Tee-Rico projects when you have the time.” I owe him some concepts, so I'm keeping in touch via email and phone to provide frequent updates. Open communication is key.
What's your advice to young designers looking to get their foot in the door somewhere?
If you're approachable and voice your opinion, it's easier to get noticed. Relationships and connections help as well. It's random, but I have a good friend in New York who was babysitting for the director of marketing at licensing agency, Musical Theater International. I told her I was coming to New York in June, and asked if she'd put in a good word for me, and share my website. She did, and the director of marketing agreed to meet with me while I was in town. He literally pulled up my portfolio on the spot, and I walked him through projects in my portfolio.
When he asked what my dream job would be, I named the advertising firm SpotCo, which handles marketing and branding for Broadway's hottest shows. I don't have any contacts there, so he offered to connect me with a guy who works there. We scheduled an informational call when I returned to California, and he too requested an overview of projects in my portfolio.
After graduation, I'm planning to move to New York, and the Musical Theater International director of marketing asked me to call him when I arrive. I've at least planted a seed at SpotCo., and when I do move to New York, I want to be absolutely ready.
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Twelve years into her marriage with her partner, Jennifer Finney Boylan transitioned to womanhood. In this interview filmed at the Aspen Ideas Festival, the author, trans advocate, and Barnard College professor discusses identity and which ones are fixed. “The thing that may have changed about me as a trans person most visibly is...how I look,” she says. “But in some ways for me the big difference in transition wasn't going from male to female, it was going from someone who had a secret to someone who didn't have a secret.”
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Root-maggot fly (Botanophila sp.) collected in Prince Edward Island National Park, Prince Edward Island, Canada, and photographed at the Centre for Biodiversity Genomics (sample ID: BIOUG10394-F04; specimen record: http://www.boldsystems.org/index.php/Public_RecordView?processid=CNPED1574-14; BIN: http://www.boldsystems.org/index.php/Public_BarcodeCluster?clusteruri=BOLD:ACL7928)
A fossilized remnant of the early Milky Way harboring stars of hugely different ages has been revealed by an international team of astronomers. This stellar system resembles a globular cluster, but is like no other cluster known. It contains stars remarkably similar to the most ancient stars in the Milky Way and bridges the gap in understanding between our galaxy's past and its present.
Terzan 5, 19 000 light-years from Earth, has been classified as a globular cluster for the forty-odd years since its detection. Now, an Italian-led team of astronomers have discovered that Terzan 5 is like no other globular cluster known.The team scoured data from the Advanced Camera for Surveys and the Wide Field Camera 3 on board Hubble, as well as from a suite of other ground-based telescopes. They found compelling evidence that there are two distinct kinds of stars in Terzan 5 which not only differ in the elements they contain, but have an age-gap of roughly 7 billion years.
The ages of the two populations indicate that the star formation process in Terzan 5 was not continuous, but was dominated by two distinct bursts of star formation. "This requires the Terzan 5 ancestor to have large amounts of gas for a second generation of stars and to be quite massive. At least 100 million times the mass of the Sun," explains Davide Massari, co-author of the study, from INAF, Italy, and the University of Gröningen, Netherlands.
Its unusual properties make Terzan 5 the ideal candidate for a living fossil from the early days of the Milky Way. Current theories on galaxy formation assume that vast clumps of gas and stars interacted to form the primordial bulge of the Milky Way, merging and dissolving in the process.
"We think that some remnants of these gaseous clumps could remain relatively undisrupted and keep existing embedded within the galaxy," explains Francesco Ferraro from the University of Bologna, Italy, and lead author of the study. "Such galactic fossils allow astronomers to reconstruct an important piece of the history of our Milky Way."
While the properties of Terzan 5 are uncommon for a globular cluster, they are very similar to the stellar population which can be found in the galactic bulge, the tightly packed central region of the Milky Way. These similarities could make Terzan 5 a fossilised relic of galaxy formation, representing one of the earliest building blocks of the Milky Way.
This assumption is strengthened by the original mass of Terzan 5 necessary to create two stellar populations: a mass similar to the huge clumps which are assumed to have formed the bulge during galaxy assembly around 12 billion years ago. Somehow Terzan 5 has managed to survive being disrupted for billions of years, and has been preserved as a remnant of the distant past of the Milky Way.
"Some characteristics of Terzan 5 resemble those detected in the giant clumps we see in star-forming galaxies at high-redshift, suggesting that similar assembling processes occurred in the local and in the distant Universe at the epoch of galaxy formation," continues Ferraro.
"Terzan 5 could represent an intriguing link between the local and the distant Universe, a surviving witness of the Galactic bulge assembly process," explains Ferraro while commenting on the importance of the discovery. The research presents a possible route for astronomers to unravel the mysteries of galaxy formation, and offers an unrivaled view into the complicated history of the Milky Way.
The Daily Galaxy via ESO/Hubble
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China's increasingly ambitious space program plans to attempt the first-ever landing of a lunar probe on the moon's far side. Radio transmissions from Earth are unable to reach the moon's far side, making it an excellent location for sensitive instruments.The Chang'e 4 mission is planned for sometime before 2020, according to Zou Yongliao from the Chinese Academy of Sciences' in an interview with China's state broadcaster CCTV.
Zou said the mission's objective would be to study geological conditions on the moon's far side, also known as the dark side. That could eventually lead to the placement of a radio telescope for use by astronomers, something that would help "fill a void" in man's knowledge of the universe, Zou said.
China's next lunar mission is scheduled for 2017, when it will attempt to land an unmanned spaceship on the moon before returning to Earth with samples. If successful, that would make China only the third country after the United States and Russia to have carried out such a maneuver.
China's lunar exploration program, named Chang'e after a mythical goddess, has already launched a pair of orbiting lunar probes, and in 2013 landed a craft on the moon with a rover onboard.
China has also hinted at a possible crewed mission to the moon. China sent its first astronaut into space in 2003 and has powered ahead with a series of methodically timed steps, including the deploying of an experimental space station.
This July, NASA announced that a University of Colorado Boulder research team — led by Jack Burns of the Lunar University Network for Astrophysics Research (LUNAR) — is working on a radio telescope array that would be unfurled on the far side of the moon by an unmanned rover operated by astronauts in NASA's Orion spacecraft, which would be hovering in a gravitationally stable spot near the lunar far side called Earth-moon Lagrange Point 2.
Burn's team is evaluating how a small rover can spool out lengthy pieces of Kapton film on the lunar far side that would serve serve as a lightweight backbone for an array of low-frequency antennas that could be deployed by a simple rover, Burns said. The "arms" would be stretched out, free of the constant radio-frequency interference coming from Earth, allowing NASA scientists to study the formation of the first stars and black holes, among other cosmic phenomena.
The moon rover plans were presented during the NASA Exploration Science Forum, which was held July 21 through July 23 at NASA's Ames Research Center in Moffett Field, California. The conference was organized by the Ames-based Solar System Exploration Research Virtual Institute (SSERVI).
The Daily Galaxy via BEIJING (AP), space.com and cbsnews.com
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The discovery of two massive holes punched through a stream of stars could help answer questions about the nature of dark matter, the mysterious substance holding galaxies together. Researchers have detected two massive holes which have been ‘punched' through a stream of stars just outside the Milky Way, and found that they were likely caused by clumps of dark matter, the invisible substance which holds galaxies together and makes up a quarter of all matter and energy in the universe.
The scientists, from the University of Cambridge, found the holes by studying the distribution of stars in the Milky Way. While the clumps of dark matter that likely made the holes are gigantic in comparison to our Solar System with a mass between one million and 100 million times that of the Sun they are actually the tiniest clumps of dark matter detected to date.
“While we do not yet understand what dark matter is formed of, we know that it is everywhere,” said Dr Denis Erkal from Cambridge's Institute of Astronomy, the paper's lead author. “It permeates the universe and acts as scaffolding around which astrophysical objects made of ordinary matter such as galaxies are assembled.”
The results, which have been submitted to the Monthly Notices of the Royal Astronomical Society, could help researchers understand the properties of dark matter, by inferring what type of particle this mysterious substance could be made of. According to their calculations and simulations, dark matter is likely made up of particles more massive and more sluggish than previously thought, although such a particle has yet to be discovered.
Current theory on how the universe was formed predicts that many of these dark matter building blocks have been left unused, and there are possibly tens of thousands of small clumps of dark matter swarming in and around the Milky Way. These small clumps, known as dark matter sub-haloes, are completely dark, and don't contain any stars, gas or dust.
Dark matter cannot be directly measured, and so its existence is usually inferred by the gravitational pull it exerts on other objects, such as by observing the movement of stars in a galaxy. But since sub-haloes don't contain any ordinary matter, researchers need to develop alternative techniques in order to observe them.
The technique the Cambridge researchers developed was to essentially look for giant holes punched through a stream of stars. These streams are the remnants of small satellites, either dwarf galaxies or globular clusters, which were once in orbit around our own galaxy, but the strong tidal forces of the Milky Way have torn them apart. The remnants of these former satellites are often stretched out into long and narrow tails of stars, known as stellar streams.
“Stellar streams are actually simple and fragile structures,” said co-author Dr Sergey Koposov. “The stars in a stellar stream closely follow one another since their orbits all started from the same place. But they don't actually feel each other's presence, and so the apparent coherence of the stream can be fractured if a massive body passes nearby. If a dark matter sub-halo passes through a stellar stream, the result will be a gap in the stream which is proportional to the mass of the body that created it.”
The researchers used data from the stellar streams in the Palomar 5 globular cluster to look for evidence of a sub-halo fly-by. Using a new modelling technique, they were able to observe the stream with greater precision than ever before. What they found was a pair of wrinkled tidal tails, with two gaps of different widths.
By running thousands of computer simulations, the researchers determined that the gaps were consistent with a fly-by of a dark matter sub-halo. If confirmed, these would be the smallest dark matter clumps detected to date.
“If dark matter can exist in clumps smaller than the smallest dwarf galaxy, then it also tells us something about the nature of the particles which dark matter is made of namely that it must be made of very massive particles,” said co-author Dr Vasily Belokurov. “This would be a breakthrough in our understanding of dark matter.”
The reason that researchers can make this connection is that the mass of the smallest clump of dark matter is closely linked to the mass of the yet unknown particle that dark matter is composed of. More precisely, the smaller the clumps of dark matter, the higher the mass of the particle.
Since we do not yet know what dark matter is made of, the simplest way to characterise the particles is to assign them a particular energy or mass. If the particles are very light, then they can move and disperse into very large clumps. But if the particles are very massive, then they can't move very fast, causing them to condense in the first instance into very small clumps.
“Mass is related to how fast these particles can move, and how fast they can move tells you about their size,” said Belokurov. “So that's why it's so interesting to detect very small clumps of dark matter, because it tells you that the dark matter particle itself must be very massive.”
“If our technique works as predicted, in the near future we will be able to use it to discover even smaller clumps of dark matter,” said Erkal. “It's like putting dark matter goggles on and seeing thousands of dark clumps each more massive than a million suns whizzing around.”
The Daily Galaxy via University of Cambridge
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europeanspaceagency posted a photo:
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The contract between ESA and Arianespace to launch the ADM-Aeolus satellite was signed on 22 July 2016 by ESA's Director of Earth Observation Programmes, Josef Aschbacher, (left) and CEO of Arianespace, Stéphane Israël, (right) in the presence of Jan Woerner, ESA Director General, (centre), at ESA headquarters in Paris, France. Aeolus will be launched on a Vega rocket from Europe's Spaceport near Kourou in French Guiana at the end of 2017. Using novel laser technology, this new mission will provide profiles of wind, aerosols and clouds to advance our understanding of atmospheric dynamics and to improve weather forecasts.
Read more: Vega to launch ESA's wind mission
Credit: ESANadia Imbert-Vier, 2016
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“Alphabet” border, designed by William Wegman, distributed by A/D Gallery, New York, 1993.
Gift of A/D Gallery. 1997-108-1
William Wegman's 1993 “Alphabet” border is a charming representative of the vast body of children's wallpaper that has been around since the 19th century.
Wegman began photographing his Weimaraners in 1970, and his photographs became a favorite with adults and children alike. After all, what's not to like about a beautiful dog holding a goofy pose?
The border elevates Wegman's dogs from cute to educational by arranging them into letters of the alphabet from A to Z. It was available in white, blue and rust and each color was printed in a limited edition of 1,500, each signed and numbered by the artist.
The Cooper Hewitt, Smithsonian Design Museum contains children's wallpapers dating back to the 1870s. While early children's wallpaper was designed to be instructional, it didn't capture the whimsy exuded by this border, for which Wegman also designed a complementary sidewall paper.
Wegman started out as a painter, receiving degrees from the Massachusetts College of Art, Boston and the University of Illinois at Urbana-Champaign. In 1970, he moved to southern California to teach at California State College, Long Beach. That's when he purchased his Weimaraner, Man Ray, and began photographing him in unusual poses. This photography continued in 1986 with the addition of Fay Ray, another Weimaraner, and then with her offspring. Wegman has created numerous books for children and adults, and film and video for such companies as Saturday Night Live, Nickelodeon and Sesame Street.
The post Sit! Stay! Spell! appeared first on Smithsonian Insider.
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Hungarian poster for ZABRISKIE POINT (Michelangelo Antonioni, USA, 1970)
Designer: Laszlo Lakner
Poster source: Film/Art Gallery
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Visitors to the Hirshhorn plaza encounter “Still Life with Spirit and Xitle.” (Photo by John Barrat)
Although it has no magnetic properties, the 9-ton red volcanic boulder on the plaza of the Hirshhorn Museum and Sculpture Garden keeps pulling people in from the nearby sidewalk on Independence Avenue. Perhaps it is the boulder's painted-on smirk or the fact that it sits atop a 1992 Dodge Spirit, creating, as a recent press expounds: “a slapstick disaster scene… part performance, part sculpture.”
“Joyful and cathartic,” is how Hirshhorn Chief Curator Stéphane Aquin described the sculpture “Still Life with Spirit and Xitle” on a recent August morning as he watched person after person curiously approach and then examine the artwork. Many took selfies with the smashed car and rock.
“On a very simple level, people just see a rock on a car and they say, ‘God this is fantastic,' because they wouldn't dream of wanting to see that on their car,” Aquin says. “And then some would, because they hate their car.”
Created by expatriate American artist Jimmy Durham in 2007, the Hirshhorn recently acquired the sculpture following its appearance in the 2015 Art Basel exhibition in Miami Beach. “It was truly the star of the art fair,” Aquin recalls. “I don't know if it is a sign of the quality of a work, but definitely of its public appeal, it blew up on Instagram. It was really the most spectacular thing in the fair.”
Durham's name for the sculpture refers to the ancient Mexican volcano Xitle (shy-tuhl) which means, “Spirit.” It erupted around 245-315 AD and engulfed the then-prominent city of Cuicuilco in lava. Durham had a 9-ton boulder quarried from near the buried city which was then placed by crane upon the roof of the Dodge Spirit. As a finishing touch, Durham painted a smug, cartoon-like face on the boulder.
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Still Life with Spirit and Xitle” on the Hirshhorn plaza (Photo by John Barrat)
“It's sort of an open metaphor of the revenge of nature over culture,” Aquin explains. “It represents the encounter of two forms of spirit, one ancient, mythological and physical and the other—a Dodge Spirit—a car produced in Mexico.
Durham, who had lived in Mexico between 1987 and 1994, was aware of other associations with the car, Aquin says. “Because it was a powerful car undercover police would use them, as well as drug dealers…so it has associations of shady, nefarious government force.”
Although the volcanic rock appears to have landed violently upon the car, Hirshhorn staff placed it gently down with a crane. The boulder's weight had already bent the car's frame, pushing it down to the ground. “There is no car that's going to take 9 tons,” Aquin says.
Its placement on the plaza in front of the Hirshhorn's main entrance is not arbitrary, Aquin adds. Car and rock sit atop the only concrete pillar that supports the plaza from below. “We had X-rays done to locate the plaza pillar and determine the exact position where we could safely place it,” Aquin explains. “Anywhere else and it may have dropped straight down,” into the Hirshhorn's basement.
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A crew of Smithsonian staff use a crane to install Jimmy Durham's sculpture “Still Life with Spirit and Xitle” on the Hirshhorn Plaza.
After numerous walks around the museum while observing the constant flow of pedestrians in the vicinity, Aquin and other HMSG staff determined that a large percentage of the Hirshhorn's visitors travel to the museum from the Air and Space Museum and L'Enfant Plaza Metro, walking west along Independence Avenue. With this in mind, the Dodge is aimed at an angle with its headlights pointing at these walkers as they approach the Hirshhorn's south plaza entrance. The sculpture is “a show stopper,” Aquin says. “Everyone stops. It's just a simple thing but no one gets over it.”
How does one preserve a demolished car? “It's complicated,” Aquin observes. As per Durham's wishes the elements will be allowed to take their toll upon the car. “We know the car is going to dilapidate over time. In 60 years it will be totally different and down the line it will disappear. Durham suggested at some point we replace the car with a typical Washington, D.C. diplomatic limousine…something like a Cadillac Escalade, a motorcade car,” Aquin says. “But if we do that then the question arises what do we do about the sculpture's title? We lose the Dodge Spirit.”
For the rock, geologists and volcanologists have been invited to assess the cracks in the rock and, as a few plants have grown on its top, a botanist also is being consulted.
“Still Life with Spirit and Xitle,” signals a new direction for the Hirshhorn more than anything else, Aquin says. “It's only one work but it has transformed the plaza and the whole look of the building. Little by little that's what we are trying to do.”
The post On Hirshhorn plaza, demolished '92 Dodge keeps pulling in the curious appeared first on Smithsonian Insider.
To commemorate the opening of the Smithsonian's National Museum of African American History and Culture three new books have been released by Smithsonian Books: Dream a World Anew: The African American Experience and the Shaping of America; Begin with the Past: Building the National Museum of African American History and Culture; and National Museum of African American History and Culture: A Souvenir Book. Each book will be available in the museum store beginning with the museum's opening on Sept. 24. On Sept. 27 the books will be widely available elsewhere.
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Dream a World Anew: The African American Experience and the Shaping of America uses objects and stories from the museum to examine the African American experience. It presents a sweeping history that includes the path from slavery to freedom, the struggle during Reconstruction and the civil rights movement, and the swell of major social, political and economic changes since 1968. The book also celebrates the achievements of extraordinary black musicians, writers, performers, athletes and artists who influenced American cultural identity.
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Begin with the Past: Building the National Museum of African American History and Culture presents the long history of efforts to build a permanent place to collect, study and present African American history and culture. It traces the appointment of the director, the selection of the site and the process of conceiving, designing and constructing a public monument to the achievements and contributions of African Americans.
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National Museum of African American History and Culture: A Souvenir Book showcases the treasures of the museum's collections. Highlights include a silk lace-and-linen shawl given to Harriet Tubman by Queen Victoria, Pullman Porter train cars and uniforms, the jacket and skirt worn by Marian Anderson for her 1939 Lincoln Memorial concert, Negro League baseball banners and jerseys, a Tuskegee Airman flight jacket and Chuck Berry's Cadillac. All of these objects and many more are accompanied by captions explaining their significance and role in the nation's history.
The post Three New books mark museum opening appeared first on Smithsonian Insider.
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Supple Studio has designed an identity system for D.R.A.W Recruitment using an interlocking “D' device and the strapline “The Art of the Perfect Fit”.
The new company was formed from the merger of Drummond Read Recruitment and Art//Work and specialises in sourcing talent from the fine arts, antiques and luxury markets.
Supple creative director Jamie Ellul, who was invited to tender, says: “The client had already spotted that their existing company names formed the acronym D.R.A.W; it felt like a gift of a name with a genuine back story.
“But we wanted to avoid the obvious solution of drawing things or sketching, so we took the angle of people being ‘drawn together' which led to ‘the perfect fit'.”
An interlocking D monogram was also created and Ellul says he “worked with the client to choose a range of materials that got across D.R.A.W.'s diverse client base and candidates from classic to contemporary.”
The main points of interaction for service users are the website and jobs board. Ellul, who also worked on these, says: “We've kept the design very classic using black and white throughout, with the only ping of colour being the monogram logos.
We were conscious of the fact it's a very discerning audience, so a neutral classic approach seemed to make sense. The typeface we've used is Value by Colophon, which lends a little quirkiness to the design, but still feels in keeping with the classic feel.”
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Rebecca Kirrane has joined Decibel Digital as a UX/UI designer, moving from commerce consultancy, Salmon.
Bentley has appointed John Paul Gregory to lead its exterior design division. Gregory's first production car is likely to be the new Bentley Continental GT.
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Manchester-based studio Code Computerlove has announced the appointment of Amy Robinson as customer experience consultant. The role will see Robinson help bolster the studio's content, acquisition and conversion teams.
CloudTag has appointed Peter Griffith as chief creative officer to oversee the design, aesthetics and brand messaging of Cloudtag products. Griffith was formerly head of mobile phones design at Microsoft.
Jaywing has announced its acquisition of Leeds-based consultancy, Bloom. The consultancy hopes to grow the development and distribution of its data science-led products.
A new consultancy has been launched after the founder of Sumo Design, Jim Richardson, closed the business to focus on a new start-up. The creative team behind Sumo Sarah Tempest and Michael Sutton have launched their own consultancy in Newcastle, called Altogether.
Contact aimee.mclaughlin@centaurmedia.com if there have been any moves and changes in your consultancy.
The post Moves & changes industry news appeared first on Design Week.
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Design Bridge and Diageo have worked together on the new packaging design for Gordon's gin, almost 15 years after the consultancy previously redesigned the gin brand's bottle.
Design Bridge's brief was to respond to the huge boom in interest in gin over the last few years, and “reassert Gordon's position as the top selling gin brand”, according to chief creative officer at Design Bridge, Graham Shearsby.
“We saw it as an opportunity to guide the packaging onto the next part of its journey,” says Shearsby. “It's always been quite a functional bottle, part of what we tried to do was bring more life to it.”
The new bottle is slightly slimmer and taller than previously, while the label has been applied to the D-shaped curved side of the bottle instead of the flat side like before.
“It was to get a bit more movement across the front label,” says Shearsby. “The bottle was a little bit too flat on the front, so this way it projects itself and will stand out on the shelf.”
Inspired by a trip to the brand's archives, which revealed an old advertising campaign with the tagline “the heart of a good cocktail”, along with heart-shaped labels from 1920s bottles, the heart symbol has become the focal point of the new design.
The glass bottle itself has a heart shape with “botanical flourishes” embossed onto it, encircling the words “Estd. London 1769”.
Meanwhile, the Gordon's wordmark on the label has been redrawn by hand, and the brand's original boar logo has been made more visible, moving from the bottom to the front of the bottle.
The new design has also been introduced to Gordon's collection of flavoured gins, sloe, elderflower and cucumber, and to Gordon's Export gin. The newly designed packaging will roll out globally this month.
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Ragged Edge has redesigned the visual identity for food blogger Ella Mills, commonly known as Deliciously Ella.
The rebrand includes a new design system and updated logo shared with health food restaurant Mae Deli, co-founded by Mills and her husband as well as the packaging for the blogger's first retail product, Deliciously Ella's Energy Balls.
Based on Mills' own signature, the logo features a hand drawn typeface and a “sunburst” shape that seeks to “reinforce her personal connection with her followers”, according to Ragged Edge.
The consultancy chose a hand drawn typeface Naive Line Sans for headlines and the monospaced Elementa Regular for body copy. Ragged Edge cofounder Max Ottignon says: “Used together, these feel approachable, warm and human.”
Meanwhile, the packaging for the energy balls has been designed to reflect Mills' three core values: “natural, simple and honest”. It combines bright colours designed to make it stand out on the shelf compared to other similar products and comes in a matte texture.
Ottignon says: “Much of Ella's popularity stems from her open and honest relationship with her followers. Maintaining that level of trust as her brand grows into new areas was crucial.”
“Our strategy set out to build on her core values and create a beautifully crafted design, with substance and weight.”
The Deliciously Ella Energy Balls launched at Whole Foods this month and will also be rolled out to selected supermarkets.
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Consultancy Pearlfisher has created the visual identity and packaging for a new tampon brand which looks to empower women in China.
Fémme is a new product from Chinese company Yoai, which aims to increase the presence of and education about tampons in China, and change a “patronising” tone around tampons to associations with “confidence and positivity”.
Recent research found that only 2% of women in China use tampons, with the majority citing the reason as inexperience with the product.
The new brand aims to shift shake conservative, traditional associations with feminine hygiene care in China, says Pearlfisher creative director Natalie Chung, through a “stylish and discreet” design.
The logo is composed of a Chinese character symbolising womanhood encased with a circle, within a circle, all created in a “bold” red to symbolise menstruation.
A simple, sans-serif wordmark has been used, which aims to “elevate the product from basic pharmacy to high-end premium”, says Chung.
The packaging also aims to be “elegant” through embossing, the use of a foil logo and card inserts of line-drawn female forms which replicate Chinese characters.
Packs use a pastel colour scheme of blue, pink and green to indicate different product sizes, and there is educational information included on the back which aims to “dispel cultural misconceptions” and teach women how to use tampons.
Victoria Li at Yoai says the new brand identity is “based on a modern interpretation of Chinese values” rather than something “overtly westernised”, and hopes the product will help to “liberate” and offer more choice to women in China.
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ArtGordon1 posted a photo:
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ArtGordon1 posted a photo:
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Sculptor Lil posted a photo:
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