I arrived at the Santa Cruz Museum of Art and History last Wednesday afternoon, carrying a sleeping bag and the cushion from the bright orange loveseat I scored for free on Craigslist last year. Along with several museum professionals and artists from around the world, I was going to be spending the night at the museum as part of Hack the Museum Camp, the brainchild of Nina Simon, executive director of the MAH who describes it thus: “What happens when you give 75 people 48 hours to make an exhibit that challenges museum convention?”
The plan was to work in teams of four or five to create exhibits around artifacts from the museum’s permanent collection that are not currently on display. This is the first time Simon has ever tried anything like this, and despite her reputation for risk-taking, she was well aware of the stakes. “This is creative risk for everyone. We’re giving you our biggest gallery, and whatever you guys make is going to be up for six weeks,” she told the campers.
On Wednesday afternoon, they participated in a white elephant game to choose which artifacts they would be working with. And they were not afraid to boo when they did not like what they saw.
Delighted “oohs” and “aahs” had been emerging from campers’ lips for a while, as teams chose sealed boxes and then opened them to reveal descriptions of things like the first-ever baseball pitching machine, a gravestone and 1960’s Boardwalk tickets. But then one team picked a box with a printout of an oil painting reproduction . The entire group of 75 collectively booed. They did not come here to hang oil paintings on walls.
All told, three groups wound up with paintings and most of the other twelve groups got 3D art objects or historical artifacts. Sarah Margerum of Boston, whose group got a painting of William F. Cooper, Santa Cruz’s first mayor, sat cross-legged on the ground staring into the portrait’s eyes for 10 solid minutes that first night. I caught up with her at around 9pm, but after three hours of brainstorming, her group was still stumped on how to best display Mr. Mayor.
“I think honestly museums haven’t really mastered how to help people look at portraits in a traditional way,” said Margerum. “I don’t think they’re that good at the inside of the box way. I think what I’m struggling with is how can I do it really well inside the box and then go beyond that.” Her teammate, Lauren Paullin from Richmond, Virginia added, “it’s hard to imagine something you’ve never experienced.”
They had fair points. Many of the other groups with less traditional artifacts already had a ton of ideas. The group that got a stack of 1960s roller coaster tickets had zeroed in on their thesis and skipped off to the Boardwalk to ride the Giant Dipper for themselves, recording the sound of the creaking wooden ride, plus their screaming, to use in their exhibit.
Back at the MAH, they sat around a table planning the big red stripes they were going to paint on the wall behind their exhibit. “We can give ourselves permission to be more garish than other people. Which is exciting. Because I love garish,” said Joel Parsons, who is from Memphis, Tennessee.
At the end of day one, each group had picked a space in the museum’s second floor gallery and committed to having something show-worthy in time for the exhibit’s soft opening on Friday night, in just a day and a half. While some campers made their way back to hotels, many of the younger campers opted to sleep over in the museum to save money.
I spent the evening meandering about chatting with people, and in typical reporter fashion, blatantly eavesdropping. On the stage, MAH staff had set up a tent with an iPad in which people could record confessional-style experiences about their time at Museum Camp. Around 11:30pm on that first night, two young women commandeered it for a good half hour, giggling about who was “cute and not married.”
Upstairs in the outdoor sculpture garden a group of campers—two from Philadelphia and one from North Carolina—talked about how to make people care about museums. If only they could engage adults the way that little kids are passionately engaged in memorizing dinosaur facts, they mused over paper cups of red wine.
Eventually, I made my way downstairs and crawled into a corner in an otherwise empty room housing an exhibit on the Soquel baseball team. I lied down on my couch cushion and listened to the sounds of the other campers echoing through the museum. I heard laughter from the group up on the sculpture garden, and the noise of something falling and hitting the floor.
Unlike sleeping alone in a deserted museum, which I can imagine would be a kind of otherworldly and creepy, this just kind of felt like crashing out on a friend’s floor after a house party. I suppose a couch cushion in the corner of an exhibit room isn’t that much weirder than the time my high school friend Zach curled up under a kitchen floor mat to sleep off his New Years’ Eve buzz.
By afternoon the next day, the campers were ready to prototype. They’d set up the framework of their exhibits with cardboard, paper and painters’ tape, and the ground in the exhibit room was covered in scraps of paper and supplies. One team was soliciting answers to the prompt, “what’s the most painful thing you’ve done for beauty?” with Post-It notes. The team with the portrait of Mayor Cooper had spent the day on the street with the portrait, asking passersby to share their reactions. They recorded audio they were planning on using as a way of bringing Cooper into the 21st century streets of his town.
And the roller coaster ticket group had stripped things down significantly, hoping to provide a space that, compared to the rest of the room, would be “conspicuously clean and clear” to provide an opportunity for reflection, said Parsons. Rather than garish red stripes, they opted instead for a simple text headline that reads, “Will You Remember This?” They’ll be giving everyone who enters the exhibit a hand-drawn ticket and the option to either throw it away or keep it, challenging them to think about experiences—including this one—in a new way. “Will you keep this as a memento? Is it a memory thing? Is this valuable to you, and why are we making these decisions?” he asks.
Elizabeth Spavento, whose group explored questions about beauty in their exhibit centering around a historic Miss California scepter, said the overall experience of Hack the Museum camp was unlike anything she’s experienced in her museum career. “I’m used to working with people that are like, ‘Oh that’ll never work,’ or ‘That’ll never pass code,’” she says. “So it’s nice to hear, ‘Wow, I’m listening to your idea. And I like it.’”
Click on their website www.artsunlight.com.
2013年7月16日星期二
2013年7月14日星期日
New BYU exhibit featuring artwork
To the right of a spacious lobby filled with paintings of the Nativity and sculptures of biblical figures hangs an iconic painting of a humble carpenter healing a man near a pool called Bethesda.For Dawn Pheysey, head curator at the BYU Museum of Art, this is where it all began.
In 2010, the BYU Museum of Art hosted more than 306,000 visitors in an exhibit featuring the life of Christ through 19th century Danish artist Carl Bloch's paintings. The exhibit was titled "Carl Bloch: The Master's Hand."Beginning in November, the BYU Museum of Art will open a new exhibit featuring the works of Carl Bloch and other 19th century painters called "Sacred Gifts: The Religious Art of Carl Bloch, Heinrich Hofmann, and Frans Schwartz."
The painting that inspired it all, the BYU-owned "Christ Healing the Sick at Bethesda" by Bloch, which was on display in the 2010 exhibit, will be featured in the new collection as well.BYU obtained the painting, which has become an icon for many Christians, after what Pheysey calls a series of fortuitous events — because becoming the sole proprietor of an original 1883 canvas oil painting is no easy feat.
"It took several hoops in order to get permission to purchase it," Pheysey said.The transaction acted as a springboard for Pheysey's dream —an exhibition of Bloch and other artists' religious paintings."We began going over to Denmark every year and building relationships with people there in the churches," Pheysey said.
That friendship paved the way for what Pheysey called some presumptuous requests — four altar paintings, the centerpiece of many churches in Denmark, and eight paintings from the Frederiksborg Castle in Denmark.While the process for borrowing paintings from other museums is easy, Pheysey said this was a particularly steep request because both the altarpieces and the paintings from the castle are permanent fixtures.
"And so we ask, and it sinks in for a minute and we tell them about the 306,000 people who came to the last show and how they lined up, and how there were throngs dying to see these works," said museum director Mark Magleby. "And they think, 'We love these works,' but then their altruistic feelings take over and they say, 'We'd like to share them with all of those people.'"
BYU's exhibit in 2010-11, "Carl Bloch: The Master's Hand," featured four of Bloch's altar paintings from churches in Denmark, and the upcoming exhibit, "Sacred Gifts: The Religious Art of oil painting reproduction, Heinrich Hofmann, and Frans Schwartz," which opens Nov. 15, will feature eight paintings from Bloch's "Life of Christ" series, located in the King's Oratory at the Frederiksborg Castle museum.
Though Bloch's paintings will be featured again, Pheysey said visitors can expect a different show."This exhibit is totally new," she said. "This time we were able to borrow all the paintings we were not able to borrow the first time. It's the completion of the exhibit."And this new exhibit is making history.
"These paintings have never before been out of the oratory since they were installed ... in the 1860s-70s, and they will not be loaned again," castle director Mette Skougaard said in a press release.Skougaard said the castle's decision to grant BYU's request came as a result of the great importance Bloch's paintings have to the people of Utah.
The 67 portraits on view explore family relationships and record fashion and furniture, and some of his sitters hold things denoting their occupations. Most of these prosperous folks lived in small towns and on farms in New Jersey from 1815 to 1835. Williams also painted some shipmasters and city folk during his three years in New York City, 1828-30.
The best of Williams’s pastels and oil portraits are intimate and penetrating. He has been classed with such folk artists as Erastus Salisbury Field, Ammi Phillips, John Brewster, and William Matthew Prior, who have left us a painted record of the generation who lived in the first half of the 19th century, before the age of photography.
Micah Williams’s style was recognized before he was identified as the artist. When Mrs. J. Amory (Margaret) Haskell (1864-1942) was amassing the most extensive collection of Americana ever brought together by one person (it took Parke-Bernet Galleries ten sales, 1944-45, to disperse Haskell’s hoards of glass, ceramics, silver, and furniture that she did not give to museums), she bought six portraits by Micah Williams. At that time, they had been identified as by Henry Conover. She gave them to the Monmouth County Historical Association.
“By the late 1950’s Monmouth County Historical Association had amassed the largest public collection of this artist’s work,” writes Bernadette M. Rogoff, curator of the Monmouth County Historical Association’s collections, in the catalog for the exhibition. She said she had been working on this project for 20 years and it was hard to limit the number of portraits to just 67.
Because his style changed little, Rogoff finds it hard to date artworks by Williams. Of the 272 identified portraits by Micah Williams only 11 are inscribed with the month, day, and year of completion, and an additional six with the year of completion. Newspaper sheets used as a secondary support for the paper that Williams used for pastels often help date a work. Rogoff believes Williams had access to books and actual art instruction when he chose the life of an itinerant artist. She cites Archibald Robertson’s instruction book, Elements of Graphic Arts, and notes that Robertson started the first American art school (in New York City), though Rogoff found no record of Williams attending the school.
Williams was immediately successful. Monmouth County, New Jersey, was one of his largest sources of patronage. A successful agricultural area, it was excellent for grazing animals and growing fruit and vegetables for the city markets. The descendants of Dutch and English families (Smock, Smalley, Schenck, Dubois, Van Mater, Conover, Longstreet, and Vanderveder) appear in identified portraits as doctors, horse and dairy farmers, orchardists, politicians, militia officers, storekeepers, potters, silversmiths, carpenters, and their wives and children. According to Rogoff’s count, between 1818 and 1821 Williams produced more than 60 portraits of Monmouth County residents. Williams was recommended from one to another.
Click on their website http://artsunlight.com/.
In 2010, the BYU Museum of Art hosted more than 306,000 visitors in an exhibit featuring the life of Christ through 19th century Danish artist Carl Bloch's paintings. The exhibit was titled "Carl Bloch: The Master's Hand."Beginning in November, the BYU Museum of Art will open a new exhibit featuring the works of Carl Bloch and other 19th century painters called "Sacred Gifts: The Religious Art of Carl Bloch, Heinrich Hofmann, and Frans Schwartz."
The painting that inspired it all, the BYU-owned "Christ Healing the Sick at Bethesda" by Bloch, which was on display in the 2010 exhibit, will be featured in the new collection as well.BYU obtained the painting, which has become an icon for many Christians, after what Pheysey calls a series of fortuitous events — because becoming the sole proprietor of an original 1883 canvas oil painting is no easy feat.
"It took several hoops in order to get permission to purchase it," Pheysey said.The transaction acted as a springboard for Pheysey's dream —an exhibition of Bloch and other artists' religious paintings."We began going over to Denmark every year and building relationships with people there in the churches," Pheysey said.
That friendship paved the way for what Pheysey called some presumptuous requests — four altar paintings, the centerpiece of many churches in Denmark, and eight paintings from the Frederiksborg Castle in Denmark.While the process for borrowing paintings from other museums is easy, Pheysey said this was a particularly steep request because both the altarpieces and the paintings from the castle are permanent fixtures.
"And so we ask, and it sinks in for a minute and we tell them about the 306,000 people who came to the last show and how they lined up, and how there were throngs dying to see these works," said museum director Mark Magleby. "And they think, 'We love these works,' but then their altruistic feelings take over and they say, 'We'd like to share them with all of those people.'"
BYU's exhibit in 2010-11, "Carl Bloch: The Master's Hand," featured four of Bloch's altar paintings from churches in Denmark, and the upcoming exhibit, "Sacred Gifts: The Religious Art of oil painting reproduction, Heinrich Hofmann, and Frans Schwartz," which opens Nov. 15, will feature eight paintings from Bloch's "Life of Christ" series, located in the King's Oratory at the Frederiksborg Castle museum.
Though Bloch's paintings will be featured again, Pheysey said visitors can expect a different show."This exhibit is totally new," she said. "This time we were able to borrow all the paintings we were not able to borrow the first time. It's the completion of the exhibit."And this new exhibit is making history.
"These paintings have never before been out of the oratory since they were installed ... in the 1860s-70s, and they will not be loaned again," castle director Mette Skougaard said in a press release.Skougaard said the castle's decision to grant BYU's request came as a result of the great importance Bloch's paintings have to the people of Utah.
The 67 portraits on view explore family relationships and record fashion and furniture, and some of his sitters hold things denoting their occupations. Most of these prosperous folks lived in small towns and on farms in New Jersey from 1815 to 1835. Williams also painted some shipmasters and city folk during his three years in New York City, 1828-30.
The best of Williams’s pastels and oil portraits are intimate and penetrating. He has been classed with such folk artists as Erastus Salisbury Field, Ammi Phillips, John Brewster, and William Matthew Prior, who have left us a painted record of the generation who lived in the first half of the 19th century, before the age of photography.
Micah Williams’s style was recognized before he was identified as the artist. When Mrs. J. Amory (Margaret) Haskell (1864-1942) was amassing the most extensive collection of Americana ever brought together by one person (it took Parke-Bernet Galleries ten sales, 1944-45, to disperse Haskell’s hoards of glass, ceramics, silver, and furniture that she did not give to museums), she bought six portraits by Micah Williams. At that time, they had been identified as by Henry Conover. She gave them to the Monmouth County Historical Association.
“By the late 1950’s Monmouth County Historical Association had amassed the largest public collection of this artist’s work,” writes Bernadette M. Rogoff, curator of the Monmouth County Historical Association’s collections, in the catalog for the exhibition. She said she had been working on this project for 20 years and it was hard to limit the number of portraits to just 67.
Because his style changed little, Rogoff finds it hard to date artworks by Williams. Of the 272 identified portraits by Micah Williams only 11 are inscribed with the month, day, and year of completion, and an additional six with the year of completion. Newspaper sheets used as a secondary support for the paper that Williams used for pastels often help date a work. Rogoff believes Williams had access to books and actual art instruction when he chose the life of an itinerant artist. She cites Archibald Robertson’s instruction book, Elements of Graphic Arts, and notes that Robertson started the first American art school (in New York City), though Rogoff found no record of Williams attending the school.
Williams was immediately successful. Monmouth County, New Jersey, was one of his largest sources of patronage. A successful agricultural area, it was excellent for grazing animals and growing fruit and vegetables for the city markets. The descendants of Dutch and English families (Smock, Smalley, Schenck, Dubois, Van Mater, Conover, Longstreet, and Vanderveder) appear in identified portraits as doctors, horse and dairy farmers, orchardists, politicians, militia officers, storekeepers, potters, silversmiths, carpenters, and their wives and children. According to Rogoff’s count, between 1818 and 1821 Williams produced more than 60 portraits of Monmouth County residents. Williams was recommended from one to another.
Click on their website http://artsunlight.com/.
2013年7月11日星期四
Exhibit by artist battling Parkinson's on display
Gail Paggiola was about 3 years old she met Dona Greaney Winners in preschool. As the two grew up together in Manchester, Paggiola recognized and admired Winners' keen artistic ability."We were in the Craft Club at Manchester High School," said Paggiola. "She would make wonderful jewelry." As an adult, Winners was gifted in quilting, knitting and gardening. But her true flair comes out through her paintings.
Vibrant colors, simple shapes grouped into complex arrangements, shades that sharpen and fade. Each canvas is riotously different, but all are joined by a graceful, unique style. It is all the more remarkable that the artist produced the works while battling Parkinson's disease.Paggiola brought a collection of Winners' works to the South Windsor Public Library, where an exhibit will be on display through the end of July across from the children's section. Winners has resided in Manchester, East Hampton, South Windsor and East Windsor, and now lives in Powhatan, Va.
"She used to be an oil painter until the shaking stopped her," said Paggiola. Winners turned to a new medium: tissue paper oil painting reproduction. Tissues are dyed, allowed to dry, and then torn into shapes which she arranges into floral patterns, animals and other shapes. Browsing through her works reveals that hydrangeas, wisterias, roses and foxgloves are among her floral muses; giraffes, elephants, swans, foxes and hummingbirds are among her animal ones. Some works are 3D, popping off the surface, while in others, the tissue is so flat it appears to be part of the canvas.
Paggiola said that when an art teacher taught Winners tissue paper painting, he was so impressed by her adoption of the method that he urged her to write a book about it, which she did and hopes to publish.Paggiola reports that her friend's case is worsening. "She had deep brain surgery," said Paggiola. "She has tremors on both sides of her brain." Medication once gave her a 20-minute window during which she could do her art. "But now I don't think she even has that," said Paggiola.
The exhibit at the library is a way for Paggiola to recognize Winners' talent. "I'm doing this to validate her as an artist," she said. The art also stands as testimony that those with debilitating illnesses can break free from their restrictions. "Mary [Etter] from the library said it shows that people with Parkinson's don't have to give up everything," Paggiola said.
One shelf displays paintings Winners did for Christmas cards and wedding invitations for family members. Many of the works have special significance to Paggiola, including the occasional inside joke.
Fourteen-year-old Nick Metz says he’s intrigued by art’s ever-changing transformation from one style to the next, referencing the transition from Figurative Impressionism to Abstract art that occurred in the late 19th and early 20th centuries.
The same can be said about his own work, which has evolved throughout grade school from molding a black-and-brown-spotted gray leopard seal out of clay to sketching Japanese cartoons and "fun, random things."
Nick’s most recent work — and most professional — includes Paul Cezanne-esque still life oil paintings and a pastel, Amedeo Modigliani-inspired self-portrait that won the young artist first place in the Sargent Art Brighter World Art Contest this past spring. The national competition is open to students in Grades K-12 and grants the winning child a trip to New York City art museums with a parent and his or her art teacher.
"I had a lot of fun making it," says the humble artist and Hillsdale resident of the drawing, adding it is his favorite artwork to date, and the victory his first big win. Like many artists who reflect nonchalantly on their award-winning masterpiece, Nick says he was just a seventh-grader in his art class having fun when he depicted himself clad in an orange beret with his hand to his chin — his spectacles magnify his blue eyes.
Nick’s portrait, as well as his other award-winning artworks, will be on display at his first exhibit at the Hillsdale Public Library throughout July, with a meet the artist reception on July 16 at 6:30 p.m.Another artwork in the exhibit is "Still Life Study in Glass and Light," which won Nick the Ridgewood Art Institute’s (RAI) "Instructors’ Scholarship" at the 54th Annual Young Artists Show last month.
"I like how you can express so many different things in so many different ways," says Nick about his interest in art. His influences include Spanish Catalan painter Joan Miró and French pointillist painter Georges-Pierre Seurat.
Nick recently graduated from George G. White Middle School from where he earned the Gold Medal in Art. The first artist in his family after his grandmother — who does china painting — Nick says his artistic talent is innate, and a love that he incorporates into his studies at school. Many of his reports have involved some aspect of art, including a paper he wrote on the start of Modern Art for his Language Arts class, and art and clothing in Japan for a Social Studies paper.
The artist, who is also a member of Hillsdale Boy Scout Troop 109 and the Stonybrook Swim and Dive teams, hones his skills at RAI at which he currently takes oil painting lessons. His painting, "Kettle," is also part of his collection currently on display at the library. The artwork, which, despite something Nick’s father, Al, says was his son’s second attempt at oil painting, won him the Scholastic Art Silver Key in the 90th Annual Scholastic National Art Competition held at a reception at the Montclair Art Museum earlier in the year.
Click on their website artsunlight.com.
Vibrant colors, simple shapes grouped into complex arrangements, shades that sharpen and fade. Each canvas is riotously different, but all are joined by a graceful, unique style. It is all the more remarkable that the artist produced the works while battling Parkinson's disease.Paggiola brought a collection of Winners' works to the South Windsor Public Library, where an exhibit will be on display through the end of July across from the children's section. Winners has resided in Manchester, East Hampton, South Windsor and East Windsor, and now lives in Powhatan, Va.
"She used to be an oil painter until the shaking stopped her," said Paggiola. Winners turned to a new medium: tissue paper oil painting reproduction. Tissues are dyed, allowed to dry, and then torn into shapes which she arranges into floral patterns, animals and other shapes. Browsing through her works reveals that hydrangeas, wisterias, roses and foxgloves are among her floral muses; giraffes, elephants, swans, foxes and hummingbirds are among her animal ones. Some works are 3D, popping off the surface, while in others, the tissue is so flat it appears to be part of the canvas.
Paggiola said that when an art teacher taught Winners tissue paper painting, he was so impressed by her adoption of the method that he urged her to write a book about it, which she did and hopes to publish.Paggiola reports that her friend's case is worsening. "She had deep brain surgery," said Paggiola. "She has tremors on both sides of her brain." Medication once gave her a 20-minute window during which she could do her art. "But now I don't think she even has that," said Paggiola.
The exhibit at the library is a way for Paggiola to recognize Winners' talent. "I'm doing this to validate her as an artist," she said. The art also stands as testimony that those with debilitating illnesses can break free from their restrictions. "Mary [Etter] from the library said it shows that people with Parkinson's don't have to give up everything," Paggiola said.
One shelf displays paintings Winners did for Christmas cards and wedding invitations for family members. Many of the works have special significance to Paggiola, including the occasional inside joke.
Fourteen-year-old Nick Metz says he’s intrigued by art’s ever-changing transformation from one style to the next, referencing the transition from Figurative Impressionism to Abstract art that occurred in the late 19th and early 20th centuries.
The same can be said about his own work, which has evolved throughout grade school from molding a black-and-brown-spotted gray leopard seal out of clay to sketching Japanese cartoons and "fun, random things."
Nick’s most recent work — and most professional — includes Paul Cezanne-esque still life oil paintings and a pastel, Amedeo Modigliani-inspired self-portrait that won the young artist first place in the Sargent Art Brighter World Art Contest this past spring. The national competition is open to students in Grades K-12 and grants the winning child a trip to New York City art museums with a parent and his or her art teacher.
"I had a lot of fun making it," says the humble artist and Hillsdale resident of the drawing, adding it is his favorite artwork to date, and the victory his first big win. Like many artists who reflect nonchalantly on their award-winning masterpiece, Nick says he was just a seventh-grader in his art class having fun when he depicted himself clad in an orange beret with his hand to his chin — his spectacles magnify his blue eyes.
Nick’s portrait, as well as his other award-winning artworks, will be on display at his first exhibit at the Hillsdale Public Library throughout July, with a meet the artist reception on July 16 at 6:30 p.m.Another artwork in the exhibit is "Still Life Study in Glass and Light," which won Nick the Ridgewood Art Institute’s (RAI) "Instructors’ Scholarship" at the 54th Annual Young Artists Show last month.
"I like how you can express so many different things in so many different ways," says Nick about his interest in art. His influences include Spanish Catalan painter Joan Miró and French pointillist painter Georges-Pierre Seurat.
Nick recently graduated from George G. White Middle School from where he earned the Gold Medal in Art. The first artist in his family after his grandmother — who does china painting — Nick says his artistic talent is innate, and a love that he incorporates into his studies at school. Many of his reports have involved some aspect of art, including a paper he wrote on the start of Modern Art for his Language Arts class, and art and clothing in Japan for a Social Studies paper.
The artist, who is also a member of Hillsdale Boy Scout Troop 109 and the Stonybrook Swim and Dive teams, hones his skills at RAI at which he currently takes oil painting lessons. His painting, "Kettle," is also part of his collection currently on display at the library. The artwork, which, despite something Nick’s father, Al, says was his son’s second attempt at oil painting, won him the Scholastic Art Silver Key in the 90th Annual Scholastic National Art Competition held at a reception at the Montclair Art Museum earlier in the year.
Click on their website artsunlight.com.
2013年7月9日星期二
Nancy Purnell purifies Vineyard landscapes
"I never go anywhere without my sketch pad," painter Nancy Purnell told The Times. Her favorite Island spots are Long Point, Stonewall Beach, Zack's Cliffs, and Moshup's Trail, and they are all represented in her current exhibit, The Preservation of the Island on Canvas, on display at the Vineyard Haven Library through July.
This artist has been coming to the Vineyard since 1970, summering or living year-round at her home in Vineyard Haven from 1978 to 2003. Her attachment to the Island is deep, and while she is now based in New York City and her visits are less frequent, she makes a point of seeking out her favorite Island painting spots when she visits.
"My source of inspiration has always been nature," explained Ms. Purnell, who started painting at age eight. The light, color, inner forms, and spirituality found in the natural world engage the oil painting reproduction. In the past, she has also collaborated three times with this reviewer, a long-time friend, to illustrate three books of Vineyard poetry, and wrote her own, "I Love You So." The latter consists of the painter's love poetry and nude paintings, in which she envisions the nude as landscape.
Over the years, her palette has varied from darker tones to vibrant, saturated blues, oranges, and yellows that celebrate the fecundity of land and water. The current group of paintings reflects a new direction, in which she has moved toward paler, more purified forms, working with yellow ochre, burnt umber, raw sienna, and Delft blue, mixing them with whites and moving toward paler, more purified effects.
"I try to simplify everything so it's almost spiritual," the artist commented. In paintings like "Stonewall Beach" and "Long Point Fog," she concentrated on subtler tones to establish a sense of nostalgia.Two of her more powerful paintings are "Ocean Up-Island I," and "Ocean Up-Island II." The ocean holds a particular fascination for Ms. Purnell, who spends days trying to understand the action of waves and get the forms right. "I want you to feel the movement of the water," she said.
Ms. Purnell enjoys painting plein air, doing small paintings on site, then bringing them back into the studio to expand her ideas onto larger canvases. "Everything comes from drawing or painting on the spot," she asserted. "West Tisbury Junipers," however, is one painting that harks back to her earlier work, using darker shades in a typically confident composition, where the windblown evergreens march left to right like sentinels behind rows of red and green grasses.
Studying at the Chicago Art Institute and earning a BFA from the University of Hartford Art School, Ms. Purnell was influenced by painters from the Josef Albers school. She belongs to the Society of Illustrators, and she draws at their Sketch Nights on a regular basis. She teaches at Cooper Union in a program for inner-city students, and one for senior citizens run by Health Outreach at New York Presbyterian Hospital.
"It's fascinating to follow what they're thinking when they are facing a two-dimension space for the first time," she said of her students. Like their teacher, they have begun to carry sketch pads with them for drawing.
The gleaming glass building of the Colby College Museum of Art not only stands out on campus – surrounded by the red brick, Georgian-style classrooms and dormitories – but now also stands out across Maine.A new addition means the museum now has 38,000 square feet of exhibition space, the largest in the state. The museum’s more than 8,000 works will be on display when it reopens to the public July 14 after more than a year of renovations.
Organizers hope that the revamped museum – along with others like the Bowdoin College Museum of Art, Portland Museum of Art and Farnsworth Art Museum in Rockland – will put Maine on the map for art lovers across the country.“I think that Colby along with those other institutions and the new addition will raise the profile of the state in terms of being a destination for art experiences,” said Sharon Corwin, the museum’s director and chief curator.
The glass facade of the new Alfond-Lunder Family Pavilion is designed to reflect the surroundings in the sun and allow the art to be seen from the outside at night. It adds 10,000 square feet of exhibition space to the museum’s four wings and serves as the new entrance.
David Hockney was born on July 9, 1937 in Bradford, Yorkshire -- the fourth of five children in a traditional middle class English family. Hockney's father was an accountant an an amateur artist and his mother was a devoted homemaker who instilled in her children a serious work ethic, one that would certainly serve the budding artist well later in life.
After graduating from Bradford School of Art in the late 1950s, Hockney immediately began making waves in the art world. In fact, you can see an illustrated chronology on his website here. He achieved international acclaim through his pool paintings, done on a trip to Southern California where he met Christopher Isherwood and Kenneth E. Tyler, among other like-minded writers and artists. It was here that Hockney met his former boyfriend and painting subject, photographer Peter Schlesinger, who told the Daily Beast that Hockney “taught me that you learn painting by doing it."
Read the full story at http://www.artsunlight.com/!
This artist has been coming to the Vineyard since 1970, summering or living year-round at her home in Vineyard Haven from 1978 to 2003. Her attachment to the Island is deep, and while she is now based in New York City and her visits are less frequent, she makes a point of seeking out her favorite Island painting spots when she visits.
"My source of inspiration has always been nature," explained Ms. Purnell, who started painting at age eight. The light, color, inner forms, and spirituality found in the natural world engage the oil painting reproduction. In the past, she has also collaborated three times with this reviewer, a long-time friend, to illustrate three books of Vineyard poetry, and wrote her own, "I Love You So." The latter consists of the painter's love poetry and nude paintings, in which she envisions the nude as landscape.
Over the years, her palette has varied from darker tones to vibrant, saturated blues, oranges, and yellows that celebrate the fecundity of land and water. The current group of paintings reflects a new direction, in which she has moved toward paler, more purified forms, working with yellow ochre, burnt umber, raw sienna, and Delft blue, mixing them with whites and moving toward paler, more purified effects.
"I try to simplify everything so it's almost spiritual," the artist commented. In paintings like "Stonewall Beach" and "Long Point Fog," she concentrated on subtler tones to establish a sense of nostalgia.Two of her more powerful paintings are "Ocean Up-Island I," and "Ocean Up-Island II." The ocean holds a particular fascination for Ms. Purnell, who spends days trying to understand the action of waves and get the forms right. "I want you to feel the movement of the water," she said.
Ms. Purnell enjoys painting plein air, doing small paintings on site, then bringing them back into the studio to expand her ideas onto larger canvases. "Everything comes from drawing or painting on the spot," she asserted. "West Tisbury Junipers," however, is one painting that harks back to her earlier work, using darker shades in a typically confident composition, where the windblown evergreens march left to right like sentinels behind rows of red and green grasses.
Studying at the Chicago Art Institute and earning a BFA from the University of Hartford Art School, Ms. Purnell was influenced by painters from the Josef Albers school. She belongs to the Society of Illustrators, and she draws at their Sketch Nights on a regular basis. She teaches at Cooper Union in a program for inner-city students, and one for senior citizens run by Health Outreach at New York Presbyterian Hospital.
"It's fascinating to follow what they're thinking when they are facing a two-dimension space for the first time," she said of her students. Like their teacher, they have begun to carry sketch pads with them for drawing.
The gleaming glass building of the Colby College Museum of Art not only stands out on campus – surrounded by the red brick, Georgian-style classrooms and dormitories – but now also stands out across Maine.A new addition means the museum now has 38,000 square feet of exhibition space, the largest in the state. The museum’s more than 8,000 works will be on display when it reopens to the public July 14 after more than a year of renovations.
Organizers hope that the revamped museum – along with others like the Bowdoin College Museum of Art, Portland Museum of Art and Farnsworth Art Museum in Rockland – will put Maine on the map for art lovers across the country.“I think that Colby along with those other institutions and the new addition will raise the profile of the state in terms of being a destination for art experiences,” said Sharon Corwin, the museum’s director and chief curator.
The glass facade of the new Alfond-Lunder Family Pavilion is designed to reflect the surroundings in the sun and allow the art to be seen from the outside at night. It adds 10,000 square feet of exhibition space to the museum’s four wings and serves as the new entrance.
David Hockney was born on July 9, 1937 in Bradford, Yorkshire -- the fourth of five children in a traditional middle class English family. Hockney's father was an accountant an an amateur artist and his mother was a devoted homemaker who instilled in her children a serious work ethic, one that would certainly serve the budding artist well later in life.
After graduating from Bradford School of Art in the late 1950s, Hockney immediately began making waves in the art world. In fact, you can see an illustrated chronology on his website here. He achieved international acclaim through his pool paintings, done on a trip to Southern California where he met Christopher Isherwood and Kenneth E. Tyler, among other like-minded writers and artists. It was here that Hockney met his former boyfriend and painting subject, photographer Peter Schlesinger, who told the Daily Beast that Hockney “taught me that you learn painting by doing it."
Read the full story at http://www.artsunlight.com/!
2013年7月7日星期日
FineArteStore Offers Hand Painted Oil Paintings Reproductions
FineArteStore is a popular company which deals with the supply of hand painted oil painting reproductions online across the world. The company exhibits some of the largest oil paintings collections created by more than 4,500 world famous artists. Customers are given a unique online platform to buy some of the best oil paintings reproductions based on their individual needs.
The company owner says, Our Mission is to bring genuine hand painted oil painting reproductions into worldwide art lovers home and office with best quality and lowest price?±. Customers have the opportunity to choose from different exclusive collections of oil paintings like wedding photo paintings, portrait paintings, canvas oil paintings, pet paintings, landscape oil paintings and many more innovative collections.
The store displays original and handcrafted China oil paintings for sale online. Each of the oil paintings is unique and different in its own style, themes and concepts. The company specializes in oil paintings of different styles namely classicalism, abstracts, realism, idealism, contemporary paintings, modern art and decoration paintings. All paintings are coming from our art studios, painted by our partner artists and senior painters, no middleman; you can get maximum benefit from our online art gallery?±, adds the company owner.
FineArteStore offers customized service of hand painting from any photo provided by the customers. Customized art work reproduction in any forms like oil paintings, pastel drawing, water color paintings, and pencil sketch works are perfectly replicated by talented and famous artists. The art store offers masterpiece reproductions of paintings done by more than 20 well renowned artists like Edgar Degas, Leonardo da Vinci, John William Godward, Peter Paul Rubens, Raphael and many others oil painting reproduction.
It is possible for art lovers worldwide to choose any of the exclusive oil painting collections displayed online at FineArteStore. A 100% money back guarantee is given for all the Gustave Klimt Paintings purchased by customers online. The art store also deals with oil painting dropship & wholesale services. A worldwide shipping facility is arranged for customers, with low freight charges. Customers can browse for oil painting collections based on subjects, artists, stock, and samples available at the online store.
If you found Eric March through his paintings, you’d be taken by his lyrical depictions of the city. If you found him through his graphic design, you’d be impressed by his precise eye. And if you found him through his illustrations, you’d be surprised at the wide range of his styles.
Eric March is, not necessarily listed in order of importance, a fine artist, illustrator, art instructor, graphic designer, husband, and new father. Except for his teaching, the rest of this list is centered in March’s Long Island City studio—which is not the stereotypical concrete loft, but a small room in his brownstone apartment. March thinks deeply about the cultural impact of his work and what makes good art. This side of him isn’t always apparent—he comes off as a friendly, earnest man, animated, and quick to laugh.
March seems to experience the world with keen curiosity and good humor, traits that often reveal themselves in his paintings. Some of them celebrate places New Yorkers know and love, some take us to the city’s less-traveled underbelly, and others offer a quirky take on the familiar.Hailing from Libertyville, Ill., March arrived in New York City in 2001, a month before the September 11 attacks. After 9/11, the art world was shocked into a silent spell, March recalls, but that didn’t discourage him.
‘Do you think Bartoli’s dad told her when she was little “you’re never going to be a looker?”’ probed the self-styled oil painting, forcing the BBC into an apology and Inverdale to curl up into an even smaller ball — if, indeed, that is physically possible.He apologised on-air on Sunday for his ‘clumsy’ phraseology and has written to Bartoli, too.
The Frenchwoman responded with intelligence and grace, suggesting if Inverdale saw her dolled up on Sunday's Champions’ Ball ‘he could change his mind’, but his comments remain shockingly crass, insensitive and unacceptable from an experienced broadcaster. It was, though, the patronising tone and the automatic assumption of a divine right to cast judgment on Bartoli’s appearance that was particularly irksome.
Who does Inverdale think he is? Some kind of Simon Cowell Svengali figure for sports stars?Ignore the duo’s shared penchant for dodgy hair, orange skin and high trousers and Inverdale’s comments sound a bit rich, to say the least.
Oh but forgive me. I’ve cast aspersions on the way Inverdale looks and not on his proficiency as a broadcaster. How crushingly insensitive of me. Imagine having to put up with that every time you walk on to a tennis court in front of a worldwide television audience, rather than hiding away in a hovel with a microphone.
Click on their website www.artsunlight.com.
The company owner says, Our Mission is to bring genuine hand painted oil painting reproductions into worldwide art lovers home and office with best quality and lowest price?±. Customers have the opportunity to choose from different exclusive collections of oil paintings like wedding photo paintings, portrait paintings, canvas oil paintings, pet paintings, landscape oil paintings and many more innovative collections.
The store displays original and handcrafted China oil paintings for sale online. Each of the oil paintings is unique and different in its own style, themes and concepts. The company specializes in oil paintings of different styles namely classicalism, abstracts, realism, idealism, contemporary paintings, modern art and decoration paintings. All paintings are coming from our art studios, painted by our partner artists and senior painters, no middleman; you can get maximum benefit from our online art gallery?±, adds the company owner.
FineArteStore offers customized service of hand painting from any photo provided by the customers. Customized art work reproduction in any forms like oil paintings, pastel drawing, water color paintings, and pencil sketch works are perfectly replicated by talented and famous artists. The art store offers masterpiece reproductions of paintings done by more than 20 well renowned artists like Edgar Degas, Leonardo da Vinci, John William Godward, Peter Paul Rubens, Raphael and many others oil painting reproduction.
It is possible for art lovers worldwide to choose any of the exclusive oil painting collections displayed online at FineArteStore. A 100% money back guarantee is given for all the Gustave Klimt Paintings purchased by customers online. The art store also deals with oil painting dropship & wholesale services. A worldwide shipping facility is arranged for customers, with low freight charges. Customers can browse for oil painting collections based on subjects, artists, stock, and samples available at the online store.
If you found Eric March through his paintings, you’d be taken by his lyrical depictions of the city. If you found him through his graphic design, you’d be impressed by his precise eye. And if you found him through his illustrations, you’d be surprised at the wide range of his styles.
Eric March is, not necessarily listed in order of importance, a fine artist, illustrator, art instructor, graphic designer, husband, and new father. Except for his teaching, the rest of this list is centered in March’s Long Island City studio—which is not the stereotypical concrete loft, but a small room in his brownstone apartment. March thinks deeply about the cultural impact of his work and what makes good art. This side of him isn’t always apparent—he comes off as a friendly, earnest man, animated, and quick to laugh.
March seems to experience the world with keen curiosity and good humor, traits that often reveal themselves in his paintings. Some of them celebrate places New Yorkers know and love, some take us to the city’s less-traveled underbelly, and others offer a quirky take on the familiar.Hailing from Libertyville, Ill., March arrived in New York City in 2001, a month before the September 11 attacks. After 9/11, the art world was shocked into a silent spell, March recalls, but that didn’t discourage him.
‘Do you think Bartoli’s dad told her when she was little “you’re never going to be a looker?”’ probed the self-styled oil painting, forcing the BBC into an apology and Inverdale to curl up into an even smaller ball — if, indeed, that is physically possible.He apologised on-air on Sunday for his ‘clumsy’ phraseology and has written to Bartoli, too.
The Frenchwoman responded with intelligence and grace, suggesting if Inverdale saw her dolled up on Sunday's Champions’ Ball ‘he could change his mind’, but his comments remain shockingly crass, insensitive and unacceptable from an experienced broadcaster. It was, though, the patronising tone and the automatic assumption of a divine right to cast judgment on Bartoli’s appearance that was particularly irksome.
Who does Inverdale think he is? Some kind of Simon Cowell Svengali figure for sports stars?Ignore the duo’s shared penchant for dodgy hair, orange skin and high trousers and Inverdale’s comments sound a bit rich, to say the least.
Oh but forgive me. I’ve cast aspersions on the way Inverdale looks and not on his proficiency as a broadcaster. How crushingly insensitive of me. Imagine having to put up with that every time you walk on to a tennis court in front of a worldwide television audience, rather than hiding away in a hovel with a microphone.
Click on their website www.artsunlight.com.
2013年7月4日星期四
Agriculture exhibit opens at New Visions Gallery
New Visions Gallery invites visitors to experience cultural stories of the agricultural landscape of this beautiful country as told through the eyes of artists at the 27th annual Culture & Agriculture exhibit, opening Sunday.
Artists throughout the United States offer unique and thoughtful interpretations of this rural theme and help us remember the rich culture and diversity that surrounds agricultural life. More than 90 works of art will be on display in New Visions Gallery from July 7 to Aug. 30.An opening reception is scheduled from 3 p.m. to 5 p.m. on Sunday and will feature live music, refreshments and an opportunity to meet represented artists. The event is free and open to the public.
Every Culture & Agriculture exhibit brings a new collection of work by a variety of artists, each of whom brings a fresh interpretation of technique, media, process and subject matter on agricultural themes. Participating artists hail from Idaho to North Carolina and other points throughout the United States, including Wisconsin. Artists offer everything from traditional paintings, fiber creations, classic renderings, breathtaking photography, mixed media sculpture and more. Artwork in the exhibit is selected by a jury.
Participating Marshfield artists include R. Christian Egger — photography and ceramics; Kenneth Flanagan — oil; and Rita M. Hollingsworth — fiber.“Each year, it is so inspiring to see the various interpretations on the agricultural theme,” said Betsy Tanenbaum, New Visions Gallery director, “Every artist’s story is different and, collectively, they comprise the cultural story of this place and time. …These stories will be a glimpse for our children and our children’s children into the agricultural life of 2013.”
The opening reception will include an artist meet and oil painting reproduction, the toe tapping sounds of Brady Perl and the Kinfolk Choir and delicious food and refreshments that celebrate the edible bounty this great state has to offer. The opening reception is free and open for the public to attend — all are invited.
Culture and Agriculture may be viewed from 9 a.m. to 5:30 p.m. Monday through Friday. New Visions Gallery is in the main lobby of Marshfield Clinic. Admission is free thanks to donations from Art Partners. Exhibit space and other support is donated by Marshfield Clinic.
On Wednesday afternoon Clark County art educator Rebecca Anstine and Washougal art commissioner Janice Ferguson unwrapped and hung a selection of artwork in preparation for the opening of the Clark County: Living the Good Life art exhibit.The 6th Floor Gallery exhibit, which opens Friday, July 5, features the work of three Clark County residents: painter Marilyn Hocking, silkscreen artist Jon Brittingham and textile artist Sally Sellers. Through three different mediums, the artists have interpreted various aspects of life in southwest Washington, from the urban architecture to the rural nature and waterways.
On a quick glance, it might be easy to mistake Marilyn Hocking's paintings for photographs. In fact, she admitted when she does a show she often has to put up a sign to clearly label her works as pastel art.Hocking's pieces are reflective of her hometown, Ridgefield, as well as her southern roots in Louisiana. Stunningly realistic landscape pastels and oil paintings capture snippets of the county's quiet rural lifestyle, summer swims on the Lewis River and the Ridgefield Fourth of July parade.
"I like to do nostalgic pieces that are a nod back to the old city roots of Clark County," Hocking said. "Like the Lewis River swimming people where kids have been going for decades. If that's not Clark County culture then I don't know what is."
She describes her style as realistic yet idealistic. Though photos and memory are typically the basis for her artwork, she likes to take the real and make it into something better and more beautiful. In her depiction of Clark County pastoral life, for example, "there are no power lines, there are no weeds and there are no mole hills."
"Someone once told me that Norman Rockwell used the same idealism technique to make his works balanced and finished," Hocking said. "He never had an ideal life so he painted an ideal life."
It was an event in Hocking's life that pushed her to seriously pursue her passion for painting. A teacher, a mother and a wife, Hocking always planned to explore herinterest in art someday. But when she was diagnosed with breast cancer several years ago, she realized she shouldn't delay her passion any longer.
"Fighting that battle with breast cancer woke me up real fast," Hocking said. "It made me realize not to put things off to someday, because nobody ever knows what their someday might be. Since then I've been painting and painting and painting and I haven't looked back."
Click on their website www.artsunlight.com.
Artists throughout the United States offer unique and thoughtful interpretations of this rural theme and help us remember the rich culture and diversity that surrounds agricultural life. More than 90 works of art will be on display in New Visions Gallery from July 7 to Aug. 30.An opening reception is scheduled from 3 p.m. to 5 p.m. on Sunday and will feature live music, refreshments and an opportunity to meet represented artists. The event is free and open to the public.
Every Culture & Agriculture exhibit brings a new collection of work by a variety of artists, each of whom brings a fresh interpretation of technique, media, process and subject matter on agricultural themes. Participating artists hail from Idaho to North Carolina and other points throughout the United States, including Wisconsin. Artists offer everything from traditional paintings, fiber creations, classic renderings, breathtaking photography, mixed media sculpture and more. Artwork in the exhibit is selected by a jury.
Participating Marshfield artists include R. Christian Egger — photography and ceramics; Kenneth Flanagan — oil; and Rita M. Hollingsworth — fiber.“Each year, it is so inspiring to see the various interpretations on the agricultural theme,” said Betsy Tanenbaum, New Visions Gallery director, “Every artist’s story is different and, collectively, they comprise the cultural story of this place and time. …These stories will be a glimpse for our children and our children’s children into the agricultural life of 2013.”
The opening reception will include an artist meet and oil painting reproduction, the toe tapping sounds of Brady Perl and the Kinfolk Choir and delicious food and refreshments that celebrate the edible bounty this great state has to offer. The opening reception is free and open for the public to attend — all are invited.
Culture and Agriculture may be viewed from 9 a.m. to 5:30 p.m. Monday through Friday. New Visions Gallery is in the main lobby of Marshfield Clinic. Admission is free thanks to donations from Art Partners. Exhibit space and other support is donated by Marshfield Clinic.
On Wednesday afternoon Clark County art educator Rebecca Anstine and Washougal art commissioner Janice Ferguson unwrapped and hung a selection of artwork in preparation for the opening of the Clark County: Living the Good Life art exhibit.The 6th Floor Gallery exhibit, which opens Friday, July 5, features the work of three Clark County residents: painter Marilyn Hocking, silkscreen artist Jon Brittingham and textile artist Sally Sellers. Through three different mediums, the artists have interpreted various aspects of life in southwest Washington, from the urban architecture to the rural nature and waterways.
On a quick glance, it might be easy to mistake Marilyn Hocking's paintings for photographs. In fact, she admitted when she does a show she often has to put up a sign to clearly label her works as pastel art.Hocking's pieces are reflective of her hometown, Ridgefield, as well as her southern roots in Louisiana. Stunningly realistic landscape pastels and oil paintings capture snippets of the county's quiet rural lifestyle, summer swims on the Lewis River and the Ridgefield Fourth of July parade.
"I like to do nostalgic pieces that are a nod back to the old city roots of Clark County," Hocking said. "Like the Lewis River swimming people where kids have been going for decades. If that's not Clark County culture then I don't know what is."
She describes her style as realistic yet idealistic. Though photos and memory are typically the basis for her artwork, she likes to take the real and make it into something better and more beautiful. In her depiction of Clark County pastoral life, for example, "there are no power lines, there are no weeds and there are no mole hills."
"Someone once told me that Norman Rockwell used the same idealism technique to make his works balanced and finished," Hocking said. "He never had an ideal life so he painted an ideal life."
It was an event in Hocking's life that pushed her to seriously pursue her passion for painting. A teacher, a mother and a wife, Hocking always planned to explore herinterest in art someday. But when she was diagnosed with breast cancer several years ago, she realized she shouldn't delay her passion any longer.
"Fighting that battle with breast cancer woke me up real fast," Hocking said. "It made me realize not to put things off to someday, because nobody ever knows what their someday might be. Since then I've been painting and painting and painting and I haven't looked back."
Click on their website www.artsunlight.com.
2013年7月2日星期二
Lack of proper authentication overseas led
In the wake of rising frauds in the payments space, Reserve Bank of India has said that money gets siphoned off from accounts in India by fraudsters in overseas locations through cloning of debit cards.This may be because there is no authentication process for securing transactions overseas.
“The problems relating to illegal debit card transactions happened because we are inter-linked, and the two-factor authentication and the other security measures did not exist in overseas market where these cards were cloned and used,” said G. Padmanabhan, Executive Director, RBI, at an event organised to announce a tie-up between Western Union Money Transfer and Kotak Mahindra Bank.
According to him, “Technology has enabled an inter-linked world and payment infrastructure. While this is welcome…please also remember that you are as good as the weakest link.”Urging Kotak and Western Union to put systems in place to address these concerns, Padmanabhan said some violations have started happening particularly in the area of money transfer.
Recently, some customers of private sector Axis Bank had complained of cash getting withdrawn from their accounts from overseas locations.In its investigation, the law enforcement agencies found out that fraudsters had fixed skimming devices on some ATMs so that information on the cards can be skimmed and cloned. The information was loaded on to a cloned card to make fraudulent withdrawals in Greece.
He said while the RBI is taking many new preventive measures, the system is looking for a first mover to answer “is moving to EMV chip and pin is the only solution to fraud in card transactions or are there better solutions?”Giving other suggestions, Padmanabhan said if card as a payments instrument can be replaced by mobile-based options, then cloning may not be possible. He also asked banks to aggressively explore the NEFT technology.
In the immigration bill there is a “Trojan Horse” clause known as the mandatory E-Verify system which requires all Americans to carry a “tamper-proof” social security card. Sounds to me much like we are heading into the RFID debate debate soon.
So before you can legally begin your new job, American citizens will have to show “their papers” to their prospective employer, who will have to verify their identity and eligibility to hold a job in the US by running the information through the newly-created federal E-Verify database. This does not sound so awful as we already have to provide proof of oil painting reproduction! But wait there is more!
The database which will contain photographs taken from passport files and state driver’s licenses will most likely be . The law gives federal bureaucrats broad discretion in adding other “biometric” identifiers to the database. It also gives the bureaucracy broad authority to determine what features the “tamper proof” card should contain.
One of the uses will be chip in this card that will undoubtedly also keep track of when you punch in to work and when you leave and where/when you apply for jobs. Someone could easily use this information to rob your house or know your trends. Its a complete violation of privacy. The thing is if you create a system for one use that sounds good it can easily be used for other uses that are not so good. Just look at the Patriot Act and NDAA.
Just think what has our government done write in the last 30 years? What one bill are you proud of? With a 9% approval rating what does that qualify the government to be in charge of? Why would we let the government decide who and where you work.
“Regardless of one’s views on immigration, the idea that we should have to ask permission from the federal government before taking a job ought to be offensive to all Americans. Under this system, many Americans will be denied the opportunity for work. The E-Verify database will falsely identify thousands as “ineligible,” forcing many to lose job opportunities while challenging government computer inaccuracies. E-Verify will also impose additional compliance costs on American businesses, at a time when they are struggling with Obamacare implementation and other regulations.
According to David Bier of Competitive Enterprise Institute, there is nothing stopping the use of E-Verify for purposes unrelated to work verification, and these expanded uses could be authorized by agency rule-making or executive order. So it is not inconceivable that, should this bill pass, the day may come when you are not be able to board an airplane or exercise your second amendment rights without being run through the E-Verify database. It is not outside the realm of possibility that the personal health care information that will soon be collected by the IRS and shared with other federal agencies as part of Obamacare will also be linked to the E-Verify system.
Those who dismiss these concerns as paranoid should consider that the same charges were leveled at those who warned that the PATRIOT Act could lead to the government collecting our phone records and spying on our Internet usage. Just as the PATRIOT Act was only supposed to be used against terrorists but is now used to bypass constitutional protections in matters having noting to do with terrorism or national security, the national ID/mandatory E-Verify database will not only be used to prevent illegal immigrants from gaining employment. Instead, it will eventually be used as another tool to monitor and control the American people.
Click on their website www.artsunlight.com for more information.
“The problems relating to illegal debit card transactions happened because we are inter-linked, and the two-factor authentication and the other security measures did not exist in overseas market where these cards were cloned and used,” said G. Padmanabhan, Executive Director, RBI, at an event organised to announce a tie-up between Western Union Money Transfer and Kotak Mahindra Bank.
According to him, “Technology has enabled an inter-linked world and payment infrastructure. While this is welcome…please also remember that you are as good as the weakest link.”Urging Kotak and Western Union to put systems in place to address these concerns, Padmanabhan said some violations have started happening particularly in the area of money transfer.
Recently, some customers of private sector Axis Bank had complained of cash getting withdrawn from their accounts from overseas locations.In its investigation, the law enforcement agencies found out that fraudsters had fixed skimming devices on some ATMs so that information on the cards can be skimmed and cloned. The information was loaded on to a cloned card to make fraudulent withdrawals in Greece.
He said while the RBI is taking many new preventive measures, the system is looking for a first mover to answer “is moving to EMV chip and pin is the only solution to fraud in card transactions or are there better solutions?”Giving other suggestions, Padmanabhan said if card as a payments instrument can be replaced by mobile-based options, then cloning may not be possible. He also asked banks to aggressively explore the NEFT technology.
In the immigration bill there is a “Trojan Horse” clause known as the mandatory E-Verify system which requires all Americans to carry a “tamper-proof” social security card. Sounds to me much like we are heading into the RFID debate debate soon.
So before you can legally begin your new job, American citizens will have to show “their papers” to their prospective employer, who will have to verify their identity and eligibility to hold a job in the US by running the information through the newly-created federal E-Verify database. This does not sound so awful as we already have to provide proof of oil painting reproduction! But wait there is more!
The database which will contain photographs taken from passport files and state driver’s licenses will most likely be . The law gives federal bureaucrats broad discretion in adding other “biometric” identifiers to the database. It also gives the bureaucracy broad authority to determine what features the “tamper proof” card should contain.
One of the uses will be chip in this card that will undoubtedly also keep track of when you punch in to work and when you leave and where/when you apply for jobs. Someone could easily use this information to rob your house or know your trends. Its a complete violation of privacy. The thing is if you create a system for one use that sounds good it can easily be used for other uses that are not so good. Just look at the Patriot Act and NDAA.
Just think what has our government done write in the last 30 years? What one bill are you proud of? With a 9% approval rating what does that qualify the government to be in charge of? Why would we let the government decide who and where you work.
“Regardless of one’s views on immigration, the idea that we should have to ask permission from the federal government before taking a job ought to be offensive to all Americans. Under this system, many Americans will be denied the opportunity for work. The E-Verify database will falsely identify thousands as “ineligible,” forcing many to lose job opportunities while challenging government computer inaccuracies. E-Verify will also impose additional compliance costs on American businesses, at a time when they are struggling with Obamacare implementation and other regulations.
According to David Bier of Competitive Enterprise Institute, there is nothing stopping the use of E-Verify for purposes unrelated to work verification, and these expanded uses could be authorized by agency rule-making or executive order. So it is not inconceivable that, should this bill pass, the day may come when you are not be able to board an airplane or exercise your second amendment rights without being run through the E-Verify database. It is not outside the realm of possibility that the personal health care information that will soon be collected by the IRS and shared with other federal agencies as part of Obamacare will also be linked to the E-Verify system.
Those who dismiss these concerns as paranoid should consider that the same charges were leveled at those who warned that the PATRIOT Act could lead to the government collecting our phone records and spying on our Internet usage. Just as the PATRIOT Act was only supposed to be used against terrorists but is now used to bypass constitutional protections in matters having noting to do with terrorism or national security, the national ID/mandatory E-Verify database will not only be used to prevent illegal immigrants from gaining employment. Instead, it will eventually be used as another tool to monitor and control the American people.
Click on their website www.artsunlight.com for more information.
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