My Goal Is To Be That Old Person That Everyone Is Afraid To Take Out In Public Funny T Shirt
If you love this shirt, please click on the link to buy it now: Buy Fishing legends were born in 1965 shirt now This product printed in US America quickly delivery and easy tracking your shipment With multi styles Unisex T-shirt Premium T-Shirt Tank Top Hoodie Sweatshirt Womens T-shirt Long Sleeve near me. AliensDesignTshirt Kansas City Chiefs And Kansas City Royals Heart T-shirt Premium Customize Digital Printing design also available multi colors black white blue orange redgrey silver yellow green forest brown multi sizes S M L XL 2XL 3XL 4XL Buy product AliensDesignTshirt Kansas City Chiefs And Kansas City Royals Heart T-shirt You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping This week, Frieze makes its return to New York. Scuttled last year due to the coronavirus pandemic, the five-day event will be the city’s first in-person, single-venue art fair since the Armory Show last spring (and Frieze’s first showing since Frieze L.A. in February 2020).Much about Frieze New York will be familiar to regulars, from the wide-ranging group of participating galleries to the engaging program of discussions, screenings, and other activations planned; but perhaps more still will be slightly modified to suit our current moment. (For one thing, this year’s visitors will not commute to Randall’s Island.)So, what does a major art fair look like in 2021? Below, find everything you need to know about Frieze New York. This year, Frieze New York will take place at The Shed in Manhattan’s Hudson Yards, running from May 5 through 9. As ever, the fair will bring together galleries from all over the world, if on a somewhat smaller scale: There will be approximately 60 exhibitors onsite at The Shed, compared to the 190 that typically turn up to Randall’s Island. (“The Shed was designed for flexibility, both in its architecture and its programming, which made it the best partner for this year,” Rebecca Ann Siegel, Frieze’s director of Americas and content has said.) Its popular “Frame” section, overseen this year by gallerists Olivia Barrett (of Chatêau Shatto in Los Angeles) and Sophie Mörner (of Company Gallery in New York), will also return; spotlighting emerging galleries established fewer than 10 years ago.Frieze Viewing Room, a rich program of virtual “collaborations, special projects and talks,” will run alongside the physical fair for those unable to attend in person.Representational justice will be a focus, with more than 50 galleries and institutions paying tribute to the Vision & Justice Project, an initiative established by Harvard professor Sarah Lewis “to expand visual literacy and explore the connection between race, citizenship, and image making.” Throughout the fair, gallerists will respond to the Vision & Justice Project’s mission—and to the prompt “How are the arts responsible for disrupting, complicating, or shifting narratives of visual representation in the public realm?”—through artworks, digital events, and more.For the Vision & Justice Project tribute, Massimo De Carlo will show Sanford Biggers’s Cipher. It belongs to Biggers’s ongoing Chimeras series, combining “various African and European masks, busts and figures that explore historical depictions of the body and their subsequent myths, narratives, perceptions and power.”Sanford Biggers, Cipher, 2019. Marmo di Kilkenny / Kilkenny marble, 74 × 23 × 20 cm.For those lucky enough to claim their tickets before they all sold out (one can join a waitlist here), COVID-19 safety will be a top priority at The Shed. Entry times are staggered by 15-minutes increments; visitors must submit either a recent negative COVID test or proof that they have been fully vaccinated for at least 14 days; and temperature checks and masks are required, including for children. As the Wall Street Journal reported, the total occupancy of the The Shed will be limited to about 850 through Frieze, including staff. Among the highlights of this year’s presentations: new paintings and sculptures by Dana Schutz, courtesy of David Zwirner; three works by the French artist Daniel Buren, courtesy of Lisson Gallery; important assemblages by Thornton Dial, courtesy of David Lewis; and new commissions from Carrie Mae Weems and Hank Willis Thomas for the Vision & Justice Project tribute. Additionally, “The Looking Glass”—a group show curated by Daniel Birnbaum, artistic director of Acute Art, and Emma Enderby, curator of The Shed—will foreground “augmented reality works” by Precious Okoyomon, Cao Fei, and Kaws. Both onsite and off, Frieze has inspired all kinds of intriguing programming. MatchesFashion.com, for instance, has created a video tour of the fair with curator and writer Antwaun Sargent, a podcast with photographer Catherine Opie, and a Frieze audio guide, among other media; and to coincide with The week’s events, Maison Margiela will debut an 11-monitor video installation of Marco Brambilla’s Nude Descending a Staircase No. 3 at its Crosby Street store. (Happily for anyone who misses Frieze proper, Brambilla’s installation will be on view to the public from May 5 through July 6.) Throughout her journey to motherhood, Jodie Turner-Smith has done things on her own terms. While pregnant, the British actor pushed maternity style into new territory, notoriously celebrating her growing belly in a silky crop top and slip skirt on The Graham Norton Show. “#HereIsThatBumpYou’veBeenAskingFor,” she hashtagged alongside a snap of the look on Instagram. She also opened up about the struggles she faced navigating pregnancy and bracing to welcome her first child with husband Joshua Jackson—during a pandemic no less. “Every stage of my pregnancy brought its own challenges and lessons,” she wrote in an essay for British Vogue’s September 2020 issue, recounting her nearly four-day labor. “Nobody really teaches you about what your body goes through to bring a child into the world until you’re actually doing it.” In chronicling the ups and downs, Turner-Smith has been leading a new era of women celebrating the beauty of their pregnant bodies. The physical manifestation of this spirit? The sculptural belly cast that Turner-Smith had made while she was just over eight months pregnant.You’d be forgiven if you weren’t already familiar with the term. Designed to immortalize the life-changing physical and emotional transformation of pregnancy, belly casts are 3D plaster molds of a mother-to-be’s growing bump or full torso, usually done a couple of weeks to a month before giving birth. The idea to do one was first floated to Turner-Smith by her friend Zeyna Sy, a creative and content producer that has worked with Marley Natural and Outdoor Voices, who was inspired as she witnessed Turner-Smith’s transition into motherhood. “As Jodie’s baby grew, I knew it must have been a very foreign feeling to have someone else govern her physical, emotional, mental, and spiritual evolution and expansion,” explains Sy. “Experiences during pregnancy vary, but one thing I heard a lot of women mention is how much they missed ‘the belly’ once they gave birth. I love the proportions of Jodie’s body and wanted to literally cast this trippy, transformative moment ‘in stone’—to pause it! I asked Jodie if she would be open to me testing the process and casting her belly and she said, ‘Yes, babe.’”Once Sy got the green light, she asked friend, production designer, and visual artist Briana Gonzales to help guide her through the body-casting process. “I wanted the piece we created to look like a fragmented classical sculpture,” explains Sy of her vision, “delicate, but sturdy. Ultimately, I wanted Jodie to marvel at herself in this particular form. I knew it would be a cool, physical memory to have once she gave birth. It was my gift to Jodie, her husband, and her daughter in years to come.”Belly-casting offerings are becoming more widely available by way of artists; specialized small businesses, such as British belly-casting studio Rock the Bump; and people giving birth support services, such as New York holistic birth doula Joyce Havinga-Droop of Birth Ambassador. A mother of three, Havinga-Droop first became acquainted with belly casting when her stepdaughter, who is an artist, proposed helping her make one while she was pregnant 12 years ago. “I loved the idea of eternalizing the magic of the moment,” explains Havinga-Droop. “Plus, it’s a beautiful, intimate ritual that you can do with other loved ones from your inner circle.” At Birth Ambassador, Havinga-Droop offers support for mothers, couples, or bigger groups in creating a belly cast together. The mold can be left in its natural, raw state or sanded down, painted, and embellished. “During the third trimester of pregnancy, it’s important to slow down and get more into a nesting mode,” she says. “Decorating and going all out on the belly is definitely one way of doing that.”An evocative keepsake of pregnancy, belly casts quite literally cement and commemorate a woman’s growing bump as an objet d’art. “A mother will have a memory of the moment that her belly was big and full of life,” says Havinga-Droop. “It slows her down [and allows her] to take a moment and be present for the miracle that’s growing.” Moreover, the act of bringing a belly cast to life is a sacred tribute to motherhood and the power of female community, one that feels especially poignant for all parties after the challenges of the past year and the current emphasis on starting anew. In a new commission from the artist and architect Maya Lin, the wide, flat lawns of Madison Square Park have been transformed into a forest of cedars, tall and stately. It’s an incredibly striking display—a dramatic disruption of the urban landscape that rather forcibly reminds one of what all this once was: dense and sprawling woodland where black bears, beavers, wolves, and other wildlife roamed. Yet these new trees aren’t nearly as numerous or robust as their predecessors; in fact, they’re only barely hanging on to life.Lin’s installation, Ghost Forest, takes its name from a real-world phenomenon in which large stands of trees are left dead or dying by environmental events like insect invasions or saltwater inundation (a problem only exacerbated by rising sea levels). The 49 Atlantic white cedars that appear in the park were culled from New Jersey’s Pine Barrens, where large swaths of coastal woodland have slowly succumbed to the latter; fifty trees had been the plan at the start, but by the time they arrived in New York City, one was deemed by inspectors too dead to be safe.“This is the first project in our program that has taken on the subject of climate change so directly and so fiercely,” says Brooke Kamin Rapaport, the deputy director and Martin Friedman chief curator of the Madison Square Park Conservancy, who has previously brought large-scale works by the likes of Arlene Shechet and Martin Puryear to the six-acre space. “There is intense power in an artist who uses materials directly from nature to create a work that defines a cataclysmic crisis of our time.”Maya Lin, Ghost Forest, 2021. Courtesy of the artist and Madison Square Park Conservancy.If the duration of Ghost Forest is unusual for Lin—only up through November 14, it marks a rare departure from her body of permanent works—its ideas are very much aligned with her long-term priorities, the most urgent among them being to help protect and restore natural habitats. Not only has she often used local, sustainable materials and drawn on local topographies in her commissions (most recently, the Neilson Library at Smith College and The Princeton Line at Princeton), but in 2012 she established the nonprofit What Is Missing?, an interactive, multi-platform initiative that gathers resources and remedies for reversing the earth’s biodiversity crisis.In the Madison Square Park project, she identified not only a major opportunity to cultivate further awareness around those issues, but also a chance to offer actionable solutions through coordinated public programming. From her earliest conversations with Rapaport, Lin wanted to work with trees. “I’m very site-specific,“ she says, “and for me, those trees that frame that oval in Madison Square Park became my frame, and actually became my conversation.” But it did take her a few years to reconcile the scale that she typically works on with the curtailed time frame. “I started thinking of a willow walk, where you could create something that people can walk through, because I also figured we could plant and then repurpose them somewhere else. That was in my head, and this would have been, like, 2017, maybe 2018,” she says. “And then as we started to really look into those trees, I realized that it would take three to five years.” Needless to say, that wasn’t going to work.Lin cycled through several more ideas for the space before she landed on the Ghost Forest concept; it happened when she was at home in southwestern Colorado, looking out the window. “She knew that the trees there were being ravaged by climate change,” Rapaport says, “and she thought, how could she bring a similar vision to New York City, and to the platform of a project in Madison Square Park?”Maya Lin, Ghost Forest preparatory sketch, 2019. Courtesy of the artist and Pace Gallery.Setting aside her monumental, undulating Wavefield at Storm King Art Center in New York; her imposing office space and research facility for the pharmaceutical company Novartis in Cambridge, Massachusetts; and her Queen Anne Square in Newport, Rhode Island, Lin is still perhaps best known for her memorials—that famous tribute to the Vietnam War dead in Washington, D.C.; another to the civil rights movement Montgomery, Alabama. Ghost Forest functions a bit like one itself, powerfully visualizing the environment’s mounting losses. The piece’s awesome spectacle sits right alongside a kind of menace. “Ghost Forest is visually stark, it’s emotionally meditative, but it’s also beautiful and haunting and looming and claustrophobic,” Rapaport says. “The monumentality of those majestic trees really diminishes the viewer.”“When things are this dire, I believe we have to get busy and we have to get very optimistic.”Yet Lin also sees the piece as a site for meaningful and sustained engagement, a place where people can get right up close to those “gentle giants” and really see them and their damage. “In the end, you have to have an immediate connection to the work,” she says of her oeuvre at large. “It tends to be rather intimate and very one-on-one.” In this case, each one of the trees has a personality, and rewards special attention.Maya Lin within Ghost Forest, 2021. Courtesy of the artist and Madison Square Park Conservancy.Throughout the process of sourcing and placing the cedars, Lin and her team have been tracking the size of their carbon footprint, with the goal of eventually offsetting their emissions. They will accomplish that, in part, through a city-wide planting project planned for this fall; Natural Areas Conservancy, Madison Square Park Conservancy, and Lin will lead a volunteer effort to put 1,000 trees and shrubs into the ground across the five boroughs. (Other programs conceived to coincide with the installation include “Ghost Forest Soundscape,” a work compiling the sounds of animals once common in Manhattan, and a public art symposium centered on how public art can address environmental concerns.)“We just want to teach people and give people hope that we could all make a difference,” Lin says. “Our individual consumer choices can make a difference. Helping groups that are out there in the fields can make the difference. When things are this dire, I believe we have to get busy and we have to get very optimistic.” Product detail for this product: Fashion field involves the best minds to carefully craft the design. The t-shirt industry is a very competitive field and involves many risks. The cost per t-shirt varies proportionally to the total quantity of t-shirts. We are manufacturing exceptional-quality t-shirts at a very competitive price. We use only the best DTG printers available to produce the finest-quality images possible that won’t wash out of the shirts. Custom orders are always welcome. We can customize all of our designs to your needs! Please feel free to contact us if you have any questions. We accept all major credit cards (Visa, Mastercard, American Express, Discover), PayPal, or prepayment by Check, Money Order, or Bank Wire. For schools, universities, and government organizations, we accept purchase orders and prepayment by check Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary Vist our store at: Visit Ironmantee now This product belong to hung2 My Goal Is To Be That Old Person That Everyone Is Afraid To Take Out In Public Funny T Shirt If you love this shirt, please click on the link to buy it now: Buy Fishing legends were born in 1965 shirt now This product printed in US America quickly delivery and easy tracking your shipment With multi styles Unisex T-shirt Premium T-Shirt Tank Top Hoodie Sweatshirt Womens T-shirt Long Sleeve near me. AliensDesignTshirt Kansas City Chiefs And Kansas City Royals Heart T-shirt Premium Customize Digital Printing design also available multi colors black white blue orange redgrey silver yellow green forest brown multi sizes S M L XL 2XL 3XL 4XL Buy product AliensDesignTshirt Kansas City Chiefs And Kansas City Royals Heart T-shirt You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping This week, Frieze makes its return to New York. Scuttled last year due to the coronavirus pandemic, the five-day event will be the city’s first in-person, single-venue art fair since the Armory Show last spring (and Frieze’s first showing since Frieze L.A. in February 2020).Much about Frieze New York will be familiar to regulars, from the wide-ranging group of participating galleries to the engaging program of discussions, screenings, and other activations planned; but perhaps more still will be slightly modified to suit our current moment. (For one thing, this year’s visitors will not commute to Randall’s Island.)So, what does a major art fair look like in 2021? Below, find everything you need to know about Frieze New York. This year, Frieze New York will take place at The Shed in Manhattan’s Hudson Yards, running from May 5 through 9. As ever, the fair will bring together galleries from all over the world, if on a somewhat smaller scale: There will be approximately 60 exhibitors onsite at The Shed, compared to the 190 that typically turn up to Randall’s Island. (“The Shed was designed for flexibility, both in its architecture and its programming, which made it the best partner for this year,” Rebecca Ann Siegel, Frieze’s director of Americas and content has said.) Its popular “Frame” section, overseen this year by gallerists Olivia Barrett (of Chatêau Shatto in Los Angeles) and Sophie Mörner (of Company Gallery in New York), will also return; spotlighting emerging galleries established fewer than 10 years ago.Frieze Viewing Room, a rich program of virtual “collaborations, special projects and talks,” will run alongside the physical fair for those unable to attend in person.Representational justice will be a focus, with more than 50 galleries and institutions paying tribute to the Vision & Justice Project, an initiative established by Harvard professor Sarah Lewis “to expand visual literacy and explore the connection between race, citizenship, and image making.” Throughout the fair, gallerists will respond to the Vision & Justice Project’s mission—and to the prompt “How are the arts responsible for disrupting, complicating, or shifting narratives of visual representation in the public realm?”—through artworks, digital events, and more.For the Vision & Justice Project tribute, Massimo De Carlo will show Sanford Biggers’s Cipher. It belongs to Biggers’s ongoing Chimeras series, combining “various African and European masks, busts and figures that explore historical depictions of the body and their subsequent myths, narratives, perceptions and power.”Sanford Biggers, Cipher, 2019. Marmo di Kilkenny / Kilkenny marble, 74 × 23 × 20 cm.For those lucky enough to claim their tickets before they all sold out (one can join a waitlist here), COVID-19 safety will be a top priority at The Shed. Entry times are staggered by 15-minutes increments; visitors must submit either a recent negative COVID test or proof that they have been fully vaccinated for at least 14 days; and temperature checks and masks are required, including for children. As the Wall Street Journal reported, the total occupancy of the The Shed will be limited to about 850 through Frieze, including staff. Among the highlights of this year’s presentations: new paintings and sculptures by Dana Schutz, courtesy of David Zwirner; three works by the French artist Daniel Buren, courtesy of Lisson Gallery; important assemblages by Thornton Dial, courtesy of David Lewis; and new commissions from Carrie Mae Weems and Hank Willis Thomas for the Vision & Justice Project tribute. Additionally, “The Looking Glass”—a group show curated by Daniel Birnbaum, artistic director of Acute Art, and Emma Enderby, curator of The Shed—will foreground “augmented reality works” by Precious Okoyomon, Cao Fei, and Kaws. Both onsite and off, Frieze has inspired all kinds of intriguing programming. MatchesFashion.com, for instance, has created a video tour of the fair with curator and writer Antwaun Sargent, a podcast with photographer Catherine Opie, and a Frieze audio guide, among other media; and to coincide with The week’s events, Maison Margiela will debut an 11-monitor video installation of Marco Brambilla’s Nude Descending a Staircase No. 3 at its Crosby Street store. (Happily for anyone who misses Frieze proper, Brambilla’s installation will be on view to the public from May 5 through July 6.) Throughout her journey to motherhood, Jodie Turner-Smith has done things on her own terms. While pregnant, the British actor pushed maternity style into new territory, notoriously celebrating her growing belly in a silky crop top and slip skirt on The Graham Norton Show. “#HereIsThatBumpYou’veBeenAskingFor,” she hashtagged alongside a snap of the look on Instagram. She also opened up about the struggles she faced navigating pregnancy and bracing to welcome her first child with husband Joshua Jackson—during a pandemic no less. “Every stage of my pregnancy brought its own challenges and lessons,” she wrote in an essay for British Vogue’s September 2020 issue, recounting her nearly four-day labor. “Nobody really teaches you about what your body goes through to bring a child into the world until you’re actually doing it.” In chronicling the ups and downs, Turner-Smith has been leading a new era of women celebrating the beauty of their pregnant bodies. The physical manifestation of this spirit? The sculptural belly cast that Turner-Smith had made while she was just over eight months pregnant.You’d be forgiven if you weren’t already familiar with the term. Designed to immortalize the life-changing physical and emotional transformation of pregnancy, belly casts are 3D plaster molds of a mother-to-be’s growing bump or full torso, usually done a couple of weeks to a month before giving birth. The idea to do one was first floated to Turner-Smith by her friend Zeyna Sy, a creative and content producer that has worked with Marley Natural and Outdoor Voices, who was inspired as she witnessed Turner-Smith’s transition into motherhood. “As Jodie’s baby grew, I knew it must have been a very foreign feeling to have someone else govern her physical, emotional, mental, and spiritual evolution and expansion,” explains Sy. “Experiences during pregnancy vary, but one thing I heard a lot of women mention is how much they missed ‘the belly’ once they gave birth. I love the proportions of Jodie’s body and wanted to literally cast this trippy, transformative moment ‘in stone’—to pause it! I asked Jodie if she would be open to me testing the process and casting her belly and she said, ‘Yes, babe.’”Once Sy got the green light, she asked friend, production designer, and visual artist Briana Gonzales to help guide her through the body-casting process. “I wanted the piece we created to look like a fragmented classical sculpture,” explains Sy of her vision, “delicate, but sturdy. Ultimately, I wanted Jodie to marvel at herself in this particular form. I knew it would be a cool, physical memory to have once she gave birth. It was my gift to Jodie, her husband, and her daughter in years to come.”Belly-casting offerings are becoming more widely available by way of artists; specialized small businesses, such as British belly-casting studio Rock the Bump; and people giving birth support services, such as New York holistic birth doula Joyce Havinga-Droop of Birth Ambassador. A mother of three, Havinga-Droop first became acquainted with belly casting when her stepdaughter, who is an artist, proposed helping her make one while she was pregnant 12 years ago. “I loved the idea of eternalizing the magic of the moment,” explains Havinga-Droop. “Plus, it’s a beautiful, intimate ritual that you can do with other loved ones from your inner circle.” At Birth Ambassador, Havinga-Droop offers support for mothers, couples, or bigger groups in creating a belly cast together. The mold can be left in its natural, raw state or sanded down, painted, and embellished. “During the third trimester of pregnancy, it’s important to slow down and get more into a nesting mode,” she says. “Decorating and going all out on the belly is definitely one way of doing that.”An evocative keepsake of pregnancy, belly casts quite literally cement and commemorate a woman’s growing bump as an objet d’art. “A mother will have a memory of the moment that her belly was big and full of life,” says Havinga-Droop. “It slows her down [and allows her] to take a moment and be present for the miracle that’s growing.” Moreover, the act of bringing a belly cast to life is a sacred tribute to motherhood and the power of female community, one that feels especially poignant for all parties after the challenges of the past year and the current emphasis on starting anew. In a new commission from the artist and architect Maya Lin, the wide, flat lawns of Madison Square Park have been transformed into a forest of cedars, tall and stately. It’s an incredibly striking display—a dramatic disruption of the urban landscape that rather forcibly reminds one of what all this once was: dense and sprawling woodland where black bears, beavers, wolves, and other wildlife roamed. Yet these new trees aren’t nearly as numerous or robust as their predecessors; in fact, they’re only barely hanging on to life.Lin’s installation, Ghost Forest, takes its name from a real-world phenomenon in which large stands of trees are left dead or dying by environmental events like insect invasions or saltwater inundation (a problem only exacerbated by rising sea levels). The 49 Atlantic white cedars that appear in the park were culled from New Jersey’s Pine Barrens, where large swaths of coastal woodland have slowly succumbed to the latter; fifty trees had been the plan at the start, but by the time they arrived in New York City, one was deemed by inspectors too dead to be safe.“This is the first project in our program that has taken on the subject of climate change so directly and so fiercely,” says Brooke Kamin Rapaport, the deputy director and Martin Friedman chief curator of the Madison Square Park Conservancy, who has previously brought large-scale works by the likes of Arlene Shechet and Martin Puryear to the six-acre space. “There is intense power in an artist who uses materials directly from nature to create a work that defines a cataclysmic crisis of our time.”Maya Lin, Ghost Forest, 2021. Courtesy of the artist and Madison Square Park Conservancy.If the duration of Ghost Forest is unusual for Lin—only up through November 14, it marks a rare departure from her body of permanent works—its ideas are very much aligned with her long-term priorities, the most urgent among them being to help protect and restore natural habitats. Not only has she often used local, sustainable materials and drawn on local topographies in her commissions (most recently, the Neilson Library at Smith College and The Princeton Line at Princeton), but in 2012 she established the nonprofit What Is Missing?, an interactive, multi-platform initiative that gathers resources and remedies for reversing the earth’s biodiversity crisis.In the Madison Square Park project, she identified not only a major opportunity to cultivate further awareness around those issues, but also a chance to offer actionable solutions through coordinated public programming. From her earliest conversations with Rapaport, Lin wanted to work with trees. “I’m very site-specific,“ she says, “and for me, those trees that frame that oval in Madison Square Park became my frame, and actually became my conversation.” But it did take her a few years to reconcile the scale that she typically works on with the curtailed time frame. “I started thinking of a willow walk, where you could create something that people can walk through, because I also figured we could plant and then repurpose them somewhere else. That was in my head, and this would have been, like, 2017, maybe 2018,” she says. “And then as we started to really look into those trees, I realized that it would take three to five years.” Needless to say, that wasn’t going to work.Lin cycled through several more ideas for the space before she landed on the Ghost Forest concept; it happened when she was at home in southwestern Colorado, looking out the window. “She knew that the trees there were being ravaged by climate change,” Rapaport says, “and she thought, how could she bring a similar vision to New York City, and to the platform of a project in Madison Square Park?”Maya Lin, Ghost Forest preparatory sketch, 2019. Courtesy of the artist and Pace Gallery.Setting aside her monumental, undulating Wavefield at Storm King Art Center in New York; her imposing office space and research facility for the pharmaceutical company Novartis in Cambridge, Massachusetts; and her Queen Anne Square in Newport, Rhode Island, Lin is still perhaps best known for her memorials—that famous tribute to the Vietnam War dead in Washington, D.C.; another to the civil rights movement Montgomery, Alabama. Ghost Forest functions a bit like one itself, powerfully visualizing the environment’s mounting losses. The piece’s awesome spectacle sits right alongside a kind of menace. “Ghost Forest is visually stark, it’s emotionally meditative, but it’s also beautiful and haunting and looming and claustrophobic,” Rapaport says. “The monumentality of those majestic trees really diminishes the viewer.”“When things are this dire, I believe we have to get busy and we have to get very optimistic.”Yet Lin also sees the piece as a site for meaningful and sustained engagement, a place where people can get right up close to those “gentle giants” and really see them and their damage. “In the end, you have to have an immediate connection to the work,” she says of her oeuvre at large. “It tends to be rather intimate and very one-on-one.” In this case, each one of the trees has a personality, and rewards special attention.Maya Lin within Ghost Forest, 2021. Courtesy of the artist and Madison Square Park Conservancy.Throughout the process of sourcing and placing the cedars, Lin and her team have been tracking the size of their carbon footprint, with the goal of eventually offsetting their emissions. They will accomplish that, in part, through a city-wide planting project planned for this fall; Natural Areas Conservancy, Madison Square Park Conservancy, and Lin will lead a volunteer effort to put 1,000 trees and shrubs into the ground across the five boroughs. (Other programs conceived to coincide with the installation include “Ghost Forest Soundscape,” a work compiling the sounds of animals once common in Manhattan, and a public art symposium centered on how public art can address environmental concerns.)“We just want to teach people and give people hope that we could all make a difference,” Lin says. “Our individual consumer choices can make a difference. Helping groups that are out there in the fields can make the difference. When things are this dire, I believe we have to get busy and we have to get very optimistic.” Product detail for this product: Fashion field involves the best minds to carefully craft the design. The t-shirt industry is a very competitive field and involves many risks. The cost per t-shirt varies proportionally to the total quantity of t-shirts. We are manufacturing exceptional-quality t-shirts at a very competitive price. We use only the best DTG printers available to produce the finest-quality images possible that won’t wash out of the shirts. Custom orders are always welcome. We can customize all of our designs to your needs! Please feel free to contact us if you have any questions. We accept all major credit cards (Visa, Mastercard, American Express, Discover), PayPal, or prepayment by Check, Money Order, or Bank Wire. For schools, universities, and government organizations, we accept purchase orders and prepayment by check Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary Vist our store at: Visit Ironmantee now This product belong to hung2
If you love this shirt, please click on the link to buy it now: Buy Fishing legends were born in 1965 shirt now This product printed in US America quickly delivery and easy tracking your shipment With multi styles Unisex T-shirt Premium T-Shirt Tank Top Hoodie Sweatshirt Womens T-shirt Long Sleeve near me. AliensDesignTshirt Kansas City Chiefs And Kansas City Royals Heart T-shirt Premium Customize Digital Printing design also available multi colors black white blue orange redgrey silver yellow green forest brown multi sizes S M L XL 2XL 3XL 4XL Buy product AliensDesignTshirt Kansas City Chiefs And Kansas City Royals Heart T-shirt You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping This week, Frieze makes its return to New York. Scuttled last year due to the coronavirus pandemic, the five-day event will be the city’s first in-person, single-venue art fair since the Armory Show last spring (and Frieze’s first showing since Frieze L.A. in February 2020).Much about Frieze New York will be familiar to regulars, from the wide-ranging group of participating galleries to the engaging program of discussions, screenings, and other activations planned; but perhaps more still will be slightly modified to suit our current moment. (For one thing, this year’s visitors will not commute to Randall’s Island.)So, what does a major art fair look like in 2021? Below, find everything you need to know about Frieze New York. This year, Frieze New York will take place at The Shed in Manhattan’s Hudson Yards, running from May 5 through 9. As ever, the fair will bring together galleries from all over the world, if on a somewhat smaller scale: There will be approximately 60 exhibitors onsite at The Shed, compared to the 190 that typically turn up to Randall’s Island. (“The Shed was designed for flexibility, both in its architecture and its programming, which made it the best partner for this year,” Rebecca Ann Siegel, Frieze’s director of Americas and content has said.) Its popular “Frame” section, overseen this year by gallerists Olivia Barrett (of Chatêau Shatto in Los Angeles) and Sophie Mörner (of Company Gallery in New York), will also return; spotlighting emerging galleries established fewer than 10 years ago.Frieze Viewing Room, a rich program of virtual “collaborations, special projects and talks,” will run alongside the physical fair for those unable to attend in person.Representational justice will be a focus, with more than 50 galleries and institutions paying tribute to the Vision & Justice Project, an initiative established by Harvard professor Sarah Lewis “to expand visual literacy and explore the connection between race, citizenship, and image making.” Throughout the fair, gallerists will respond to the Vision & Justice Project’s mission—and to the prompt “How are the arts responsible for disrupting, complicating, or shifting narratives of visual representation in the public realm?”—through artworks, digital events, and more.For the Vision & Justice Project tribute, Massimo De Carlo will show Sanford Biggers’s Cipher. It belongs to Biggers’s ongoing Chimeras series, combining “various African and European masks, busts and figures that explore historical depictions of the body and their subsequent myths, narratives, perceptions and power.”Sanford Biggers, Cipher, 2019. Marmo di Kilkenny / Kilkenny marble, 74 × 23 × 20 cm.For those lucky enough to claim their tickets before they all sold out (one can join a waitlist here), COVID-19 safety will be a top priority at The Shed. Entry times are staggered by 15-minutes increments; visitors must submit either a recent negative COVID test or proof that they have been fully vaccinated for at least 14 days; and temperature checks and masks are required, including for children. As the Wall Street Journal reported, the total occupancy of the The Shed will be limited to about 850 through Frieze, including staff. Among the highlights of this year’s presentations: new paintings and sculptures by Dana Schutz, courtesy of David Zwirner; three works by the French artist Daniel Buren, courtesy of Lisson Gallery; important assemblages by Thornton Dial, courtesy of David Lewis; and new commissions from Carrie Mae Weems and Hank Willis Thomas for the Vision & Justice Project tribute. Additionally, “The Looking Glass”—a group show curated by Daniel Birnbaum, artistic director of Acute Art, and Emma Enderby, curator of The Shed—will foreground “augmented reality works” by Precious Okoyomon, Cao Fei, and Kaws. Both onsite and off, Frieze has inspired all kinds of intriguing programming. MatchesFashion.com, for instance, has created a video tour of the fair with curator and writer Antwaun Sargent, a podcast with photographer Catherine Opie, and a Frieze audio guide, among other media; and to coincide with The week’s events, Maison Margiela will debut an 11-monitor video installation of Marco Brambilla’s Nude Descending a Staircase No. 3 at its Crosby Street store. (Happily for anyone who misses Frieze proper, Brambilla’s installation will be on view to the public from May 5 through July 6.) Throughout her journey to motherhood, Jodie Turner-Smith has done things on her own terms. While pregnant, the British actor pushed maternity style into new territory, notoriously celebrating her growing belly in a silky crop top and slip skirt on The Graham Norton Show. “#HereIsThatBumpYou’veBeenAskingFor,” she hashtagged alongside a snap of the look on Instagram. She also opened up about the struggles she faced navigating pregnancy and bracing to welcome her first child with husband Joshua Jackson—during a pandemic no less. “Every stage of my pregnancy brought its own challenges and lessons,” she wrote in an essay for British Vogue’s September 2020 issue, recounting her nearly four-day labor. “Nobody really teaches you about what your body goes through to bring a child into the world until you’re actually doing it.” In chronicling the ups and downs, Turner-Smith has been leading a new era of women celebrating the beauty of their pregnant bodies. The physical manifestation of this spirit? The sculptural belly cast that Turner-Smith had made while she was just over eight months pregnant.You’d be forgiven if you weren’t already familiar with the term. Designed to immortalize the life-changing physical and emotional transformation of pregnancy, belly casts are 3D plaster molds of a mother-to-be’s growing bump or full torso, usually done a couple of weeks to a month before giving birth. The idea to do one was first floated to Turner-Smith by her friend Zeyna Sy, a creative and content producer that has worked with Marley Natural and Outdoor Voices, who was inspired as she witnessed Turner-Smith’s transition into motherhood. “As Jodie’s baby grew, I knew it must have been a very foreign feeling to have someone else govern her physical, emotional, mental, and spiritual evolution and expansion,” explains Sy. “Experiences during pregnancy vary, but one thing I heard a lot of women mention is how much they missed ‘the belly’ once they gave birth. I love the proportions of Jodie’s body and wanted to literally cast this trippy, transformative moment ‘in stone’—to pause it! I asked Jodie if she would be open to me testing the process and casting her belly and she said, ‘Yes, babe.’”Once Sy got the green light, she asked friend, production designer, and visual artist Briana Gonzales to help guide her through the body-casting process. “I wanted the piece we created to look like a fragmented classical sculpture,” explains Sy of her vision, “delicate, but sturdy. Ultimately, I wanted Jodie to marvel at herself in this particular form. I knew it would be a cool, physical memory to have once she gave birth. It was my gift to Jodie, her husband, and her daughter in years to come.”Belly-casting offerings are becoming more widely available by way of artists; specialized small businesses, such as British belly-casting studio Rock the Bump; and people giving birth support services, such as New York holistic birth doula Joyce Havinga-Droop of Birth Ambassador. A mother of three, Havinga-Droop first became acquainted with belly casting when her stepdaughter, who is an artist, proposed helping her make one while she was pregnant 12 years ago. “I loved the idea of eternalizing the magic of the moment,” explains Havinga-Droop. “Plus, it’s a beautiful, intimate ritual that you can do with other loved ones from your inner circle.” At Birth Ambassador, Havinga-Droop offers support for mothers, couples, or bigger groups in creating a belly cast together. The mold can be left in its natural, raw state or sanded down, painted, and embellished. “During the third trimester of pregnancy, it’s important to slow down and get more into a nesting mode,” she says. “Decorating and going all out on the belly is definitely one way of doing that.”An evocative keepsake of pregnancy, belly casts quite literally cement and commemorate a woman’s growing bump as an objet d’art. “A mother will have a memory of the moment that her belly was big and full of life,” says Havinga-Droop. “It slows her down [and allows her] to take a moment and be present for the miracle that’s growing.” Moreover, the act of bringing a belly cast to life is a sacred tribute to motherhood and the power of female community, one that feels especially poignant for all parties after the challenges of the past year and the current emphasis on starting anew. In a new commission from the artist and architect Maya Lin, the wide, flat lawns of Madison Square Park have been transformed into a forest of cedars, tall and stately. It’s an incredibly striking display—a dramatic disruption of the urban landscape that rather forcibly reminds one of what all this once was: dense and sprawling woodland where black bears, beavers, wolves, and other wildlife roamed. Yet these new trees aren’t nearly as numerous or robust as their predecessors; in fact, they’re only barely hanging on to life.Lin’s installation, Ghost Forest, takes its name from a real-world phenomenon in which large stands of trees are left dead or dying by environmental events like insect invasions or saltwater inundation (a problem only exacerbated by rising sea levels). The 49 Atlantic white cedars that appear in the park were culled from New Jersey’s Pine Barrens, where large swaths of coastal woodland have slowly succumbed to the latter; fifty trees had been the plan at the start, but by the time they arrived in New York City, one was deemed by inspectors too dead to be safe.“This is the first project in our program that has taken on the subject of climate change so directly and so fiercely,” says Brooke Kamin Rapaport, the deputy director and Martin Friedman chief curator of the Madison Square Park Conservancy, who has previously brought large-scale works by the likes of Arlene Shechet and Martin Puryear to the six-acre space. “There is intense power in an artist who uses materials directly from nature to create a work that defines a cataclysmic crisis of our time.”Maya Lin, Ghost Forest, 2021. Courtesy of the artist and Madison Square Park Conservancy.If the duration of Ghost Forest is unusual for Lin—only up through November 14, it marks a rare departure from her body of permanent works—its ideas are very much aligned with her long-term priorities, the most urgent among them being to help protect and restore natural habitats. Not only has she often used local, sustainable materials and drawn on local topographies in her commissions (most recently, the Neilson Library at Smith College and The Princeton Line at Princeton), but in 2012 she established the nonprofit What Is Missing?, an interactive, multi-platform initiative that gathers resources and remedies for reversing the earth’s biodiversity crisis.In the Madison Square Park project, she identified not only a major opportunity to cultivate further awareness around those issues, but also a chance to offer actionable solutions through coordinated public programming. From her earliest conversations with Rapaport, Lin wanted to work with trees. “I’m very site-specific,“ she says, “and for me, those trees that frame that oval in Madison Square Park became my frame, and actually became my conversation.” But it did take her a few years to reconcile the scale that she typically works on with the curtailed time frame. “I started thinking of a willow walk, where you could create something that people can walk through, because I also figured we could plant and then repurpose them somewhere else. That was in my head, and this would have been, like, 2017, maybe 2018,” she says. “And then as we started to really look into those trees, I realized that it would take three to five years.” Needless to say, that wasn’t going to work.Lin cycled through several more ideas for the space before she landed on the Ghost Forest concept; it happened when she was at home in southwestern Colorado, looking out the window. “She knew that the trees there were being ravaged by climate change,” Rapaport says, “and she thought, how could she bring a similar vision to New York City, and to the platform of a project in Madison Square Park?”Maya Lin, Ghost Forest preparatory sketch, 2019. Courtesy of the artist and Pace Gallery.Setting aside her monumental, undulating Wavefield at Storm King Art Center in New York; her imposing office space and research facility for the pharmaceutical company Novartis in Cambridge, Massachusetts; and her Queen Anne Square in Newport, Rhode Island, Lin is still perhaps best known for her memorials—that famous tribute to the Vietnam War dead in Washington, D.C.; another to the civil rights movement Montgomery, Alabama. Ghost Forest functions a bit like one itself, powerfully visualizing the environment’s mounting losses. The piece’s awesome spectacle sits right alongside a kind of menace. “Ghost Forest is visually stark, it’s emotionally meditative, but it’s also beautiful and haunting and looming and claustrophobic,” Rapaport says. “The monumentality of those majestic trees really diminishes the viewer.”“When things are this dire, I believe we have to get busy and we have to get very optimistic.”Yet Lin also sees the piece as a site for meaningful and sustained engagement, a place where people can get right up close to those “gentle giants” and really see them and their damage. “In the end, you have to have an immediate connection to the work,” she says of her oeuvre at large. “It tends to be rather intimate and very one-on-one.” In this case, each one of the trees has a personality, and rewards special attention.Maya Lin within Ghost Forest, 2021. Courtesy of the artist and Madison Square Park Conservancy.Throughout the process of sourcing and placing the cedars, Lin and her team have been tracking the size of their carbon footprint, with the goal of eventually offsetting their emissions. They will accomplish that, in part, through a city-wide planting project planned for this fall; Natural Areas Conservancy, Madison Square Park Conservancy, and Lin will lead a volunteer effort to put 1,000 trees and shrubs into the ground across the five boroughs. (Other programs conceived to coincide with the installation include “Ghost Forest Soundscape,” a work compiling the sounds of animals once common in Manhattan, and a public art symposium centered on how public art can address environmental concerns.)“We just want to teach people and give people hope that we could all make a difference,” Lin says. “Our individual consumer choices can make a difference. Helping groups that are out there in the fields can make the difference. When things are this dire, I believe we have to get busy and we have to get very optimistic.” Product detail for this product: Fashion field involves the best minds to carefully craft the design. The t-shirt industry is a very competitive field and involves many risks. The cost per t-shirt varies proportionally to the total quantity of t-shirts. We are manufacturing exceptional-quality t-shirts at a very competitive price. We use only the best DTG printers available to produce the finest-quality images possible that won’t wash out of the shirts. Custom orders are always welcome. We can customize all of our designs to your needs! Please feel free to contact us if you have any questions. We accept all major credit cards (Visa, Mastercard, American Express, Discover), PayPal, or prepayment by Check, Money Order, or Bank Wire. For schools, universities, and government organizations, we accept purchase orders and prepayment by check Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary Vist our store at: Visit Ironmantee now This product belong to hung2 My Goal Is To Be That Old Person That Everyone Is Afraid To Take Out In Public Funny T Shirt If you love this shirt, please click on the link to buy it now: Buy Fishing legends were born in 1965 shirt now This product printed in US America quickly delivery and easy tracking your shipment With multi styles Unisex T-shirt Premium T-Shirt Tank Top Hoodie Sweatshirt Womens T-shirt Long Sleeve near me. AliensDesignTshirt Kansas City Chiefs And Kansas City Royals Heart T-shirt Premium Customize Digital Printing design also available multi colors black white blue orange redgrey silver yellow green forest brown multi sizes S M L XL 2XL 3XL 4XL Buy product AliensDesignTshirt Kansas City Chiefs And Kansas City Royals Heart T-shirt You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping This week, Frieze makes its return to New York. Scuttled last year due to the coronavirus pandemic, the five-day event will be the city’s first in-person, single-venue art fair since the Armory Show last spring (and Frieze’s first showing since Frieze L.A. in February 2020).Much about Frieze New York will be familiar to regulars, from the wide-ranging group of participating galleries to the engaging program of discussions, screenings, and other activations planned; but perhaps more still will be slightly modified to suit our current moment. (For one thing, this year’s visitors will not commute to Randall’s Island.)So, what does a major art fair look like in 2021? Below, find everything you need to know about Frieze New York. This year, Frieze New York will take place at The Shed in Manhattan’s Hudson Yards, running from May 5 through 9. As ever, the fair will bring together galleries from all over the world, if on a somewhat smaller scale: There will be approximately 60 exhibitors onsite at The Shed, compared to the 190 that typically turn up to Randall’s Island. (“The Shed was designed for flexibility, both in its architecture and its programming, which made it the best partner for this year,” Rebecca Ann Siegel, Frieze’s director of Americas and content has said.) Its popular “Frame” section, overseen this year by gallerists Olivia Barrett (of Chatêau Shatto in Los Angeles) and Sophie Mörner (of Company Gallery in New York), will also return; spotlighting emerging galleries established fewer than 10 years ago.Frieze Viewing Room, a rich program of virtual “collaborations, special projects and talks,” will run alongside the physical fair for those unable to attend in person.Representational justice will be a focus, with more than 50 galleries and institutions paying tribute to the Vision & Justice Project, an initiative established by Harvard professor Sarah Lewis “to expand visual literacy and explore the connection between race, citizenship, and image making.” Throughout the fair, gallerists will respond to the Vision & Justice Project’s mission—and to the prompt “How are the arts responsible for disrupting, complicating, or shifting narratives of visual representation in the public realm?”—through artworks, digital events, and more.For the Vision & Justice Project tribute, Massimo De Carlo will show Sanford Biggers’s Cipher. It belongs to Biggers’s ongoing Chimeras series, combining “various African and European masks, busts and figures that explore historical depictions of the body and their subsequent myths, narratives, perceptions and power.”Sanford Biggers, Cipher, 2019. Marmo di Kilkenny / Kilkenny marble, 74 × 23 × 20 cm.For those lucky enough to claim their tickets before they all sold out (one can join a waitlist here), COVID-19 safety will be a top priority at The Shed. Entry times are staggered by 15-minutes increments; visitors must submit either a recent negative COVID test or proof that they have been fully vaccinated for at least 14 days; and temperature checks and masks are required, including for children. As the Wall Street Journal reported, the total occupancy of the The Shed will be limited to about 850 through Frieze, including staff. Among the highlights of this year’s presentations: new paintings and sculptures by Dana Schutz, courtesy of David Zwirner; three works by the French artist Daniel Buren, courtesy of Lisson Gallery; important assemblages by Thornton Dial, courtesy of David Lewis; and new commissions from Carrie Mae Weems and Hank Willis Thomas for the Vision & Justice Project tribute. Additionally, “The Looking Glass”—a group show curated by Daniel Birnbaum, artistic director of Acute Art, and Emma Enderby, curator of The Shed—will foreground “augmented reality works” by Precious Okoyomon, Cao Fei, and Kaws. Both onsite and off, Frieze has inspired all kinds of intriguing programming. MatchesFashion.com, for instance, has created a video tour of the fair with curator and writer Antwaun Sargent, a podcast with photographer Catherine Opie, and a Frieze audio guide, among other media; and to coincide with The week’s events, Maison Margiela will debut an 11-monitor video installation of Marco Brambilla’s Nude Descending a Staircase No. 3 at its Crosby Street store. (Happily for anyone who misses Frieze proper, Brambilla’s installation will be on view to the public from May 5 through July 6.) Throughout her journey to motherhood, Jodie Turner-Smith has done things on her own terms. While pregnant, the British actor pushed maternity style into new territory, notoriously celebrating her growing belly in a silky crop top and slip skirt on The Graham Norton Show. “#HereIsThatBumpYou’veBeenAskingFor,” she hashtagged alongside a snap of the look on Instagram. She also opened up about the struggles she faced navigating pregnancy and bracing to welcome her first child with husband Joshua Jackson—during a pandemic no less. “Every stage of my pregnancy brought its own challenges and lessons,” she wrote in an essay for British Vogue’s September 2020 issue, recounting her nearly four-day labor. “Nobody really teaches you about what your body goes through to bring a child into the world until you’re actually doing it.” In chronicling the ups and downs, Turner-Smith has been leading a new era of women celebrating the beauty of their pregnant bodies. The physical manifestation of this spirit? The sculptural belly cast that Turner-Smith had made while she was just over eight months pregnant.You’d be forgiven if you weren’t already familiar with the term. Designed to immortalize the life-changing physical and emotional transformation of pregnancy, belly casts are 3D plaster molds of a mother-to-be’s growing bump or full torso, usually done a couple of weeks to a month before giving birth. The idea to do one was first floated to Turner-Smith by her friend Zeyna Sy, a creative and content producer that has worked with Marley Natural and Outdoor Voices, who was inspired as she witnessed Turner-Smith’s transition into motherhood. “As Jodie’s baby grew, I knew it must have been a very foreign feeling to have someone else govern her physical, emotional, mental, and spiritual evolution and expansion,” explains Sy. “Experiences during pregnancy vary, but one thing I heard a lot of women mention is how much they missed ‘the belly’ once they gave birth. I love the proportions of Jodie’s body and wanted to literally cast this trippy, transformative moment ‘in stone’—to pause it! I asked Jodie if she would be open to me testing the process and casting her belly and she said, ‘Yes, babe.’”Once Sy got the green light, she asked friend, production designer, and visual artist Briana Gonzales to help guide her through the body-casting process. “I wanted the piece we created to look like a fragmented classical sculpture,” explains Sy of her vision, “delicate, but sturdy. Ultimately, I wanted Jodie to marvel at herself in this particular form. I knew it would be a cool, physical memory to have once she gave birth. It was my gift to Jodie, her husband, and her daughter in years to come.”Belly-casting offerings are becoming more widely available by way of artists; specialized small businesses, such as British belly-casting studio Rock the Bump; and people giving birth support services, such as New York holistic birth doula Joyce Havinga-Droop of Birth Ambassador. A mother of three, Havinga-Droop first became acquainted with belly casting when her stepdaughter, who is an artist, proposed helping her make one while she was pregnant 12 years ago. “I loved the idea of eternalizing the magic of the moment,” explains Havinga-Droop. “Plus, it’s a beautiful, intimate ritual that you can do with other loved ones from your inner circle.” At Birth Ambassador, Havinga-Droop offers support for mothers, couples, or bigger groups in creating a belly cast together. The mold can be left in its natural, raw state or sanded down, painted, and embellished. “During the third trimester of pregnancy, it’s important to slow down and get more into a nesting mode,” she says. “Decorating and going all out on the belly is definitely one way of doing that.”An evocative keepsake of pregnancy, belly casts quite literally cement and commemorate a woman’s growing bump as an objet d’art. “A mother will have a memory of the moment that her belly was big and full of life,” says Havinga-Droop. “It slows her down [and allows her] to take a moment and be present for the miracle that’s growing.” Moreover, the act of bringing a belly cast to life is a sacred tribute to motherhood and the power of female community, one that feels especially poignant for all parties after the challenges of the past year and the current emphasis on starting anew. In a new commission from the artist and architect Maya Lin, the wide, flat lawns of Madison Square Park have been transformed into a forest of cedars, tall and stately. It’s an incredibly striking display—a dramatic disruption of the urban landscape that rather forcibly reminds one of what all this once was: dense and sprawling woodland where black bears, beavers, wolves, and other wildlife roamed. Yet these new trees aren’t nearly as numerous or robust as their predecessors; in fact, they’re only barely hanging on to life.Lin’s installation, Ghost Forest, takes its name from a real-world phenomenon in which large stands of trees are left dead or dying by environmental events like insect invasions or saltwater inundation (a problem only exacerbated by rising sea levels). The 49 Atlantic white cedars that appear in the park were culled from New Jersey’s Pine Barrens, where large swaths of coastal woodland have slowly succumbed to the latter; fifty trees had been the plan at the start, but by the time they arrived in New York City, one was deemed by inspectors too dead to be safe.“This is the first project in our program that has taken on the subject of climate change so directly and so fiercely,” says Brooke Kamin Rapaport, the deputy director and Martin Friedman chief curator of the Madison Square Park Conservancy, who has previously brought large-scale works by the likes of Arlene Shechet and Martin Puryear to the six-acre space. “There is intense power in an artist who uses materials directly from nature to create a work that defines a cataclysmic crisis of our time.”Maya Lin, Ghost Forest, 2021. Courtesy of the artist and Madison Square Park Conservancy.If the duration of Ghost Forest is unusual for Lin—only up through November 14, it marks a rare departure from her body of permanent works—its ideas are very much aligned with her long-term priorities, the most urgent among them being to help protect and restore natural habitats. Not only has she often used local, sustainable materials and drawn on local topographies in her commissions (most recently, the Neilson Library at Smith College and The Princeton Line at Princeton), but in 2012 she established the nonprofit What Is Missing?, an interactive, multi-platform initiative that gathers resources and remedies for reversing the earth’s biodiversity crisis.In the Madison Square Park project, she identified not only a major opportunity to cultivate further awareness around those issues, but also a chance to offer actionable solutions through coordinated public programming. From her earliest conversations with Rapaport, Lin wanted to work with trees. “I’m very site-specific,“ she says, “and for me, those trees that frame that oval in Madison Square Park became my frame, and actually became my conversation.” But it did take her a few years to reconcile the scale that she typically works on with the curtailed time frame. “I started thinking of a willow walk, where you could create something that people can walk through, because I also figured we could plant and then repurpose them somewhere else. That was in my head, and this would have been, like, 2017, maybe 2018,” she says. “And then as we started to really look into those trees, I realized that it would take three to five years.” Needless to say, that wasn’t going to work.Lin cycled through several more ideas for the space before she landed on the Ghost Forest concept; it happened when she was at home in southwestern Colorado, looking out the window. “She knew that the trees there were being ravaged by climate change,” Rapaport says, “and she thought, how could she bring a similar vision to New York City, and to the platform of a project in Madison Square Park?”Maya Lin, Ghost Forest preparatory sketch, 2019. Courtesy of the artist and Pace Gallery.Setting aside her monumental, undulating Wavefield at Storm King Art Center in New York; her imposing office space and research facility for the pharmaceutical company Novartis in Cambridge, Massachusetts; and her Queen Anne Square in Newport, Rhode Island, Lin is still perhaps best known for her memorials—that famous tribute to the Vietnam War dead in Washington, D.C.; another to the civil rights movement Montgomery, Alabama. Ghost Forest functions a bit like one itself, powerfully visualizing the environment’s mounting losses. The piece’s awesome spectacle sits right alongside a kind of menace. “Ghost Forest is visually stark, it’s emotionally meditative, but it’s also beautiful and haunting and looming and claustrophobic,” Rapaport says. “The monumentality of those majestic trees really diminishes the viewer.”“When things are this dire, I believe we have to get busy and we have to get very optimistic.”Yet Lin also sees the piece as a site for meaningful and sustained engagement, a place where people can get right up close to those “gentle giants” and really see them and their damage. “In the end, you have to have an immediate connection to the work,” she says of her oeuvre at large. “It tends to be rather intimate and very one-on-one.” In this case, each one of the trees has a personality, and rewards special attention.Maya Lin within Ghost Forest, 2021. Courtesy of the artist and Madison Square Park Conservancy.Throughout the process of sourcing and placing the cedars, Lin and her team have been tracking the size of their carbon footprint, with the goal of eventually offsetting their emissions. They will accomplish that, in part, through a city-wide planting project planned for this fall; Natural Areas Conservancy, Madison Square Park Conservancy, and Lin will lead a volunteer effort to put 1,000 trees and shrubs into the ground across the five boroughs. (Other programs conceived to coincide with the installation include “Ghost Forest Soundscape,” a work compiling the sounds of animals once common in Manhattan, and a public art symposium centered on how public art can address environmental concerns.)“We just want to teach people and give people hope that we could all make a difference,” Lin says. “Our individual consumer choices can make a difference. Helping groups that are out there in the fields can make the difference. When things are this dire, I believe we have to get busy and we have to get very optimistic.” Product detail for this product: Fashion field involves the best minds to carefully craft the design. The t-shirt industry is a very competitive field and involves many risks. The cost per t-shirt varies proportionally to the total quantity of t-shirts. We are manufacturing exceptional-quality t-shirts at a very competitive price. We use only the best DTG printers available to produce the finest-quality images possible that won’t wash out of the shirts. Custom orders are always welcome. We can customize all of our designs to your needs! Please feel free to contact us if you have any questions. We accept all major credit cards (Visa, Mastercard, American Express, Discover), PayPal, or prepayment by Check, Money Order, or Bank Wire. For schools, universities, and government organizations, we accept purchase orders and prepayment by check Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary Vist our store at: Visit Ironmantee now This product belong to hung2
Order here: https://teesam.info/my-goal-is-to-be-that-old-person-that-everyone-is-afraid-to-take-out-in-public-funny-t-shirt/
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