Depp’s Hollywood Vampires band confirm 2023 tour dates
Rock band Hollywood Vampires, of which actor Johnny Depp is a member, have announced five dates in Germany and one in Luxembourg during the summer of 2023.
The band posted the details on its social networks to inform fans that the Hollwyood Vampires “are back” on stage after canceling a tour in March due to the pandemic.
This time, they will visit the German cities of Oberhausen (June 20), Munich (June 24), Hamburg (June 27), Berlin (June 28) and Mainz (June 30). In addition, they will play a one-off concert in Luxembourg on June 21, 2023.
Hollywood Vampires have also asked their fans to “stay tuned” for further dates in other cities outside Germany.
The Hollywood Vampires band was formed in 2015 by Alice Cooper, vocalist and guitarist; Joe Perry, guitarist; and Johnny Depp himself, in charge of keyboard, guitar and backing vocals.
She added that the creators of all 16 murals ranged from art school graduates to accomplished artists and “Chester household names like Julie Colclough, who owns a gallery on Watergate Street, and Nikki Pinder, who hid art around the city during Covid lockdowns to brighten people’s days”.
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Duchess Kate does it all. On top of all of her royal duties, she’s a mother of three — and she always manages to wow Us with her beauty. Most impressive is that she’s known for doing her own makeup too, even on the day she married Prince William! This means she has a curated selection of products she specifically adores, rather than simply wearing whatever a makeup artist chooses for her.
While the Duchess of Cambridge hasn’t yet revealed all of the contents of her beauty stash to the world, we’re always keeping an eye and ear out for reports of products she personally prefers. It’s how this Lancôme mascara ended up in our shopping cart!
Get the Lancôme Hypnose Mascara (originally $24) for just $23 at Amazon! Please note, prices are accurate at the date of publication, June 20, 2022, but are subject to change.
It’s been reported that this Lancôme favorite is a go-to for Duchess Kate, especially for a smokey eye look. It’s totally customizable though. Wear one coat for a natural look on a casual day, or layer on as many coats as you’d like for some full-on drama. The wet, creamy formula makes layering easy — just saying no to clumping and flaking!
This mascara is designed to lift lashes as well as volumize them. Lancôme even claims that it can provide a volume boost of up to 600%! The brush is designed to target and separate lashes from root to tip too, so no lash gets left behind. They all deserve to have their moment, and every lash getting the same volumizing treatment means your eyes will truly mesmerize!
Get the Lancôme Hypnose Mascara (originally $24) for just $23 at Amazon! Please note, prices are accurate at the date of publication, June 20, 2022, but are subject to change.
Another reason we love this mascara is that the formula is actually vitamin-enriched to help keep lashes healthy and soft, rather than rock-hard and brittle. Dramatic makeup can sometimes lead to negative long-term effects, but there’s a reason this one is royalty-approved!
We know from personal experience that the hunt for a perfect mascara can be a long and discouraging one. But with a reliable brand like Lancôme and the alleged approval of Duchess Kate, we’d say this might finally be the treasure you’ve been searching for!
Get the Lancôme Hypnose Mascara (originally $24) for just $23 at Amazon! Please note, prices are accurate at the date of publication, June 20, 2022, but are subject to change.
Looking for something else? Shop more mascara here and don’t forget to check out all of Amazon’s Daily Deals for more great finds!
This post is brought to you by Us Weekly’s Shop With Us team. The Shop With Us team aims to highlight products and services our readers might find interesting and useful, such as face masks, self tanners, Lululemon-style leggings and all the best gifts for everyone in your life. Product and service selection, however, is in no way intended to constitute an endorsement by either Us Weekly or of any celebrity mentioned in the post.
The Shop With Us team may receive products free of charge from manufacturers to test. In addition, Us Weekly receives compensation from the manufacturer of the products we write about when you click on a link and then purchase the product featured in an article. This does not drive our decision as to whether or not a product or service is featured or recommended. Shop With Us operates independently from advertising sales team. We welcome your feedback at ShopWithUs@usmagazine.com. Happy shopping!
Rage Against the Machine will donate nearly half a million dollars to reproductive rights organizations in Wisconsin and Illinois, as the band announced on social media last night (June 24). “We are disgusted by the repeal of Roe V. Wade and the devastating impact it will have on tens of millions of people,” the group wrote in an Instagram post. “Over half of the country (26 states) is likely to ban or seriously restrict abortion very soon, if not immediately, which will have a disproportionate impact on poor, working class and undocumented BIPOC communities.”
Rage Against the Machine revealed that their fans have raised $475,000 from the sale of charity tickets for their concerts at Alpine Valley Music Theatre in Elkhorn, Wisconsin and United Center in Chicago, Illinois. They will donate the total sum to reproductive rights organizations in those states. “Like the many women who have organized sophisticated railroads of resistance to challenge these attacks on our collective reproductive freedom, we must continue to resist,” the band added in their statement. Find that in full below.
Rage Against the Machine are among many artists who have spoken out following the Supreme Court’s decision to overturnRoe v. Wade yesterday. Billie Eilish and Phoebe Bridgers both addressed the topic during their sets at Glastonbury, while several others including Taylor Swift, Cher, and Charli XCX have addressed the subject on social media.
Last night, Lizzo pledged to donate $500,000 of proceed from her upcoming Special tour to Planned Parenthood and abortion rights organizations. Live Nation will match her donation, making the total sum $1 million.
Earlier this year, Rage Against the Machine issued a statement on social media supporting abortion rights, following a leaked draft from the Supreme Court privately voting to overturn Roe v. Wade.
Athens, Greece – Beirut-based sound artist Lawrence Abu Hamdan has become known as the “Private Ear”, as his research-based, investigatory work has been used to investigate killings and expose other human rights abuses.
Sonic Detective, a retrospective of two key audio-visual works by the 37-year-old Jordanian-born artist, is now on show at the newly-revamped National Museum of Contemporary Art (EMST) in Athens – which reopened its doors on June 16 with a packed exhibition programme after a long delay due to the coronavirus pandemic.
By using sound as a tool to bridge art and politics – through techniques such as sound analysis, interactive sound maps, and oral testimonies – Abu Hamdan hopes to reach a wider audience and stimulate conversations on underreported topics in the Middle East and North Africa (MENA) region.
“[These projects] begin with that desire to take the political engagement a step further,” Abu Hamdan told Al Jazeera.
He said art provides the flexibility to cover political issues in a broader and more experimental way that is not tied to the strictures of journalistic news cycles and modes of storytelling.
“The power of art is that artists usually are the people who observe things about the world that are taken for granted, and I think there’s something politically meaningful about that,” he said.
‘Story about silence and suppression’
Raised between Jordan and the United Kingdom, Abu Hamdan’s background in making music led to a broader interest in sound and how an audience reacts and connects to it.
He went on to study sound art and developed his trademark research-based approach. In 2017, he completed a PhD at Goldsmiths College University of London that saw him work with the research group Forensic Architecture on a project that examined the use of voice analysis in the legal system.
EMST’s retrospectives feature Abu Hamdan’s works Rubber Coated Steel (2016) and Walled Unwalled (2018) – which were part of the project that won him the 2019 Turner Prize, the UK’s most prestigious art award.
Set in a firing range, the 22-minute film Rubber Coated Steel tells a fictional story of a real Israeli military tribunal about killings in 2014, when unarmed Palestinian teenagers Nadeem Nawara and Mohammad Abu Daher were shot dead by Israeli forces.
The film came out of a report that Abu Hamdan worked on with Forensic Architecture that used acoustic analyses to produce visualisations of sound frequencies that proved the Israeli forces had fired live rounds, and not rubber bullets as they had claimed.
An Israeli soldier, Ben Deri, was subsequently sentenced to nine months in prison for negligent manslaughter, a term that the Supreme Court later doubled after the prosecution agreed to a plea deal – despite overwhelming evidence suggesting that he had intentionally killed Nawara.
The film is eerily quiet, only punctuated by the clanking of targets moving around the firing range, showing subtitles based on a transcript from the case made public by the human rights organisation Defence for Children Internationaland the images of spectrograms that depict the sounds of projectiles such as rubber bullets and live ammunition.
“The film is a kind of reflection on all that I went through during the investigation,” Abu Hamdan said. “I’m using the story and a series of cinematic strategies to tell a story about silence and suppression – both the suppression of voices and the suppression of bullets – about the role that it plays in determining who has the right to speak, which voices are legitimate and which are not”.
He said the actual sounds of the gunshots do not appear in the film, as a form of silent protest and comment on the suppression of Palestinian voices, especially in the judicial system.
“The youth who are protesting regularly can tell very quickly the sound of different kinds of ammunition, based on experience – those are the real sound experts and yet they’re not invited to the table as witnesses,” he said.
Meanwhile, the video installation Walled Unwalled – created as part of an advocacy campaign for Amnesty International and including monologues, images, and different sounds – features interviews conducted by Abu Hamdan with three former detainees of the Syrian military prison Saydnaya.
Narrated by Abu Hamdan and recorded at Funkhaus, a Cold War-era recording studio in former East Berlin, the video also includes sounds used as evidence in famous court cases, such as the trial of Oscar Pistorius for the murder of Reeva Steenkamp.
“I was part of a team of investigators hired by Amnesty, which exposed the incidents at the prison,” Abu Hamdan said. “I was the one focusing on sound because the people I was interviewing had been blindfolded when the guards came in and almost never left their cells. They didn’t see anything, but they heard a lot of things.”
Detainees recalled hearing and feeling the sound of beatings reverberating through the walls, even though the abuse took place two floors up from the prison cells.
Abu Hamdan’s investigation found that the specific architecture of the prison enabled sound to travel down a central tunnel and create a distorted, haunting noise that could be sensed throughout the structure, symbolised by an ominous intermittent percussion running through the video.
Arab Museum of Modern Art director Zeina Arida believes Abu Hamdan’s approach to using sound as a political and artistic instrument makes his work distinct.
“His approach is very different and creative in the way he conveys his investigations, while at the same time, his installations are a very poetic tool, which is not always easy to combine,” Arida said. “I thought this kind of collaboration [with Amnesty] was quite unique, that he was able to partner with such an organisation, but still create work able to be diffused in the art world.
“[The] stories or people he works with are very political, in the sense that we’re all concerned by these topics,” she added. “The scope of his projects is always wider than just the individual story he’s telling.”
Sonic Detective is part of several new shows running until October at EMST, which has now officially moved into a completely renovated former FIX Brewery building after years of delays and boasts three floors of permanent collection space and five temporary exhibition rooms.
The museum has decided to shift to a longer-term focus on artists from the MENA, Turkey, and the Balkans.
“It’s an organic development – we have the good fortune of being neighbours with these regions and also having a Mediterranean identity,” EMST director Katerina Gregos told Al Jazeera. “This part of the world is culturally, politically and religiously one of the richest and also the most contested, and these histories have not been properly dealt with.”
She told Gregos that Greece’s post-second world war identity has always been Westward-looking, and has neglected its southeastern neighbours.
“[The museum’s shift in focus] is a kind of correctional historiography, but it also makes sense to look at where we are situated.”
Meanwhile, Abu Hamdan is working on new ventures that continue to use sound to expose injustice in the region.
Earlier in June, he launched an online platform called Airpressure.info that gathers data on violations of Lebanese airspace by Israeli aircraft over the last 15 years. Interactive maps and databases of sounds and videos from a range of sources aim to give a sense of the psychological effect caused by the roar of fighter jets and the buzz of drones overhead.
“This project is quite a good example of how I work, because the strategy is for one large research project to exist across a series of forums and platforms – be they the law court, advocacy, media or art biennials and art exhibitions,” Abu Hamdan said.
“It’s about trying to put something out in the world that would hopefully reformat a little bit the way we talk about things.”
Sonic Detectives is at EMST, Athens, until October 30, 2022.
Billie Eilish has become Glastonbury Festival’s youngest ever headline act, with the Los Angeles-born star performing on the Pyramid Stage on Friday night.
During her set, the singer emotionally told the crowd that, despite her pride at performing at the festival, today was “a dark day for America”.
Introducing her song Your Power – a track about the abuse of privilege – alongside her brother and the song’s co-writer Finneas O’Connell, Eilish told the crowd: “Today is a dark day for women in America. It’s all I’m able to say about it. I can’t bear to think about it.”
Dressed in a black-and-white T shirt and shorts set featuring sensationalist newspaper headlines and images including David Bowie and Sharon Tate, the Grammy-winning singer was welcomed to the stage with rapturous applause from the largely Gen-Z crowd.
A stunned-looking Eilish told fans: “There are so many of you guys – Jesus,” before putting on a mock English accent and adding: “I love you guys so much, are you ready to have some fun?”
Eilish takes the title of youngest performer from the late Bowie who headlined the festival back in 1971 aged 24. Eilish, who began writing songs at just 11 years old, is no stranger to setting records.
Aged 18, she became the youngest artist and first woman to score a number one with their 007 theme, No Time To Die, which she wrote with her brother.
The 20-year-old’s set came on the first full day of music at the five-day festival at Worthy Farm in Pilton, Somerset, which is celebrating its 50th year after two enforced fallow years due to the COVID-19 pandemic.
An hour or two before her performance she posted a message for her 104 million followers on Instagram: “GLASTONBURY I AM HERREEEEE so excited!!!! see you soon”.
Performing to a heaving crowd of thousands, Eilish opened with the crowd-pleasing When We All Fall Asleep, Where Do We Go?
Her set featured the majority of her Grammy-nominated second album, Happier Than Ever, written during lockdown.
The record explores mental health and relationships, themes that have undergone much scrutiny for Eilish following her sudden and global fame.
Home baby videos of Eilish
In 2020, she spoke about suffering suicidal thoughts and periods of depression in the early stages of her career. She later told CBS News: “I don’t want to be too dark, but I genuinely didn’t think I’d make it to 17.”
She has said she was helped by her mother, and manager, Maggie Baird, as well as the process of working on her second album during lockdown.
In a nod to her career trajectory, the song Getting Older was accompanied by home baby videos of a young Eilish with her family projected onto the large screens at each side of the stage, showing her as a blond infant, singing and playing, while on the stage she sang: “Things I once enjoyed, just keep me employed now.”
As well as tunes from her latest album, Eilish also treated fans to her 2019 hit Bad Guy, which was the biggest selling single globally that year.
This performance follows months of intensive touring in the US and Europe, and the singer is currently in the middle of a sold out, six-show run at London’s O2 Arena.
A self-confessed lover of ‘moshing’, Eilish literally bent over backwards during her first song, as well as writhing on the floor and frequently running around the stage.
There was certainly no evidence of the teenage dance injury, which affected the growth plate in her femur, during the hour-and-a-half set.
Loyal ‘Avocado’ fans
The Worthy Farm audience was made up both of loyal fans, many of whom had travelled miles to see her despite large-scale rail strikes, and casual festival goers, keen to see what all the fuss is about. There was also a large sprinkling of older children – mainly girls – accompanied by parents.
Eilish made her Glastonbury debut at the Other Stage in 2019, after being upgraded from the smaller John Peel tent due to popular demand.
Despite technical issues back then, the Glastonbury charm clearly won the Bad Guy singer’s heart, telling fans: “This looks fun to go to. I would love to go to this… My God.”
During this show her attempts at audience interaction fell a little flat, with the UK audience perhaps not fully embracing her Californian tendency to encourage the crowd to “be present in the moment… and take a deep breath in and out”.
However, known for her attentiveness to her fans, known collectively as “Avocados” (Eilish is vegan) she frequently told the audience they were loved, and encouraged them to relax, even encouraging them to “scream loud” and “have a tantrum” during one of the songs.
‘I’m so undeserving of this’
Eilish temporarily called one of her recent London shows to a halt after fans passed out due to the heat. She also previously stopped a gig in the US earlier in the year to call out for an inhaler after a fan experienced breathing difficulties.
However, this wasn’t an issue at Friday’s Glastonbury gig. While the last festival in 2019 boasted record temperatures (31.2C) this year has proved a little more temperamental, with weather warnings issued and the threat of rain at regular intervals.
Eilish told the crowd: “I’m so undeserving of this. Thanks for letting me do it,” adding, “and you guys are troopers with your tents and s***!”
She closed with Happier Than Ever, which is a love letter to her hometown of LA.
Other performances at Glastonbury on Friday included Sam Fender, Crowded House and Robert Plant & Alison Kraus.
Saturday night will see Paul McCartney headlining the Pyramid Stage, becoming the festival’s oldest-ever headliner.
On Friday night the former Beatle performed at a pub in Frome as a warm-up gig.
And Diana Ross plays the legend slot on Sunday afternoon, with Pulitzer Prize-winning rapper Kendrick Lamar closing the 2022 festival that evening.
If you copyright a work of art, does that prevent other people from turning that image into a tattoo? That’s the question set to be decided by a jury in California federal court, where the case of photographer Jeffrey B. Sedlik versus celebrity tattoo artist Kat Von D is due to go to trial.
“It is, as far as I know, the first case in which a tattoo artist has been sued for an allegedly copyrighted image on a tattoo on a client’s body,” Aaron Moss, an attorney at Greenberg Glusker Fields Claman & Machtinger LLP, who is not involved in the case, told Bloomberg.
Von D has parlayed her success as a tattoo artist into appearances on the reality tv series Miami Ink and LA Ink. The Instagram account for her Los Angeles tattoo parlor, High Voltage, has more than 900,000 followers.
In March 2017, Von D, whose legal name is Katherine Von Drachenberg, published the first of two Instagram posts of a tattoo based on a Sedlik’s 1989 photograph of jazz legend Miles Davis, holding a finger to his lips.
Jeffrey B. Sedlik’s photo of Miles Davis. Photo courtesy of court filings.
In 2021, Sedlik responded by suing Von D, claiming that the tattoo was an unauthorized derivative work, and that creating it and posting it on social media was an infringement of his copyright.
After reviewing legal filings from both sides, U.S. District Judge Dale S. Fischer has decided to bring the case to trial. A jury will be asked to decide whether or not the tattoo falls under the doctrine of fair use, as well as if Von D’s use of Sedlik’s image denied the photographer a licensing opportunity.
Sedlik declined to comment for this story, and Artnet News did not hear back from Von D’s attorneys.
“A finding of infringement would effectively make public display of the tattooed person’s arm an act of infringement,” Amelia Brankov, a copyright lawyer not involved in the case, told Artnet News. “This could give pause to tattoo artists who are asked to ink third-party imagery on their clients.”
“Holding tattoo artists civilly liable for copyright infringement will necessarily expose the clients of these artists to the same civil liability anytime they choose to get tattoos based on copyrighted source material, display their tattooed bodies in public, or share social media posts of their tattoos,” Von D’s lawyers wrote in a legal filing. “That is not the law and cannot be the law.”
Kat Von D’s Miles Davis tattoo, as shared on her Instagram. Screenshot from court filing.
Sedlik’s photo, which originally appeared on the cover of Jazziz magazine, was featured in Life magazine’s annual “Pictures of the Year” issue. The photographer said that he believed he had previously licensed the portrait for use in a tattoo design.
“Sedlik has raised a triable issue as to whether there is a market for future use of the portrait in tattoos,” Fischer wrote in his most recent order sending the case to trial.
“There was expert testimony in the case that it was established practice in the tattoo industry not to obtain licenses for source material,” Brankov said, “but the judge found that, although that might be the established practice in the industry, it doesn’t mean the established practice is legally compliant.”
For her part, Von D insists that her version is transformative of the original image. She created the tattoo freehand, and “added the appearance of movement by adding and shading waves of smoke around the perimeter of Miles Davis’s hair and hand; created a sentiment of melancholy; and eliminated the stark, black background that dominates the photograph,” according to filings from her legal team.
Fischer found that argument compelling; he was less moved by the idea that simply transferring a photograph to the human body was a transformative act, or that the personal reasons for getting a Miles Davis tattoo changed the meaning of the work.
The tattoo recipient is a lighting technician named Blake Farmer, who worked with Von D on a film project. She inked his arm at no charge, using Sedlik’s photograph, which Farmer provided, as a reference.
The lawsuit contends that despite tattooing the design for free, Von D “received and enjoyed indirect economic benefit in the form of advertising, promotion, and goodwill” after sharing photos of the tattoo on social media. (Farmer is not a party to the suit.)
Sedlik is seeking Von D’s profits related to sharing the photo of the tattoo in question, as well as damages. He also wants Von D to remove all photos of the tattoo from her website and social media accounts.
The issue of whether tattoo artists have to grant a license for the reproduction of their art has also been the subject of legal wrangling. In 2020, a U.S. federal judge ruled in favor of a video game company that had produced a game featuring NBA players with tattoos, finding that the players had the right to use the body art as part of their likeness.
Andy Warhol’s Prince portrait overlaid on top of the original Lynn Goldsmith photograph of the musician, as reproduced in court documents.
In an interesting wrinkle, Sedlik is an expert witness for Goldsmith.
“Photographers are in the business of licensing their copyright to others—including licenses to fellow artists to create derivatives,” Sedlik’s brother and lawyer, Gary Sedlik, told PhotoShelter. “When an artist creates a new work based on a photograph without authorization, the artist robs the photographer of the license fee normally applicable to ‘artist reference’ use, and any damage to the market for licensing the photograph to others.”
The judge did not refer to the Warhol case in his most recent order, instead citing the 2017 ruling in Rentmeester v. Nike, which found that an ad by the sneaker company featuring Michael Jordan did not infringe on a similar photo of the basketball star by photojournalist Jacobus Rentmeester.
Jacobus Rentmeester’s photograph of Michael Jordan and Nike’s Michael Jordan ad. The court found that the ad was not infringing.
But Warhol still looms large over the upcoming trial.
“Everyone is wondering how the Supreme Court will address the fair use doctrine in the Warhol Foundation case,” Branvov said. “The legal questions involved here are the same—whether the works are substantially similar, and if so, whether the secondary user’s work made a fair use of the underlying work so that no license needed to be obtained.”
Regardless of the outcome, however, it seems unlikely that Farmer will be required to remove an infringing artwork from his body.
“The notion of forcing a person to undergo the potentially painful procedure of removing a tattoo,” Brankov added, “seems remote to inconceivable.”
Zizo Art Studio recently held an art exhibition designed to showcase the importance of visual art in the today’s fast de developing world.
The exhibition was also designed to rally support for women empowerment in view of their significant role in giving care and other societal developments.
The event, organised in honor of African women was held at a local restaurant in Senegambia.
However, the theme of this year’s exhibition is ‘Musoor showcase of the pride of African women.’
“Visual art is a fundamental component of the human experience reflecting the world and the time in which we live. Art can helps us to understand history, culture, lives, and the experience of others in a manner that cannot be achieved through other means.”
It also teach learners about color, layout, perspective, and balance: all techniques that are necessary in presentations (visual, digital) of academic work.
The artist uses this work to advocate for women rights. He displayed advocacy words on the portrait such as “Stop violence against women, no to Gender Based Violence, no to rape, love should not hurt and other advocacy statements.
In his statement, Mr Zoker Zoker said he featured portrait of the African woman in his exhibition as result of his love and appreciation for women, especially the African woman.
“I am delighted putting something valuable in the minds of people using visual arts.”
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Zoker expressed gratitude to National Centre for Arts and Culture (NCAC) for supporting him in his struggle to transform the art industry.
“The future of the art industry is clear and bright in this country.” he assured.
Speaking on behalf of the Minister of Tourism and Culture, Hassoum Ceesay, director for NACA commended Mr. Zoker for venturing into the creative art industry, saying the venture could play a crucial role in the development of the tourism industry and the The Gambia as whole.
“I urge you to keep up the momentum to ensure sustainable development in the creative art industry,” he said.
DG Ceesay assured that the Gambia government through the Ministry of Tourism and Culture will continue to support people who ventured in the art creative industry.
Milton Kamanda, an actor who also chaired the event, called on all and sundry to support the young artist to be able to market his talents to contribute to national development through the art industry.
He advised all youth working in the to take their various professions seriously.
This sector, he said, would play a pivotal role in national development.
Harmon Canyon Preserve will offer inspiration for new and experienced artists
‘Three Hills,’ a plein-air painting by Debra Holladay (Debra Holladay)
Ventura Land Trust will present a Plein Air Painting Workshop, 8 a.m. Saturday, July 9 at Harmon Canyon Preserve. California artists Debra Holladay, Laura Wambsgans and Marian Fortunati will offer instruction for beginner and experienced artists on how to capture Harmon Canyon’s natural landscape through composition, form, color, and paint handling.
Participants will receive instruction as a group and one-on-one; and group discussion will allow painters to learn from one another. Ventura Land Trust staff will join the workshop to share elements of Harmon Canyon Preserve’s natural and cultural history.
Painting en plein air, the French expression for “in the open air,” is the act of leaving the walls of a studio and painting in the outdoors. Artists explore how to paint form and light, with its changing, ephemeral qualities, with portable paints and easel.
“Plein air painting allows me to focus and interact in real time to understand and learn about a place,” said Holladay, the workshop leader. “Experiencing the light, color, sound, smell, temperature and touch magnifies and records my experience through paint.
“One of the most rewarding aspects of working en plein air is seeing things you’ve never noticed before, like the color of dry grass or a fleeting neon edge where light bends or reflects.
“I hope to share that aspect of seeing and how to translate it into paint with participants of the workshop, in addition to a basic approach to transforming a blank canvas into a painting.”
Holladay works both in the studio and in the field. Her paintings capture fleeting moments of the American experience. Her passion for art and sense of wanderlust for the natural world have led to a series of plein air-painting adventures to Lake Ediza in the Eastern Sierras, California Gold Rush country, Yosemite Valley, Joshua Tree National Park, and the California Coast.
Holladay earned her BFA from the University of Central Oklahoma followed by six years of study at the Art Students League of New York. She is an artist member of the California Art Club, a co-founder of Studio2310, and a founding member of the PAC6 Painters.
Wambsgans began landscape oil painting 16 years ago after working as the managing director of a major recording studio and then as a sculptor for two decades. Studying with Scott Christensen and other landscape painters and painting daily, Wambsgans strives to capture the effect of light on the land, though color and paint quality.
Wambsgans’ work has been exhibited nationally in solo and group exhibitions, including the Riverside Museum, Bakersfield Museum, Lancaster Museum, Ventura Museum and the Huntington Library.
In 2006, she spearheaded Chasing Open Spaces, an environmental project painting the open spaces of the Santa Clarita Valley. Exhibits generated by this project were instrumental in preserving Elsmere Canyon in Santa Clarita. Laura is a member of the California Art Club and a founding member of PAC6 Painters.
An award-winning artist, Fortunati considers herself “one lucky artist” because art has enabled her to experience more of the beauty in our world (and because her name, Fortunati, means “lucky” in Italian).
She is a contemporary California impressionist who uses oil paints to create experiments with texture and color. Her outdoor sketches often serve as references for larger studio work, but are also mementos of places and adventures. She had a lengthy career as a teacher and a principal in Los Angeles.
Fortunati has established a foundation in the Impressionist tradition of seeing and painting shapes of light and color through instruction by artists Ray Roberts, Frank Gardner, Matt Smith, Daniel Pinkham, and master landscape and undersea artist David C. Gallup.
Fortunati’s work is found in collections throughout the U.S., Europe, China and Australia. She is an artist member of the California Art Club, and a founding member of PAC6 Painters; she retains affiliations with the American Impressionist Society, and Oil Painters of America. For more, visit https://www.marianfortunati.com/.
THIS ANNOUNCEMENT IS NOT AN OFFER TO SELL OR ISSUE OR INVITATION TO PURCHASE OR SUBSCRIBE FOR, OR ANY SOLICITATION OF AN OFFER TO PURCHASE OR SUBSCRIBE FOR, ANY SECURITIES.
HILVERSUM, Netherlands, June 23, 2022 /PRNewswire/ — Universal Music Group N.V. (“UMG” or the “Company”) today announced that it has successfully priced €500m of 3.000% senior unsecured notes due 2027 and €500m of 3.750% senior unsecured notes due 2032 (collectively, the “Notes”). The offering is expected to close on June 30, 2022, subject to customary closing conditions.
The Notes will be issued from the Company’s newly established Euro Medium Term Note programme, listed on Euronext Amsterdam and sold to investors outside the U.S. in reliance on Regulation S under the Securities Act of 1933, as amended.
The proceeds from the issuance will be used for refinancing of existing indebtedness and paying transaction fees and expenses.
BNP Paribas and BofA Securities acted as Global Coordinators and together with Citigroup, Goldman Sachs, MUFG and Société Générale as the Active Bookrunners on the issuance. CACIB, Commerzbank, IMI-Intesa Sanpaolo, ING, Mediobanca, Mizuho, Morgan Stanley Europe SE, Natixis and Santander acted as Passive Bookrunners.
About Universal Music Group At Universal Music Group (EURONEXT: UMG), we exist to shape culture through the power of artistry. UMG is the world leader in music-based entertainment, with a broad array of businesses engaged in recorded music, music publishing, merchandising and audiovisual content. Featuring the most comprehensive catalogue of recordings and songs across every musical genre, UMG identifies and develops artists and produces and distributes the most critically acclaimed and commercially successful music in the world. Committed to artistry, innovation and entrepreneurship, UMG fosters the development of services, platforms and business models in order to broaden artistic and commercial opportunities for our artists and create new experiences for fans. For more information on Universal Music Group N.V. visit www.universalmusic.com.
Cautionary Notice This press release is published by Universal Music Group N.V. and contains inside information within the meaning of article 7 (1) of Regulation (EU) No 596/2014 (Market Abuse Regulation).
Forward-looking statements This press release may contain statements that constitute forward-looking statements with respect to UMG´s business and plans, including the debt transactions contemplated hereby. Although UMG believes that such forward-looking statements are based on reasonable assumptions, they are not guarantees of future performance. Actual results may differ materially from such forward-looking statements as a result of a number of risks and uncertainties, many of which are related to factors that are outside UMG´s control, including, but not limited to, UMG´s inability to compete successfully and to identify, attract, sign and retain successful recording artists and songwriters, failure of streaming and subscription adoption or revenue to grow or to grow less rapidly than anticipated, UMG´s reliance on digital service providers, UMG´s inability to execute its business strategy, the global nature of UMG´s operations, UMG´s inability to protect its intellectual property and against piracy, UMG´s inability to attract and retain key personnel, changes in laws and regulations and the other risks that have been described in UMG´s 2021 annual report and base prospectus dated June 16, 2022, which are available on UMG’s website. Accordingly, UMG cautions readers against placing undue reliance on such forward-looking statements. Such forward-looking statements are made as of the date of this press release. UMG disclaims any intention or obligation to provide, update or revise any such forward-looking statements, whether as a result of new information, future events or otherwise.