Museum Archives

On the Scene at the Academy Museum Gala: Kim Kardashian in Thierry Mugler, Coleman Domingo in Valentino, Sheryl Lee Ralph in Sophie Couture, Taraji P Henson in Tamara Ralph & More

[ad_1]

Coined the Met Gala of the West Coast, the fourth annual Academy Museum Gala was star studded with Hollywood’s brightest celebrities showcasing their red carpet style in the most astounding way.

Held inside of the Academy Museum of Motion Pictures in Los Angeles, the fundraiser supports the organization’s cinema exhibits and public programming.

‘Skims’ founder Kim Kardashian looked clean and pristine in an all white Thierry Mugler corset with a long sleeve matching maxi jacket that draped off her shoulders. Her clear heels felt Cinderella-like, and her Tiffany & Co necklace was encrusted with the finest jewels.

Kim wasn’t the only one in attendance from the Kardashian clan, as her younger sisters Kendall and Kylie were also both on the scene. Kylie who often channels Kim, also opted for designer Thierry Mugler. With a nude sequins transparent top, Kylie served sex-appeal in her dress that had cutouts at the hip.

Contrary to Mugler, the supermodel of the family, Kendall Jenner looked like a class act in a black Schiaparelli dress that was very demure and cutesy.

Known for her amazing award speeches, Sheryl Lee Ralph looked stunning in a cream strapless Sophie Couture gown that accentuated her curves and looked incredible on the 67-year old actress.

Ralph wasn’t the only one showcasing her curves as Taraji P. Henson was another break out star of the evening in a gold sequins Tamara Ralph dress. Strapless and characterized with a deep v-neck plunge line, Henson’s dress gave, “I’m coming out and I want the world to know” (in Diana Ross voice).

Ava Duvernay and Davine Joy both wore Louis Vuitton to the Academy Museum Gala, with Duvernay looking sizzling hot in a red draped max dress that had a cow neck bodice.

Joy, who’s known for rocking exaggerated silhouettes, took us back to the nineteenth century with her cage crinoline that held together her gown cylindrical shape.

Serving runway realness at the Gala was none other than Kerry Washington who opted for a black and white Carolina Herrera dress that had a floral print. We have to admit, Washington looked magnificent and dynamite in this black and white frock.

Showcasing a different interpretation of black and white was Quinta Brunson who wore a strapless houndstooth dress that felt on trend for the fall season. Perhaps one would have thought that she arrived in Chanel, however just like Kerry Washington, Carolina Herrera is to thanks for this exceptional look.

Representing for the fashionable men was Coleman Domingo and Dwayne Wade who attended alongside his wife Gabrielle Union. Domingo, who has become well known for his fashion sense and will serve as the 2025 Met Gala co-chair, wore Valentino.

His black suit jacket tied at the waist and his red Valentino pants were the moment. Taking a closer look, his black lace gloves layered with diamond rings and bracelets, made a fashion-forward statement. One can only imagine what he’ll wear to Met Gala come May 2025.

Wade, also looked dapper in a double breasted suit that had a silver embellished pen and was paired with tapered trousers. His wife was the perfect arm candy in a midnight purple sequins Elie Saab gown that gave us goddess vibes. Gabby’s Tiffany & Co jewels were majestic against her melanated complexion and her and Dwayne looked like the perfect fashion duo.

What say you? Hot! or Hmm…?

Photo Credit: Getty Images/ IG Reproduction

[ad_2]

Source link

October 23, 2024

Kevin Daly Architects and Reed Hilderbrand to develop strategic plan for Ogunquit Museum of American Art

[ad_1]

For a forthcoming renovation of the Ogunquit Museum of American Art (OMAA) Kevin Daly Architects (kdA) and landscape architects Reed Hilderbrand are drawing from Maine’s coves and coastal landscape and the rich cultural and art scene of the area. The architecture and landscape designers have teamed up to develop a strategic plan for the museum to update its facilities using sustainable approaches and to reaffirm the connection to the coastline, all while enhancing visitor experience.

“Preservation is a key value for our strategic plan. We grow from our past and without it we could lose our connection to the early artist’s communities and our landscape” said executive director of OMAA, Amanda Lahikainen.

old film photo of Ogunquit Museum of American Art by ocean — OMAA’s original building built in 1952 by Charles Worley Jr. (Courtesy Ogunquit Museum of American Art)

Originally founded by artist Henry Strater and opened in 1953, OMAA showcases a diverse collection of paintings, sculptures, drawings, prints, and photographs spanning from the late 1800s to the present. Displayed works include pieces from historical figures like American painter Charles Woodbury, who was a trailblazer in the Ogunquit art scene.

Through its renovation, the architects aim to restore the simplicity of the original design, focusing on harnessing a deeper connection with the waterfront. It also looks to historic elements such as the early 1900s fishing shacks of Perkins Cove.

Architect Kevin Daly noted that the distinct roofline and unobstructed ocean views of the original 1952 building, designed by Charles Worley Jr., will inform kdA’s design approach.

“As the original building evolved, the relationship to the ocean and the coastal setting that was the inspiration for artists and visitors alike has been cut off,” Daly said. “The site review will be focused on re-establishing a presence on this outcropping and imaging new encounters between visitors and the coast.”

Lahikainen listed out the improvements she hopes for in an article published in the Portland Press Herald. These include a community room, accessibility upgrades, and renovated office space for staff. She floated the idea to tear down the 1990s addition, where the permanent collection is now on display, to make room for a new structure that may better meet the needs of the museum. The new additions will contribute and build off of a 2022 addition that installed floor-to-ceiling windows.

large windows looking at ocean with people on benches — New glass window installed in 2022 frame views out toward Perkins Cove and the Atlantic Ocean. (Courtesy Ogunquit Museum of American Art)

Beyond the architecture, the strategic plan will also address the larger museum campus , placing particular emphasis on its coastal grounds, which span over 3 acres and feature 18 small gardens, a pond, and a sculpture park.

Geoff Fritz, an associate principal at Reed Hilderbrand, said in the Portland Press Herald he is looking to improve water management on the site.

kdA will lead two in-person public town hall meetings at the museum on November 12 to hear what improvements the community hopes for.

OMAA has not shared a timeline for the project.

[ad_2]

Source link

October 22, 2024

AI art is about to get a world-class museum. Get a sneak peak.

[ad_1]

If AI needs a publicist, Refik Anadol wouldn’t be a bad candidate. The Turkish-born professor and artist sees artificial intelligence as a boon to the world, not just through greater efficiency and scientific advances, but as a new conduit to create beauty. His newest project, along with co-founder Efsun Erkılıç, is Dataland, a 20,000 square foot museum of AI-generated art opening next year in downtown Los Angeles — and it places his faith in the technology front and center.

Dataland’s installations are drawn from its exclusive Large Nature Model, a prototype that only uses data from the natural world and was sourced with records and images from the Smithsonian, London’s Natural History Museum, and the Cornell Lab of Orinthology. The nature-first emphasis is a running theme with Dataland, which conducted its AI research via Google servers running on renewable energy.

Mashable: Let’s start with the basics. How do you define AI art?

Refik Anadol: For me, AI art is much more than a tool — it’s a creative collaboration between human imagination and machine intelligence.

When I work with algorithms and data, I’m not just trying to generate something new; I’m exploring the limitless possibilities that arise when humans and machines come together to create. It’s a practice that breaks down the boundaries of traditional art. It offers fresh perspectives on how we perceive creativity and the role of technology in shaping our world. This fusion of human intuition and machine intelligence allows us to push the boundaries of artistic expression and see the world in ways we’ve never imagined before.

Tell us a bit about Dataland’s AI model, the Large Nature Model. How does it differ from most previous models, and how does it work?

The Large Nature Model is unique because it is the world’s first AI model trained solely on data from the natural world, using information from institutions such as the Smithsonian and London’s Natural History Museum. Unlike other large language AI models that are trained on human intellect and reasoning, this model is trained on nature’s inherent intelligence. The goal of our model is to capture the essence and complexity of the natural world and to generate unique art pieces.

The model also emphasizes ethical data collection and transparency. As the creators of the model, we secured permission for all of the scientific materials we used to train the model and ensured that the model was trained using renewable energy. The Large Nature Model also goes beyond visual art by incorporating other sensory elements, such as sound and scent.

Mashable Top Stories

The future home of the Dataland museum in Los Angeles.
Credit: Courtesy Dataland

How did the collaborations with institutions like the Smithsonian and the Natural History Museum of London come together? Was there any resistance to them allowing their data to be used?

Collaborations with institutions like the Smithsonian and the Natural History Museum of London began with a shared passion for blending art, technology, and archival data. I wouldn’t say there was resistance, but, instead, an eagerness on their part to learn more about the ethical applications of AI before fully collaborating, and we deeply appreciated that.

Every institution should question and learn — this push for greater digital literacy benefits everyone. It also challenges practitioners like myself to rethink, revise, and clarify our approaches, ensuring that the use of AI is both responsible and purpose-driven.

By presenting a creative vision aligned with their educational missions and addressing concerns around data sensitivity, any initial hesitation was transformed into trust. These collaborations not only advanced the field of AI art, but also helped enhance public engagement with the institutions’ collections, showing the powerful potential of data when used thoughtfully and ethically.

Dataland presents AI as an advancement to be celebrated as well as studied. What do you say to those who only have negative or fearful impressions of the technology?

At Dataland, we truly believe that AI is an incredible opportunity — something to be celebrated, explored, and studied. I understand that some people may have fears or negative impressions of the technology, and that’s exactly why we created Dataland as a space for open dialogue and discovery. It’s a place where we can explore AI’s immense potential to enhance creativity and connect us with new forms of art, rather than seeing it as something to be feared.

We believe in the power of education, transparency, and ethical data practices. By showing how AI can be used responsibly, in ways that are environmentally conscious and human-centered, we hope to shift perceptions. Our goal is to demonstrate that AI isn’t here to replace human creativity, but to collaborate with it — opening up entirely new artistic possibilities.

It’s my hope that DATALAND can inspire people to see AI not just as a tool, but as a creative partner that can unlock new ways of thinking and engaging with the world around us.

With the Large Nature Model and your studio’s eco-friendly servers, Dataland puts environmental concerns front and center. How can tech companies be convinced to make sustainability a priority?

At Dataland, we believe that environmental sustainability must be at the heart of technological progress, especially with innovations like AI that impact the entire globe. With the Large Nature Model and our studio’s eco-friendly servers powered entirely by renewable energy, we’re committed to demonstrating that technology can coexist with environmental responsibility.

To truly make sustainability a priority across the tech industry, it’s essential for companies to collaborate not only with experts within their sector but also with researchers, global organizations, and policymakers outside of it. This is a technology that touches every part of the world, and it requires a large-scale, global approach. It’s about creating a shared vision. By prioritizing these values, we can encourage the tech industry to adopt practices that aren’t just beneficial in the short term but sustainable in the long run.

Topics
Artificial Intelligence
Social Good

[ad_2]

Source link

October 22, 2024