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You've probably seen one. Stopped at an intersection, it's hard to miss a large, cheerfully painted metal box on the corner. For some reason, decorating these electrical boxes, which are generally about the size of a small refrigerator, has become a global trend in the last decade. City governments on every continent seem to love hiring artists for this. They cite reasonable-sounding arguments like "it's a low-cost, high visual impact project" and "it beautifies neighborhoods" and "it helps instill civic pride."
In Houston, the underlying idea for our local box-painting effort is that it "converts blight into art by painting the blank canvases around the city." What's not to love?
Well for starters, when have you ever looked at a blank electrical box on the street and thought, "Gee, I wish someone with moderate artistic skills would paint a toucan on that?" For that matter, when have you ever thought about a blank electrical box at all? Consider how, undecorated, these things disappear into the urban landscape. They aren't "blight" — certainly not in the way that litter or abandoned buildings are. Electrical boxes are something you probably never noticed, until your local municipality started decorating them.
I think this bizarre trend has less to do with beautification than it does with cities wanting to take control of street art, to make it sanctioned, palatable, institutional, and toothless.
But it also speaks to our ingrained prejudice towards the urban landscape as being "unnatural." We admire mountain vistas that appear untouched by humans, but our highways, skyscrapers, and even landfills are every bit as natural as a beaver dam or an anthill. Sure, what we create is oftentimes harmful to ourselves and to the environment. But our cities are natural — because we are nature.
But we don't see it that way, and so we feel the need to embellish things unnecessarily. In any landscape, your eye naturally edits out the unimportant stuff. I argue that we should allow certain structures in our cities to remain invisible. People aren't necessarily asking for decoration in their lives, and one man's beautification is another man's visual imposition. None of the arguments for painting electrical boxes answers the basic question: Does our attention need to be drawn to these things? It's like the Cow Parade: it seems fun until you realize it's really not. Today, no self-respecting city would put public funds towards plopping a bunch of decorated fiberglass cows around town. And I predict that the fad for spiffing up electrical boxes will seem similarly cheesy in the near future.
Of course, there are doubtless those who don't agree with me. I got into trouble on Instagram recently for criticizing a similar effort involving a particularly ugly stretch of highway in Houston.
As a growing city, we have many sparkling new — or newly refurbished — highways, so this filthy, charmless bit of road is something of an anomaly. The bridges spanning it are edged with chain-link fencing, which by design is virtually transparent and empty. But somebody in Houston thought it would be a good idea to insert colorful plastic strips into that void. (Apparently the project, which originally involved images by local schoolchildren, was botched by TXDot, which insisted on a bland abstract design.) What this muddled, too-many-cooks-in-the-kitchen effort ended up with is essentially lipstick on a pig. Before, you didn't notice how dirty the pig was, because you weren't being asked to look at it.
If public art is going to dominate the visual landscape, it's got to be so great that most people enjoy the experience of it. And it's also got to make sense. If not, you're just foisting stuff on people. To me, these decorated freeway overpasses are just as incongruous as a Jeff Koons would be in the middle of Yellowstone Park.
Of course, ultimately the worst of all this is not the effect on the viewers or the urban landscape. It's the effect on the artists themselves.
No artist ever woke up one morning and spontaneously said, "I sure wish I could decorate an electrical box!" or "I sure feel like decorating a pre-cast cow sculpture!" But if any eager young artist has attended a seminar on having a career, they know they have to look for paid opportunities to do something that at least sort of resembles making art. They are happy at the prospect of getting paid something — rates vary wildly from city to city, but in Houston it's $750 — and so they gamely send in their proposal for how they would decorate an electrical box, even though that is probably the last thing they would choose to do if they had their druthers.
Good artists make their best work when they're given as much freedom as possible to design their project. Just imagine if every city in America stopped asking artists to decorate electrical boxes, or parking meters, or garbage trucks, or freeway overpasses, and instead started sending out this public art brief:
Hello. We want art. We want the best art we can possibly get. We've got some money to pay for it.
We will accept any proposal. Any length of time, any budget: permanent to impermanent. From a marble statue, to a performance crawling up a sidewalk.
BUT KEEP IN MIND we do not have unlimited resources, and we do not have unlimited staff. What we DO have is unlimited openness to your ideas for making our city awesome. Look around and tell us what you think. Shock us. Surprise Us. Challenge Us. Hit us with your best shot.
We accept $1,000 proposals; we accept $1,000,000 (or more) proposals. We may or may not accept any proposal we receive this year if none of them are right. It depends, mostly on the concept but also on feasibility.
Let's amaze and delight people.
Let's change the way we see the world.
Good luck.
88 Responses
This is beyond ignorant. If you are truly a public artist, then you are in the art business. You don't walk around in a beret and smock with a pallette. It is a form of construction job, a proposal is made, and if it gets accepted, you do the job. For some, it is more than they ever dreamed they wkuld make. I have done a cow, I have done 5 large guitars. They didn't make me rich, but they did prople me into a place of comfort. Public are serves a purpose. That light box tou hate so much may have fed a family for a while.
Another article from someone who isn't an artist having an opinion about something that has nothing to do with you.
As an artist who appreciates civic art and has participated in the mini-mural project, it was my chance to make the city of Houston a better place. Your griping is obnoxious. Your ignorance is obnoxious. It's not your work – it's the work of artists – many of whom struggle to make ends meet in a city with limited opportunities and much competition.
In the words of Kendrick Lamar: "Be humble…Sit down." You know the rest.
Here's some reasons why there's nothing wrong with painting the electrical boxes, Rainey.
1. In addition to 'beautifying' the built environment, public art invests $ in contemporary artists. Small projects allow artists, at all levels, access to public commission opportunities.
2. An artwork that is literally and intellectually accessible to a wide public doesn't make it bad.
3. I agree that most of the painted electrical boxes are unsuccessful; so be it.
4. Public $ is spent on the arts with input from the 'stakeholders'– and is placed somewhere in the public realm. Private money can be spent however the source chooses–perhaps following your idea for a call for proposals–and lots of bad art is commissioned that way, too.
5. Many talented artists have made good work–even their best work–within strict guidelines.
6. And just as an aside, I like the Jeff Koons sculpture in a prairie. Similar to the Ingmar&Dragset Prada store in a West Texas desert, incongruity is what made it interesting.
When ART is viewed as a commodity, this is what happens. It is merely a decoration – used to "beautify" eyesores – concrete walls, bridges, concrete parking lots. Art devoid of meaning… Paint those soulless cows!
Meanwhile, graffiti is a serious crime. See: http://www.statutes.legis.state.tx.us/Docs/PE/htm/PE.28.htm
Ah, freedom.
I agree with you 100%. "…undecorated, these things disappear into the urban landscape…" I've thought this many times myself as I've driven around Dallas I never noticed the boxes until suddenly I see what looks like an oversized discarded suntan lotion container next to some neo-urban-classical mcmansion townhome. I had one once in the front yard of one of my homes in suburbia. I planted a bushy crepe myrtle on the street side and a mid-sized juniper on my front window view side and never noticed it again. The plants are still there, btw, bushier and hiding it even better after all these years.
How easily you've forgotten Houston a mere 5-10 years ago with absolutely no public mural art to speak of. So many other cities and countries do amazing work at commissioning murals and beautifying the city, while Houston just did nothing, probably because everyone is in such a damn rush and doesn't look at the urban landscape much. Houston has realized it's needed to catch up with "trends" as you call them, and this is a chance to add more local flavor to the local space. Your proposal is like asking for a revolution without dance. Lighten up and stop raining on the parade!
Agreed, but you will still have a small group of people "selecting" proposals, and that as we know is always a crap shoot. I like the wording of your proposal very much.
On the other hand, it appears that some of the boxes are done by younger less experienced artists that may have never been accepted anywhere, so maybe the project will give them the confidence to move on and up. Who knows.
Heh. This is funny.
My 2 cents: We are all familiar with the fact that Houstonians are really supportive of the arts. Especially the tacky stuff. Historically. I mean look at the art car phenomenon, that God awful "Creation of Adam" super bowl mural, the Love wall on 19th, the "buiscut paint" mural on westheimer…. I mean, for real. It's a thing. It doesn't mean it's bad art. It's low brow. I personally might not like all of it and its certainly not always the most attractive. Art cars aside, most of it says very little about anything except for the hashtags plastered all over it (at least these days). And to boot it's public. It's all there because it's accessible, "different", sometimes interesting, and ultimately someone had more balls than you or I to do it.
Also, to make a general and broad sweeping statement: houstonians don't really like paying for art (note: properly). This isnt a notion unique to this city… its a general public thing. *Almost* every Joe Schmoe who wants a mural painted on their business or residence is looking for a "deal". Ie. how can I get this orgiginal thing but have it like Etsy so artists feel like they must compete to have the lowest prices on an original item they (may or may not) have skillfully produced. Also fuck Etsy. Anyone who collects/patron (aka people who know better)- would scoff at this notion, I understand: this song is not about you. And as much as I cringe every time I pass the electrical box with a bomb pop popsicle that appears to be a very erect dog penis (and yes… its playing with a kitty cat) on my way to work, there is merit to the program that produced this… this thing. It's pretty incredible actually. This program (at the least for this project) is keen to this novel idea of actually compensating artists for their time… and paying fairly well. Something that some of the non profits here only became (somewhat) more saavy to in practice about 3-4 years ago (note: also, thank you). Remember those city wide non profit meetings and seminars that pushed WAGE? $750 to paint the electrical boxes is no joke for something that small. These guys walked away with a pretty good deal. If more organisations *consistantly* found a way to compensate artists like this, they'd probably be making better work and more of it…. and working in a more competitive environment. Also it would publicly perpetuate the idea that art and artists have value, can make artwork that changes the world, and in fact are worth paying properly… just like any other trained or experienced specialist. In doing so it would raise the bar of our city's public art (and art in general). Talented artists and visionaries would have the time to do one of the few things they are good at… like not being your crappy waiter or bartender.
Bottom line: if you want to see better public art in this city, compensate your public-art artists better to create a more competitive environment. It's not like we are short on incredible street artists… just incredible artists not working 2-3 jobs to support what they are really good at. If you don't want to see something anymore, consider becoming a board member and contributing the decisions being made on these matters.
and a $500 supply stipend as well, I believe. $1250 total for that square footage is a grip.
my 1 cent: Some of those things make me cringe. My studio mate has painted quite a few, and he can bang them out in no time, and they are all FIRE paintings. I've been very tempted to apply, 'cuz Lord knows I could use the money, but it doesn't seem right for me (I don't like lots of rules and oversight). Also I don't want to be lumped in with macaws, butterflies and a literal depiction of a paintbrush and palette.
but yeah, anything facilitating paying artists a living wage to do what they do is A-OK in my book.
Well, these things are blight. They attract garbage and scrawled graffiti. The one right outside my window is a popular place for bums and barflies to take a leak.
Most of the paintings on them seem pretty charmless. But not all of them. I like the one at the corner of McGowan and Fannin, for example.
And it's easier to commission artists to paint those than the utopian alternative that you propose. I wish they'd come and paint ours. I recommend solid matte black.
It makes people smile and that is all that matters I would think. It lets artist's work be seen by thousands daily. I'm sure they would rather have that than the alternative.
This article sounds like it is a cry for attention. If you look at anything long enough, you can find a problem with it. Not even going to read the name of the author.
I guess I get how your article is supposed to be inspiring but you sound like a sour puss to me. I look at the electrical box art the way I look at a fountain or a tree placed in my city. It might not be what I like or but to criticize it is to miss the point. Houston is flat and monochromatic and dull. The boxes provide a little personality to neighborhoods. They've been done elsewhere. Who cares? You hate fiberglass cow art? Really? Isn't the cow art for children or schools or something? You sound really mean.
I personally don't care for the big brass realistic cowboy sculptures , you see them in Dallas and around NRG Stadium. They are not my cup of tea but someone took great care to make them and I can tell some people like them or they wouldn't be there.
Not all art is for everyone. But more art is better than none.
I am still trying to see how we go from urban landscapes as described, "highways, skyscrapers, and even landfills being every bit as natural as a beaver dam or an anthill" to decorative embellishments somehow being an unnatural part of that mix? Just wondering where one should draw the line between these? Do we only see a beaver damn or anthill as functional? Is that our urban environment as well? You make some good points, but feel the meaning kind of misses the mark. I have also seen a few less than spectacular murals on some of these boxes, but being not of the ideal world where our city just offers artists money for whatever art they are passionately producing, artists, myself included, see this as an opportunity to not only enjoy reaping some monetary reward for our effort, but are encouraged to help improve a neighborhood environment by bringing art to a community where there is often little or next to none. If guidelines are set to better control the quality of craftsmanship regarding this project, it seems there could be little objection to an occasional, electric box mural.
If we were all Zen masters, maybe we could easily see beauty in a tan-colored electrical box as equally as we do a tree. In the meantime, there is certainly room for it all. We can scoff at whatever shallow or unconscious motivations we think might drive an organization to pursue and fund such an endeavor, but if there's confusion over whether or not it's art… well, that's not really as problematic as confusing the merit of manufactured objects (that carry no inherent artful design beyond that which makes it merely functional) with the merit of a natural landscape. It's a clever argument that humans are part of nature and therefore anything we make is "natural". But by that logic, we could say the painted designs are also natural because someone made those too. Or what could be wrong with the dystopian vision of an urban landscape devoid of trees…. filled with concrete and car exhaust? But, lest I am accused of making any straw-man arguments, I'll entertain the idea that functionally designed man-made objects hold the same interest as a nice tall sycamore tree. But then I am left with the question: what happens when the manufactured object no longer serves the function? It becomes waste. Like an abandoned eye-sore of a building that was built with no attention to beauty. But a dead tree isn't waste, and it's still beautiful… it just goes back where it came from and is naturally recycled. If we have to have tan-colored boxy metal all over the city, I don't see any harm in attempting to make them more fun to look at. Some are better than others but, eh… they're all better that this city's fetish for Rothko-esque, minimalist design. It's too bad people have a problem with this. It's a very weird thing to target. Especially the week all the applications are due for the next round of city mural assignments. If we are to comment on the small amount of people that make choices for what's funded to be on public display, maybe it would be of more significance to question Houston nepotism and how the names of individuals on the various arts organization keep popping on more than one board. Sometimes three boards or more. Finally, I suspect this won't change your mind, Ms. Knudson. Many of the boxes are tacky-looking, I won't deny it… but the reasons you've given for trying to articulate what exactly it is that bugs you about them just don't make and sense to me at all.
>> "Gee, I wish someone with moderate artistic skills would paint a toucan on that?"
The first dead give-away is your use of the adjective "moderate". Who is to determine that? You? The editor of Art Forum? How about Larry Gagosian or Philippe de Montebello?
Sorry. No sale. De gustibus non est disputandum.
>> "I think this bizarre trend has less to do with beautification than it does with cities wanting to take control of street art, to make it sanctioned, palatable, institutional, and toothless."
Well, what would make it UNpalatable and give it tooth? Images of child sex slavery? Heroin addiction? Homelessness? — all of which we have right here in Houston.
Or maybe you mean something else. Maybe you REALLY want to stick it to The Man with an in-your-face pencil scribble from Cy Twombly.
>> "…one man's beautification is another man's visual imposition."
This is the crux of your argument, but how are we to know who is right?
You must be channeling David Hume, who — in 1757 — wrote: "Strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice, can alone entitle critics to [the] valuable character [of a true judge]; and the joint verdict of such, wherever they are to be found, is the true standard of taste and beauty". Hume thought there are only a handful of such people in the entire world. You wouldn't happen to be one of those True Judges, would you?
>> "If public art is going to dominate the visual landscape, it's got to be so great that most people enjoy the experience of it."
But many people DO think it's great, as is demonstrated by the comments to your own post.
>> "And it's also got to make sense."
Art has to make sense? Oooooooo-K.
>> "No artist ever woke up one morning and spontaneously said, "I sure which I could decorate an electrical box!"
Wrong. People have adorned buildings, transportation, and other public facilities for a long, long time. One of my personal favorites is the Austrian painter Friedensreich Hundertwasser, who did a fabulous job with public toilets and thermal power plants.
And now, last but not least, we have your proposal, which is wonderful. I'll drink to that.
Ain't gonna happen, but I'll still drink to it.
It's a shame that this is your perspective. Houston is so far behind most other large cities when it comes to fostering new artistic talent. As someone who claims to support the arts, why are you not excited that there is an opportunity to showcase new talent and a chance for artists who might not get much exposure to be noticed? Sure, uncommissioned street art can be raw and challenging in a way that city/community projects cannot, but I would argue that cities need spaces to welcome alternative artists. Houston especially has limited art spaces where artists, particularly new artists, can really showcase their work. The mini murals project is, in my opinion, a welcome opportunity to get to see work by artists who would not be featured at the MFAH, Menil, or the Contemporary Arts Museum (for example). Are all of the mini murals exceptional pieces of art? In an objective sense, probably not. But just because something is not objectively great does not mean that it isn't worth viewing/experiencing, nor does it mean that it isn't compelling to someone. Not all of the masterpieces speak to me in the same way, and there are recognized "inferior" works that move me deeply. I know some people who hate the "Be Someone" graffiti, but I know even more people who are emotionally uplifted each time they see it. Surely the point is to be exposed to new ideas and aesthetics, and to embrace opportunities to inspire and be inspired, which can only make us (and our city) richer as a result?
Never lighten up and always critique. Houston should be spearheading public art ideas not copying sad programs from smaller cities. These "mini murals" are not original. We love jobs for artists, but using tax dollars to spread mediocre paintings around the city is weak.
Side note: Get these decision makers to the Menil, that is free, or have them get an hours worth of art at the MFAH on a Thursday, also free. Or when they are traveling maybe they should show up early and look around the airport, growing public art collection there, and for the most part not crappy.
I love them. I may not necessarily like one of the paintings, but it still makes me smile. I guess I am the only one that does notice the gray boxes. I always have. They are ugly. The first painted one I saw make me excited.
I notice street signs, telephone poles, and sidewalks. I get excited to see when one is not normal.
I love the art car parade, all the street art, the beer can house, and the cows. That is one of the things I love about Houston.
Please don't stop painting the boxes and making fiberglass animals and painting walls.
Advocating for less art, good or bad, is a strange position for an arts magazine to take. Advocating for less color in an urban landscape is even more odd. And is the author in favor of graffiti? Because street art isn't always great, even if the risk associated with making it makes it hipper than publicly sanctioned/commissioned work. This feels almost as if it could have been written by a conservative seeking to take funding away from artists. I can't help but wonder what the author's electrical box painting would look like if she was forced to do one. A true artist can take an electrical box or some electrical tape and make something interesting. Perhaps you just want better art on the boxes. Maybe advocate for more funding and better artists to paint them, rather than for some abstract open proposal which will never happen?
Dave, Leslie, and the bunch that think pinos palette is a good thing for art- the article is about this program being mediocre. The author doesn't say she hates color, Dave. Because something makes you smile doesn't make it art, Leslie. Imagine, 1510, someone is looking up at the progress of the Sistine Chapel and demands that Michelangelo throw some flowers up in there to make them happy. Liz, the artists who get a chance to put subpar painted imagery on the boxes will most likely never get a shot a the Menil, MFAH or the like; for starters name me one that is in a local gallery. It is sad to see a bunch of art minded people not accept criticism, it is much needed in this state. If you only knew how a bulk of these decisions are made for public art it would blow your mind, i.e. GRB or a number of weak projects gutted by councilmembers or stakeholders from Austin to San Antonio.
Fleece, You seem to have misunderstood my point. The point is, some people do enjoy the street art. Not everyone does. But many appreciate the artists, the work, and personality it adds.
And isn't part of the definition of art that it causes an emotional reaction, an appreciation?
Yes, the street art makes me happy. Even the paintings that I don't like make me feel happy. Someone expressed his or herself. I think that's cool. Again, I don't like some of the paintings, but I like that someone painted their idea, within certain bounds, I don't doubt, but still, their talent, skill, and creativity.
Please don't belittle my opinion because I don't agree with yours. The Sistine Chapel? I personally don't like that painting, in part because Michelangelo didn't want to do it. I find it tacky to force an artist to paint something he doesn't want to. But I can find a lot to admire and I am glad it is there.
But I would never suggest someone change THEIR art for me. But the plain gray boxes are not any artists' vision. They are blank spaces.
Fleece, my point is that Rainey should advocate for better artwork on the electrical boxes, not less artwork. With more funding and a more selective panel, the project could be wonderful. And, while I doubt the 21st century Michelangelo lives in Houston, a talented artist could make something wonderful on an electrical box, a roll of toilet paper, or a shoe horn. The artists are mediocre, it's not an issue of it being a bad concept. This article reads to me as half-baked griping, not criticism.
The day before reading your commentary, I was driving around with a friend and we were looking at the new electrical box paintings which have suddenly popped up like a skin rash all over El Paso. They remind me of shelves stuffed with figurines -tchotchkes on the urban lndscape. There's nothing intrinsically wrong with them, and artists getting paid is always desirable, but a city shouldn't consider this a substitute for a sustained effort to promote serious public art.
As I search for the purpose of art and value to society, I have to remove the personal preferences, biases and naïve opinions, or any opinions for that matter. If art serves as a tool to reflect us back to ourselves and create new thoughts or generate a dialog, discussion or debate, then I would say this public art project is a huge success. I would guess the artist is agnostic to the resulting reactions and personal preferences. Whether the work is "good," I'll leave that critique to those much smarter than me. The article does a masterful job of perpetuating and I might even say, facilitating the discussion. To the point of understanding the art, I will always question the viewer's credibility when the artist's intention is not fully considered as the primary factor in judging the art. Design, fine art, embellishment, graffiti or simple decoration, does it matter? We're talking about art.
After driving by an offensively insipid version of one of the electrical boxes I thought, Rainey has a point, but then I passed the one I see every day that is colorful, beautifully executed and represents the artist's work well. Maybe this program would be less offensive if the quality of work was better or if the artists did works that looked like their paintings, etc. Wouldn't it be cool to see an electric box by your favorite blue-chip-gallery Houston painter while you waited at that damn light that never seems to change? (I am not being facetious!). You know, instead of badly painted toucans. Yes, money could be better spent on something more grandiose but this is what we have right now. And what about other public art projects that beautify the banal such as the garbage truck thing and the parking meter thing? Do we need to get rid of those too?
I for one am applying for the thing because: 1) I think it would be cool to have one of my paintings on an electric box that people would hopefully enjoy seeing, hopefully, 2) I could count it as a public commission on my CV, and 3) $$$ for making art which I especially need now that I no longer have a day job.
"They aren't "blight" — certainly not in the way that litter or abandoned buildings are. Electrical boxes are something you probably never noticed, until your local municipality started decorating them."
They are blight when gang markers are scrawled on them, or graffiti is covered over by a roller of uncomplimentary paint.
IMHO this is an opportunity to impress youth by favorable example, rather than by intimidation. It doesn't have to be great, but well meaning.
This article is boorish.
That is a clever analogy, Paul.
Here is my take on that and how it pertains to art. If you enjoy patriarchal, quasi science fiction nonsense, that is your deal, you can watch that in your home. This doesn't eliminate the fact that Game of Thrones is not a sophisticated program, and it is not really meant for the overall public. Exposing taxpayers and visitors, while using public funds, to low-art is not engaging Texans or our guests in an interesting way.
Borrowing a cheeky idea, and exciting a few people who like shinny things will not put Houston on the map for visual culture. Lets step our game up.
Oh my goodness! As a public art coordinator for a Texas municipality (the City of Grand Prairie), I can't tell you how much I enjoyed this discussion. It scared me too. I'm actually shaking as I type. I found this discussion while looking for ways to publicize a Call to Artists to paint traffic signal boxes in Grand Prairie. It's taken a year to put this project together and there are LOTS of people to please.
It's not our first foray into public art. We have a percent for art program and a percent for streetscaping program that enables us to include art on bridges and other transportation facilities. I realize the author may not approve.
I don't know if y'all can even imagine the pressure to "get it right" for what feels like the future of public art in a community, especially in these current times. There's so much at stake.
Let me add that our project was put forward by a community leader who saw such boxes in other communities. That opened the door for our art program to host such a project. Our community is so behind where art goes. We have no galleries, no museums and no public transportation. A project like this could open peoples' minds to how art can brighten a community.
I really loved the comments. Honestly, I need to re-read through some to make sure I understood what the authors were saying. I've learned a lot from this thread that will hopefully make me a better art coordinator. I do like the open proposal idea and will consider that as we develop our city beautification master plan, which will include our public art master plan. I'm a dreamer and I'm blessed to work in a community with leadership that's open minded, at least for now.
Our Traffic Signal Box Public Art project must be a success for some of the bigger visions to happen. Mediocre boxes just won't help us succeed. I don't think any art program wants mediocrity. I've been studying similar projects from around the country and even other parts of the world. I've even contacted Up Art Studio and others in Houston. We must have skillful art on the boxes. We have funding for 20 boxes at $2,000 each, which includes $250 for supplies.
Interestingly, we had to research the materials due to the functioning electrical equipment in the traffic signal boxes. We had to gain the approval of our transportation officials and even our environmental officials. Another behind-the-scenes logistic relates to the legal components of the Visual Artists Rights Act of 1990. I share all that to say that while putting the art on the traffic signal boxes may not seem like a big deal, it really is.
We hope our project will provide some more opportunities for Texas artists, both experienced and emerging. We hope the art that's submitted and that wins will be skillful, beautiful and pleasing. We hope our project will help our own public art program gain respect and even more future opportunities. I could say so much more, but I'll stop with these hopes… Considering the author's distain for such projects, I respectfully hope we can list our Call to Artists (launches Monday, August 7, 2017) with Glasstire.com or that there's some way to connect the Call with the artists on your list. Lastly, I hope some of you will enter the competition and submit skillful, beautiful proposals. Tammy Chan – firstname.lastname@example.com.
Personally I love them. It breaks up the monotony of the roads in town. When you are stopped at a light it is something to glance over at for a moment.
My partner is in private aviation sales and has an office at Hobby Airport and actually went and took pictures of all the painted boxes along Broadway near Hobby and had them all framed and put in his office.
I can't even follow your argument or solution regarding this topic.
"If public art is going to dominate the visual landscape, it's got to be so great that most people enjoy the experience of it. And it's also got to make sense." <– since when does art answer to preferences or has to "make sense"? These paintings on electrical boxes are just a small gestures of community. And how can you compare an electrical box painting to a postmodern bull sculpture? That's like comparing sidewalk chalk art to the Bean in Chicago.
My word, the author is a party pooper.
It's art, and yes, your original premise and question "Do you even notice the electrical boxes" Yes, yes I do. I am happy the city is spending a little money to make them pretty.
I suspect by your account we should also do away with all sculpture?
Anything that depicts art at all?
Should we also only accept buildings designed in the brutalist style?
Could some of the boxes be more tastefully done? Sure, but my vision of what is appealing and what is art is different from your own, besides variety is the spice of life, and that's what we're trying to get towards anyway with making these bland green boxes canvasses.
"If you don't like" if you don't like it to look away", Lisa M, that's your argument and rebuttal? Did you vote for a certain celebrity real estate mogul?
By the way, after reading the Chronicle response to this,- which looks like it was provoked straight from the mayors office- it is a shame that they call Molly an art critic. Please Glasstire don't edit this from your comments, it's not an insult to Molly, it's a critique to the Chronicle and to the city itself for only having one art writer in the fourth largest city in the country.
In Berlin you use them as places to stick your poster for your show – or to promote other cultural things. In Antwerp the city itself creates colour photo-copies of pigeons that wrap themselves around the boxes. In our troubled times, they can be used as a kind of 'notice-board' for collective information – and so are covered or painted so that it cannot be used as such.
I'll admit that I have not read all of the other comments; but, I will say that I am so privileged to have an awesome window above my sink and overtime I look out straight across the street is two very ugly grey, very large boxes. While I sometimes get to see instead an AT&T truck parked in front of them for a change of scenery, (and if AT&T is here to get the neighborhood cable working again that's really good!), most of the time it's just the big gray boxes. If it were my yard I'd plant around it, but it's not mine. I would totally love to have something beautiful painted on them and have often thought about it. However, living in a neighborhood with an HOA Board that "protects" us from unsightly homeowner decisions, I highly doubt it would ever get approved. As long as the images are in "good taste" I say paint em all – please.
We would like to take this opportunity to respond to the article by Glasstire's Rainey Knudson that prompted a great and meaningful discussion about Mini Murals this past week. UP Art Studio's mission is "Civic Pride through Civic Art". Our goal is to educate, move and engage communities through public art at every turn. In her article Ms. Kundson made the following statement: "If public art is going to dominate the visual landscape, it's got to be so great that most people enjoy the experience of it." Her statement is a bold one that we acknowledge has a place in our community. Hence we would like to invite Ms. Kundson to join us a guest curator for one of our Mini Murals projects. As mentioned above one of our goals is to "engage" our community and this invitation is meant to do exactly that. It is our hope that Ms. Kundson will join us in reaching out to broaden our efforts to continue to make Houston a dynamic and visually attractive home to its citizens.
The one on the side of Allen and Waugh is an example of why you are getting criticism. Was it an elementary school class collaboration? I mean this inquiry honestly because if it was that is not really where commissioned public works should be going. If kids art should be getting public art commissions, then kids flute or piano students should be getting some play time at the Houston Symphony.
If UP is going to act as HAA or Fresh Arts, they should start taking 15-17% instead of the bulk of the commission. I love the old saying, "but you are getting great exposure". My favorite response to those statements, "people die from exposure", ML.
Let's step it up, maybe your invite to "Ms. Knudson" will up the bar.
One of my favorite comments/responses on this matter!
If the city is granting $2k per box, with the artist getting $1k- that leaves $1k for the person behind the desk.(there are a lot of these boxes, so I can't even imagine how much of a pay day that has amounted to) Having said that- if the person(s) painting the box has to jump through hoops, have their design altered, etc. and THEN brave the Houston heat in order to actually apply their design to the box- should those in charge not also put forth the effort of at least keeping the quality to a certain minimum? -I get that quality/standards can be a matter of opinion, but it seems like somebody is asleep at the wheel or on extended vacation in that department.
I agree with Rainey. Thank you, Rainey!
In Ann Arbor, in Michigan, it started with the fire hydrants. Somebody actually painted a fire hydrant "in the style of Jackson Pollock." Seriously? Yes, seriously.
After turning every fire hydrant into a gaudy little tchotchke, the City moved on to the utility boxes. Next, the water towers. None of this has made Ann Arbor unique, neither has it made the city a mecca for art tourism. The city isn't more fun or more inspiring or more creative. It hasn't made Ann Arbor a nice place to live as an artist. In fact, no surprise, artist life in the city has never recovered since the last affordable artist studio building was redeveloped into a YMCA.
Please Stop Painting The Electrical Boxes, because:
1. It's demeaning, to art and artists. If municipalities want to invest in artists, think about subsidizing more studio space, or investing more in your local arts institutions.
2. Fire hydrants and utility boxes were designed, already. Fire hydrants are red for a reason, and utility boxes are grey and green for a reason. It's a lack of respect towards those designs and the designers who designed them.
3. A city that needs to paint its utility boxes in an effort to be "vibrant and dynamic" has much bigger problems that painting utility boxes is going to fix.
4. If you think plain utility boxes are ugly, you haven't been paying attention to the last 100 years of art. Consider them "found objects," and discover their inner beauty.
I'd like to think Jackson Pollock would have had enough sense to paint a fire hydrant red.
I started the Streets Alive project in the Bay Area (California).
We wrap utility boxes with a vinyl wrap after digitally remndering art. This allows us to work with artists who do work in their studios, then we can scan or photograph the art and print/install.
THe person that wrote this article would rather go to museums and galleries. I approach my work as the most public of art galleries. A gallery without walls. Accessible to all. I have produced over 100 installations, all unique. all by talented artists. Some are photographs, some digital, some block print, some collage, some done by homeless teens, some by entire classes at a junior high, some by professional artists of fame….they reflect the community and the culture of place.
So…I couldn't disagree more. If he art in Houston is sub par, look at the process. Try wrap over direct paint. Analyze the approval process. Don't think artists don't want a chance to get their work on the street because that's the most false conclusion this author of this article poses. I have worked with artists who make $10,000 on a painting jump at the chance to have a digital rendering of their work appear on a box in their community.
I have had "struggling" artists thrilled to have their work on the box and get paid to do it (we pay $750 per box as well). Clearly this author hasn't been on the ground working with artists.
I say paint/wrap every box in sight. Just have a theme, have planning, have harmony, have design review, have quality control, have input from artists, have input from businesses…build an art campaign with a strong foundation and everyone truly wins.
When I first heard about this project, I thought that the city surely must be using vinyl wrap. But, as I saw these around town, I realized they were hand-painted, and was a bit surprised and disappointed. I imagined the artist dripping wet from our Houston heat, swatting off mosquitoes, breathing in toxic fumes, and hoping most people who happen along are friendly and non-confrontational. Although the chosen time period in the fall is considered to be cooler, and it could be, we still have some crazy, often hot weather here. Honestly, love the idea of opening the possibility for all artists by using the vinyl wrap… so much easier, and I think, much more professional! And so love that story about artists who make $10,000 on one piece being excited to have the chance to display their work on an electric box for a payment of $750! This says it all, and just got an email from Up Art Studio saying that well over 400 applications came in!
Sorry for a double post, I wrote this for the podcast, but that comment box wants to limit by exuberance with 1,000 characters. Ha! Here's what I wanted to say after listening to Ms. Rees and Ms. Knudson's discussion around this article:
Nice job Glasstire. This is an interesting and insightful and incite-ful discussion. I am truly enjoying the intelligent perspective you're bringing us around this subject. Thank you. I wish I could sit down with Rainey for a discussion around her premises: Mediocre artists placing art in public, why should the public be forced to look at this art, and what is an artist. If I had this opportunity, I would focus on these three areas: 1. Our difference in defining who or what is an artist. 2. I have a simple, yet very different definition of what is art. And thirdly, what is the purpose of art. Finding a common definition would end this discussion today. I have a different position than Ms. Knudson. If she is attempting to be sensational and arouse passion in the reader, I see it and there's great value in that objective. Similar to art, the dialog can be the primary objective in many instances despite the work. See DaDa or Pop Art for examples. I witnessed this same reaction when Lucia Simek wrote an article about "mediocre" public art in the May 27,2010 edition of D Magazine. It interesting to note that Ms. Simek's article had the same tone and message which generated the same responses. It makes me think the underlying debate is the three points listed above which poke at least three huge factions: municipalities, media and the art community. These stakeholders have an invested interested in defining art and the artists and a strong opinion where resources should be placed. If the author is attempting to "stir the pot," or increase readership, or make a legitimate argument for the position offered, all commendable. But, similar to defining the type of art we're discussing, there is value in labeling the type of media we're reading and make sure comments are read in the proper tone. This is why I'm proposing a respectful discussion where the intention is to fully explore this subject and not just explain the message. Thank you for the continued coverage and support of the arts!
I listened to the podcast where you discuss this further and you laugh at the notion that removing public art you don't like is fascistic…BUT IT IS FASCISTIC! Critique the art, fine. But doing away with the program because you don't like the artwork is absolutely tyrannical, snobbish, and counterproductive. And your defense is essentially that artists and critics who actually know something are all on the same page with you, but the general public isn't. But this is a public art program which generates public art for the public to consume! The argument that the only voices which matter are the ones with an art history background is silly. That said, would you fawn over a Katharine Bernhardt electrical box? Her work is interesting BECAUSE it looks naive! How about Henry Darger? You're doing mental gymnastics to convince yourself that you're right when you could simply revise your thesis to something like, "I think the artwork on the boxes should be done by artists I like better. Can I be on a panel?"
In my little 'city' of Halifax, Nova Scotia I've been fortunate enough to make a few bucks by painting these boxes. City officials claim that by having artists putting their touch on these devices, the punks that go around tagging everything they can see would leave them alone. And they were right. Before this project, nearly every box was tagged by numerous individuals. But those guys mostly consider themselves street artists and won't mess with other artists work. So if you prefer a picture of a sailboat, spaceship or just a Bob Ross-esque scene over a few scribblings, then it's an improvement. Otherwise I guess you're right.
The more that cities integrate practicing, professional artists from a wide demographic, the more substantive and exciting public art opportunities will be. These are great civil projects, but there are bigger problems that art can solve. It's wonderful that these opportunities exist and are growing!


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Hedge Fund Demands Yahoo CEO Scott Thompson Fired Over Resume Inaccuracies
Third Point, which is engaging in a proxy battle with the Internet company, wants Thompson and another director to be gone by Monday.
A hedge fund that hasn't been thrilled with the performance of its 5 percent stake in Yahoo to begin with upped its attack on the compay Friday by calling for the termination of CEO Scott Thompson over inaccuracies in his resume.
PHOTOS: 9 Highest Paid Entertainment CEOs
The fund, Third Point, was the first to accuse Yahoo of padding the resume of not only Thompson but also of director Patti Hart.
Third Point, which is seeking to oust some of Yahoo's directors and replace them with ones of their choosing, said in a letter that Hart should resign and Thompson should be fired by Monday afternoon.
Yahoo's corporate website listed among Thompson's credentials a bachelor's degree in accounting and computer science, when, as Yahoo clarified on Friday, he actually has a degree in business administration.
As for Hart, her bio at Yahoo's website claimed a degree in marketing and economics but it was also in business administration.
In a letter to Yahoo's board of directors from Third Point CEO Daniel Loeb, he notes that the errors have been in SEC filings for years.
STORY: Yahoo CEO Scott Thompson's Resume Included 'Inadvertent Error'
"The board should make no mistake: this is a big deal. CEOs have been terminated for less at other companies," Loeb writes.
"Irreparable damage to Yahoo's culture will continue," Loeb wrote, "every day that the board allows Mr. Thompson and Ms. Hart to remain at the helm of the company after having clearly demonstrated that they lack even the 'minimum qualifications for service as a director of the company.'"

subset: commoncrawl


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The prison, which has been falling further and further into disrepair since its closing in the mid-20th century was dark and eerie. Dust from the crumbling walls clouded the air and coated streaks of sun breaking through the cracked ceiling. My penitentiary wanderings, directed by a self-paced audio tour was chillingly and creepily fascinating. Not only did the tour provide facts spanning the space's entire history, but they added a soundtrack and personal testimonies. Bring the halls I was walking further to life.
There were many times when I paused and a cold wave washed over me. While I didn't have a supernatural encounter there, the stories of prisoners and guests alike were enough to keep me on my toes and the back of my neck tingling.
With the active imagination of a creative writer, I will proudly claim the title of World's Biggest Wimp when it comes to the horror, thriller, or supernatural genres. My mind does not need any help taking a haunted possibility and turning it into a "What's behind me?! Hello?"
I admit that there were a few moments when the tingles on my neck turned into involuntary jerks of the head. Luckily, whenever the spook was getting too much, I could retreat to behind my camera lens and view the buildings for the great photography backdrops they were.
The shadows, the textures, the sheer expanse of each row of solitary confinement cells was more than enough to keep my composing eye and trigger finger occupied.
If ever you visit Philly, make sure you stop by for an unforgettable afternoon of sights, sounds, and chills.


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This may sound jaded and some may feel it's a completely wrong attitude for a Christian, but it's the truth. Yes, despite our circumstances, we should keep our eyes on Jesus and rejoice in the fact He paid the price for our sins, but circumstances can still burden us down. Sometimes they're brought on by disobedience, sometimes it's caused from someone else's mistakes, and sometimes it just happens.
We're human. We break easily.
I came across this quote the other day in a journal I found on my bookshelf. "I stop and pick up a broken scallop shell and realize this shell is me when my heart is broken. When I am hurting. It is people who have lost loved ones…people who are frightened…people with unfulfilled dreams."—author unknown.
You see, a shell is a very strong creation. Even when it is broken it still continues to exist.
One of my favorite places to go is the beach, and my favorite activity to do there is to collect shells. Some of the most beautiful ones I find are broken in some way, but despite the flaw, they're a still a treasure.
We all get broken along the way, when the tide of life changes. Some days it's all we can do to stay on the shore. But don't lose hope. "The Lord is nigh unto them that are of a broken heart; and saveth such as be of a contrite spirit." –Psalm 34:18 KJV
~Candice Sue Patterson
*Image courtesty of usamedeniz/freedigitalphotos.net


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When Drew Struzan Painted The Greats
Let's state the obvious. Today's movie posters, with few exceptions, are pretty derivative. When the days of hand-illustrated movie posters passed, we entered an era of bland computer-designed ad campaigns that recycle overused motifs: a hierarchy of headshots, shadowy silhouettes, the use of orange and blue, just to name a few.
Now let's make another obvious statement. Drew Struzan is a man synonymous with great poster art, and it's crying shame that he's retired from the field. Even if you don't know the name, you know the artwork he created for Star Wars, Harry Potter, Indiana Jones, Back to the Future, John Carpenter's The Thing, Big Trouble in Little China, Goonies, and many more.
As a young movie fan growing up, I was coming of age when Struzan was making major strides in the business, and artists like John Berkey (The Towering Inferno, the '76 remake of King Kong), Bob Peak (Apocalypse Now, Excalibur), and John Alvin (Blade Runner, E.T.) were still working regularly.
Eventually Struzan became the last man standing because in the age of computer art. Only the biggest filmmakers could demand, and get, a hand illustrated campaign. It was great to see Steven Spielberg and George Lucas still hiring Struzan to illustrate their posters, and there's even been a rumor that Struzan may come out of retirement to illustrate the next Star Wars trilogy's campaign.
The irony is that while technology is partially responsible for the way movie posters are currently designed, it's also technology and the internet that finally brought Struzan to the attention of movie fans. For a long time, moviegoers didn't know who illustrated their favorite movie posters; these artists were true unsung heroes of the film business. I spoke to Struzan several years before he retired, and I was relieved to learn that the best poster artist in the business was also a heck of nice guy who still was very humbled to be plying his trade.
"From my childhood, my focus was on making the best paintings that I could," Struzan told me. "I could draw and paint from the time I could do anything. My mother said I could draw before I could talk. I was able to communicate with images before I could do it with words."
Struzan is a trained artist who learned his trade at the Art Center of Los Angeles after he completed high school. "I got a real good education," he says. "I did all the basics. I learned how to paint, and I learned all the mechanical things about perspective, and anatomy. I learned how to draw like the old masters, all the different compositional ideas and color concepts. I got a really good background, so I can work in any medium."
Still, Struzan starved when he moved out to L.A., living by the artist's maxim that he'd rather paint than eat. Finally getting sick and tired of the starving artist routine, he went to an employment agency looking for a job. A week later, he was offered a gig at Disney Animation, as well as a job at a design studio called Pacific Eye and Ear as a staff illustrator.
Struzan chose the Pacific Eye and Ear gig, where he illustrated the album covers for Alice Cooper's Welcome to my Nightmare, and Black Sabbath's Sabbath Bloody Sabbath. Then he started getting movie poster work for the low budget company AIP (American International Pictures), where he illustrated the campaigns for Squirm, Food of the Gods, and other low budget "classics".
Illustrating Star Wars catapulted Struzan to the big leagues, but looking back he says, "One step at a time I worked my way up. Better projects, better work." When he got the Star Wars assignment, it didn't feel like a big break because, as Struzan explains, "Star Wars wasn't really considered an A movie, it was a genre that everyone thought was a B movie. But it became so huge, it changed the industry. It made genre films very important. We've been watching science-fiction films for over twenty-five years because of Star Wars."
There have been many Star Wars posters, including the one illustrated by the Hildebrandt brothers, but the one that Struzan illustrated with Charles White III is reportedly George Lucas's favorite. White had called Drew up, and asked if he wanted to share a project. White was a well-known airbrush artist, and Struzan wanted to learn airbursh technique.
On the Star Wars poster, Struzan illustrated the portraits, and White did the mechanical objects, like the robots, the hovercrafts, Darth Vader and C-3P0. As for why the poster image was torn and showed a wood wall underneath the ripped paper, Struzan says, "They found out the typography and the billing block didn't fit in the space they had left. What can we do to make more space on a poster that's already been painted? We added on to the actual poster by painting Obi Wan down the side, and painting stuff across the bottom to make it look wider and deeper."
The phenomenal success of Star Wars also created the modern poster collectors market. "Posters weren't really collectible before that time," Struzan explains. "Star Wars started to make posters a force to be reckoned with, to be collected, remembered, honored, and respected. It was a nice growth period for the industry and art."
Lucas has a vested interest in the poster art for his movies because he wanted to be an illustrator when he was younger. Struzan calls Lucas "the most generous and respectful of anybody I've worked with." When working on a Star Wars poster, Lucas would always invite Struzan up to Skywalker Ranch to see the movie, where they'd then discuss concepts and ideas together one on one.
Spielberg is of course much more extroverted, and no less hands on, and Struzan says he's "really open minded, very creative. I like working with both Lucas and Spielberg, I started working with both of them around the same time. After a while, Spielberg fell out of being involved in advertising with illustrations. Everything you see him do now is photographic, where George still does illustrations because of his appreciation of them. He understands that it touches the heart in ways that photography doesn't, so he's always stuck with it."
Both Lucas and Spielberg have the power to get the ad campaigns they want, which is why they have been able to continue with illustrated posters, where a lot of other directors can't get them. Yet Struzan says, "Most directors don't understand that they can be involved. They can say, 'Part of the contract is I want to be involved in the advertising.' They can make that part of the agreement."
Struzan feels the peak of poster art was in the eighties. "That's when I think it was strongest. The seventies built it up, and we saw its strength in the eighties. That's when I had my best run with Indiana Jones, Police Academy, Back to the Future, some really great opportunities to make some great paintings. It started to taper off in the nineties when computers came into it. It took a lot of work away."
When I spoke to Struzan, he was still several years away from retiring, and he had just illustrated the ad campaign for the first Harry Potter film. He still loved creating poster art, and was sad that his colleagues weren't doing it anymore. Struzan lamented, "There's not enough work to go around, and they've had to find other ways of getting along. I'm really blessed and humbled that I can still doing what I've always done. It's slowed down, but it's still there, and I'm utterly grateful."
Struzan is now the subject of a full length documentary, Drew: The Man Behind the Poster, and many of his biggest fans in the business, like Spielberg, Lucas, Michael J. Fox, and Frank Darabont all gladly gave interviews, singing the praises of Drew's work. In a report on the film, USA Today summed it up very well when they wrote that movie posters these days "seem like bad Photoshop jobs and aren't terribly awe-inspiring. Next to Drew Struzan's detailed and remarkable work, they look 100 times worse."
Posters courtesy drewstruzan.com
David Konow is a southern California-based writer with a passion for the schlocky films of Hollywood past. His book, Reel Terror, chronicles the history and impact of horror movies.


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This work has now been merged into the master code branch and will be available in the next release. They have already been integrated into the Shotcut daily builds for all 3 major OS platforms! However, a caveat - there is not much to see there yet because Shotcut does not yet have filters. :-) Nevertheless, it has served as a feasibility exercise of the cross-platform integration. Meanwhile, one can open a clip, save as XML, edit the XML to put something like <filter mlt_service="movit.mirror"/> inside of the <producer></producer>, open the XML in Shotcut, and see the result. But first you will need to enable GPU Processing in the Settings menu.
What is currently available?
- movit.blur
- movit.convert (colorspace conversion)
- movit.crop
- movit.diffusion
- movit.glow
- movit.lift_gamma_gain (color correction)
- movit.mirror
- movit.opacity
- movit.rect (position and scale)
- movit.resample
- movit.resize (pad)
- movit.saturation
- movit.sharpen
- movit.vignette
- movit.white_balance
- movit.mix (transition)
- movit.overlay (transition)
- qglsl (a wrapper to multi consumer that uses Qt to abstract platform-specific OpenGL context)
What still needs to be done?
- A new threading model to improve concurrency between CPU and GPU
- More work on qglsl to support more multi-consumer use cases
- Keyframable parameters throughout
We thank Christophe Thommeret for providing the proof-of-concept which provided many ideas about how to integrate something like this with MLT.
We thank Steinar H. Gunderson for providing the new Movit library, which is an external dependency that provides all of the heavy lifting here.


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Some physical symptoms of co-dependency are chronic sinusitis, headaches and migraines, constant colds or flu, muscle spasms, spastic colon, constipation, unexplained joint pain, night sweats and nervous tension. Fibromyalgia, heart disease, chronic fatigue, immune deficiency, and excessive weight loss or weight gain may also result from a co-dependent mindset.Continue Reading
A term originally applied to the spouses of alcoholics, co-dependency may also be applied to members of a dysfunctional family and caregivers of an ill parent. These individuals are in danger of symptoms such as low self-esteem, problems with creating personal boundaries, reactivity and the need to please other people.
Co-dependents often put the perceived needs of others ahead of their own. However, people-pleasing and care-taking may also evolve into methods of manipulation because being in control helps co-dependents feel secure. Fear of being rejected or abandoned and denial concerning the source problem are common symptoms of co-dependency. While some affected individuals exhibit needy behavior, others insist that they're self-sufficient and don't need love or intimacy. Unhealthy dependence on another person may lead to anxiety, stress and a variety of fears, such as claustrophobia, dreading to make mistakes and feeling like a failure, all of which may lead to depression, anger and resentment, despair and hopelessness.Learn more about Psychology


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The Institute for Shakespeare & Renaissance Studies presents "The Merchant of Venice", June 2, 2013, 7:30 pm, Osborne Black Box Theatre, McDonogh School. Arguably one of the most controversial plays ever written, Merchant continues to raise penetrating questions about racism, religion, and justice. Join a group of thirteen students performing two different casts and share the culmination of two years of study and rehearsal.
Video coverage by Cindy Green.
The Institute for Shakespeare & Renaissance Studies presents "The Merchant of Venice", June 2, 2013, 3 pm, Osborne Black Box Theatre, McDonogh School. Arguably one of the most controversial plays ever written, Merchant continues to raise penetrating questions about racism, religion, and justice. Join a group of thirteen students performing two different casts and share the culmination of two years of study and rehearsal.
Video coverage by Cindy Green.
Check out what's happening with your favorite fairy tale characters in the play "Fairy Tale News" presented by Second Grade students in the classrooms of Lower School teachers Bridget Karwacki and Sharon Howell.
Video coverage by Cindy Green.
Lower School Faculty waved the buses off the lot at the end of the last full day of school for Lower School students. The students joined in the fun, waving and shouting from the bus windows!
Video coverage by Cindy Green.
On Wednesday May 30, 2013, seven teams of Upper School students gathered at the duck pond to race their self-constructed cardboard boats in a yearly tradition celebrating the end of classes.
Video coverage by Cindy Green.
Lights! Camera! Action! This year in Videoclass, groups of third graders, under the direction of special projects teacher Cindy Green, wrote original songs and melodies based on The Golden Rule. They created their own music videos with scenes of McDonogh School that they videotaped on iPads and used to accompany their songs. Ben Fish '16 sang the vocals in a demonstration video used in class, and Adam Green '10 constructed background music tracks on which the students superimposed their songs.
Songfest, an annual fundraiser to benefit the Concert Choir tour, featured performances by The Gentlemen Songsters, The Women of Note, and The Clef Hangers.
Video coverage by Cindy Green.
In this play, presented by the Second Grade class of Lower School teacher Nancy Lewis, students took on the roles of people in the world who are trying to save the elephants, "one elephant at a time."
Video coverage by Cindy Green.
Occasionally, we flubbed our lines and the elevator door closed prematurely. Check out our bloopers for a laugh!
The 33rd Annual Sophomore Oratory Contest, hosted by Master of Ceremonies Scott S. on May 14, featured speeches by five finalists. Sara S. spoke passionately about the importance of hunting. Andrea F. criticized the messages that Disney princesses send to young girls. Sophie R. voiced support for worldwide feminism. Sophia R. discussed how media customization feeds narrow-mindedness, and Nate R. addressed the role of affirmative action in education.
Video coverage by Cindy Green.
Lower, Middle, and Upper School Percussion, under the direction of Wayne Hudson, presented a concert in the Ceres M. Horn Theatre on May 9, 2013. Each senior percussion student was presented with a plaque.
Video coverage by Cindy Green.
The Eighth Grade and Upper School Spring Band Concert under the direction of Director of Instrumental Music Pete Hengen, performed on May 7, 2012 in the Ceres M. Horn Theatre. Each senior band member was presented with a plaque.
Video coverage by Cindy Green.
The McDonogh Upper School Choral Ensembles, under the direction of Philip Olsen, presented their annual spring concert in the Tagart Memorial Chapel on May 5, 2013. The Foxleigh Hill Singers, composed of faculty, staff, alumni, and spouses participated in the program. Each senior choir member was presented with a rose.
Video coverage by Cindy Green.
The Upper School Jazz Band and Jazz Ensemble under the direction of Donald New performed in their annual spring concert in the Ceres M. Horn Theatre on May 2, 2013. Each senior jazz band student was presented with a plaque.
Video coverage by Cindy Green.
The McDonogh Upper School Strings Orchestra and Middle School Strings under the direction of Andrew Shaud, and the Lower School Strings Ensemble under the direction of Catherine Frey performed in the Ceres M. Horn Theatre on April 30, 2013.
Video coverage by Cindy Green.
During the Middle School assembly on April 24, the Force Club, featuring faculty members Gregg Kleiman, Craig Copeland, and Darren Ford, along with Mr. Kleiman's brother Casey, presented a drama that included an exciting lightsaber display as well as pyrotechnics by Director of Instrumental Music Pete Hengen.
The plot unfolded in the Jedi temple, where two sith lords infiltrated in order to take over power.
Video coverage by Cindy Green.
English teacher Josh Waller '02 shares the importance of giving to the McDonogh Fund.
Fourth Grade students in Lower School art teacher Joan Newcomer's class created paper mache superheroes to coincide with the upcoming musical "A Superhero", composed by Jonathan Waller '00 and directed by English teacher Jon Aaron. The superheroes are on display in the lobby of the Horn Theatre, along with other Superhero inspired art projects from all three divisions of the school.
Video coverage by Cindy Green.
Alumna Kiernan Michau '09 Skypes from her dorm room to share the importance of staying connected to McDonogh.
Students have been building and programming robots to perform specified tasks along a designated path. This Lego Mindstorm robotics unit is taught by science teacher Rick Thompson to teams of engaged students in the Middle School.
Video coverage by Cindy Green.
Ms. Hailstone's Second Grade class presented "The Poetry of Shel Silverstein" on Tuesday, March 5 in the Osbourne Black Box Theatre.
Video coverage by Cindy Green.
The Gentleman Songsters sang at the Upper School Assembly to promote "Songfest," an annual fundraiser to benefit the Concert Choir tour. This year Songfest is a two night event on Saturday, May 18 at 7 pm and Sunday, May 19 at 5 pm. It features performances by The Gentleman Songsters, The Women of Note, The Clef Hangers, and the Concert Choir.
Video coverage by Cindy Green.
This past weekend, our own MechDonogh Eagles (Team 4505) traveled to the Rochester Institute of Technology in New York to compete in the Finger Lakes Regional compeition for FIRST robotics. The challenge was to build a robot in 45 days that could throw frisbees accurately, drive around the field, and climb a pyramid. The Eagles, in their first year competing with FIRST, were successful at all three challenges, something that is very rare for rookie teams.
"Let's Come Together" was the theme of this year's Multicultural Evening on Friday, March 1. The celebration included a wonderful showcase of student performances in the Ceres M. Horn Theatre, followed by a reception with entertainment and a variety of ethnic specialties in Lamborn Hall.
Video coverage by Cindy Green.
In the sixth of our video series, Kevin Costa, McDonogh's Director of Fine and Performing Arts, shares how the day-to-day experience of creating art – on the stage or in the studio – plays a major role in preparing our students for life beyond McDonogh.
Third Grade students wrote plays based on books they read in Reading Workshop. The students presented their plays in a performance titled "Our Journey Through Literature" on Thursday, February 21st in the Ceres M. Horn Theatre.
Video coverage by Cindy Green.
In the sixth of our video series, fourth grade teacher George Webb shares how Lower School students have a "blast" while learning the important skill of problem solving though patience, persistence, and practice.
Middle School engineers recently built their own catapults as part of their simple machines science unit. The students tested different designs and materials to learn which ones were the strongest and most accurate.
On January 30, the school dedicated the basketball court in the Louis E. Lamborn Memorial Field House to James T. Edwards, McDonogh's third headmaster who served the school from 1893-1898. The ceremony took place during halftime against Mount St. Joseph High School. In his remarks, Mr. Britton also remembered the building known as "Eddie's Gym," which was originally named in honor of Mr. Edwards.
There is no questioning Baltimore's love for the Ravens as they head to the Super Bowl this weekend. Even Headmaster Charlie Britton, a die-hard Patriots fan, declared it "Purple Week," allowing all students to break dress code and don purple attire... or the colors of their favorite team. At the end of the week Upper School students gathered for a final class meeting before the big game. The morning ended with a Ray Lewis Dance Contest. Go Ravens!
What is the capital of Alaska? What countries does the Tropic of Cancer intersect? McDonogh Middle School cartography whizzes gathered together on January 11 to compete in the Annual Geography Bee. Students answered questions on a variety of topics from the locations of cities to which countries share boarders.
During the All-School Holiday Assembly on Friday, December 14, Loki, the god of evil and nefarious intent, enlisted the help of super-villains, Darth Kleim, the Red Witch, and the Jokerette to destroy the holidays for everyone in McDonoghville. Committed to resisting the arch-villains was a feisty band of super-heroes, led by Loki's righteous brother Thor, who was assisted by the Incredible Hulk, the Stinger, and Major McD (Captain America was away!).
Ahoy Matey! Middle School students have been setting sail on a sea of learning about pirates. The young buccaneers have been reading "Treasure Island" in Language Arts, exploring shipping routes in Social Studies, and studying ship building techniques in Science class. The students constructed their own ships out of recycled materials and tested them in a small pool.
The John McDonogh Living Legacy Society recognizes the families and individuals who have decided to include the school in their wills or other estate plans. The following video was created by McDonogh alumna Rachel Kurtz '12 to inform our community about this important program. For more information, contact Barry Rollins, Director of Gift Planning, at firstname.lastname@example.com or calling 410-581-4771.
In the fifth of our video series, Bridget Collins '90, a McDonogh teacher, coach, advisor, and alumna, shares her deep pride in scholarship, opportunity, and community. Bridget's compelling story is living proof that your gift today impacts students' lives forever.
Kindergarten students learned a lesson in phonics when they participated in a wedding ceremony to join the letter Q and the letter U. The boys dressed as quarterbacks while the girls dressed as queens. A reception followed the ceremony during which the students dined on cupcakes and grapes.
Video coverage by Cindy Green.
In the fourth of our video series, Larry Johnston, McDonogh's Vice President of Administration and Finance, answers the question, "Where does my gift go?"
In the third of our video series, Jack Hardcastle '02, McDonogh's Director of Technology, shares how the school fuses technology into the classroom every day.
During a special gathering in Tagart Chapel on November 6, third graders presented handmade fleece blankets to members of The Red Devils, an organization dedicated to improving quality of life for breast cancer patients and their families. Tenth grade students helped the young quilters create the warm and fuzzy gifts.
McDonogh Middle School students recently planted trees on campus as a local service project. The effort was coordinated by two members of the faculty in conjunction with the Grounds Department. The trees were generously donated by John and Aimee Clime.
In the second of our video series, McDonogh's Headmaster, Charlie Britton, shares the importance of participating in The McDonogh Fund.
On Friday, October 26, the entire school was awash in a sea of orange and black in anticipation of the infamous McDonogh vs. Gilman football game. Students, teachers, staff, and parents cheered each other on in the traditional parade across the campus. The parade ended in a pep rally in the Rollins-Luetkemeyer Athletic Center.
During a special assembly on Wednesday, October 31, Upper School students were treated to mock presidential and vice presidential debates by students in history teacher Jeff Sanborn's AP American Government classes. The platforms of both parties were presented.
As part of the school's Founder's Day celebration on October 12, Middle School students enjoyed a special historical tour of the campus conducted by alumni.
In the first of several videos to raise awareness and support of The McDonogh Fund, our annual giving program, Allison F., a current senior, shares how gifts to The McDonogh Fund provide vital support to the programs that make a McDonogh education distinct.
The school community gathered around the John McDonogh monument on the morning of October 12 to pay tribute to our founder and other members of the McDonogh family who passed away during the past year. Chapel bells tolled and music filled the crisp morning air.
Lower School students and staff participated in "Be the Change Day." The day focused on ways students can learn to avoid bullying and engage in positive behavior.
Kindergartners hitched a hayride to the Roots Garden on Friday, September 28, to harvest this year's crop of pumpkins. The youngsters were delighted to see that more than 125 pumpkins grew from the seeds that they planted in June. Each child took one pumpkin home. The rest will be used to make homemade pumpkin recipes.
On Friday, September 7, Head of Lower School and proud mother duck Noreen Lidston waddled onto a large inflatable rubber duckie and led her divisonal ducklings down a "Slip 'n Slide" for meeting their summer reading challenge. The flock of lower school students read a combined total of 3,614 books to earn this summer fun on a school day. Their goal was 3,200. The lucky ducklings also ran through sprinklers, jumped around in a moon bounce, and traveled down a 22-foot inflatable slide.
On Thursday August 30, McDonogh students and faculty gathered at Childs Memorial Terrace on a gorgeous morning for Convocation. This year, the ceremony included a dedication of the Louis E. Lamborn Alumni Memorial Field House, in honor of former headmaster Louis "Doc" Lamborn, and Lamborn Road, formerly known as Woods Road, named for former headmaster Dr. Robert "Bob" Lamborn '35.
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YouTube Downloader 22.214.171.124 (3011) incl + Patch + Portable
- Category Apps
- Type PC Software
- Language English
- Total size 72.4 MB
- Uploaded By CPuploads
- Downloads 993
- Last checked 2 months ago
- Date uploaded 8 months ago
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Infohash : AB09A6C53113EBEE276BBD4650ADF25326793B57
Download without torrent client, visit:
MediaHuman YouTube Downloader 184.108.40.206 (3011) + Portable + Repack + MacOSX MediaHuman YouTube Downloader - the program will appeal to those who like to watch music videos, trailers or just different blogs of users through the Youtube service, and not just watch, but who wants this video to download to your hard drive for later viewing offline. Before you, a great video loader, which can easily do it in a user-friendly interface with many features.
Features: Simultaneous downloading multiple clips at once Simultaneously download HD video and 4K resolutions without problems. It is possible to download all the videos from the right channel or entire playlists. Works with such services as YouTube, Vimeo, Dailymotion, Soundcloud and so on. You can extract audio tracks from video and save them in video mp3 files There is support for iTunes and VEVO services.
Developer: MediaHuman
License: ShareWare
Language: English + Russian version
Download size: 72 MB
OS: Windows
How to Install:
1). Instructions are included in ReadMe.txt if needed.
2). Thats all, Done & enjoy.
Contact us:
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- YouTube Downloader 188.8.131.52 (3011) incl Patch + Portable.zip (72.4 MB)
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Read the previous part of the story here.
Roohi wanted the latest Reader's Digest. "Can I get a book from the book stall? Please!". "Sure, Roohi. But, will you be able to find it alone?". "Yes, mam, I can. I saw it while we were coming from the entrance. It is just beside the stairs.". "Ok, then, run along and come as soon as you are done.". And, she goes jumping towards the book shop, her pony tails and the lace of her frock swaying with perfect rhythm. An extremely clever and smart girl of 9 had better reading choices than most adults. She had already graduated to Kafka and Dostoyevsky even though understanding them was a lot difficult for her. Well, the product of an under-cover agent and one of the renowned journalist of the country could be anything but!
When she was asked for payment for the Reader's Digest she bought, her hand accidentally came across the toy phone lying in her pink backpack. She paid up, collected the book, restored the balance and the package to her backpack and got lost in the reverie. Roohi and her father were pretty close and they shared their secrets with each other. Since mommy had no time for the baby, daddy had to make up for the lack of it. It was not that Tara was not fond of Roohi, her priorities were just different.
When Roohi had told about the Delhi excursion to her parents, "Daddy, mommy, our teacher is taking 5 stuents from our class for an excursion to Delhi, please I want to go", both had reacted with enthusiasm. While packing her suitcase, her daddy had given this toy phone to her. Shekhar had explained Roohi a lot of things over the years, cracking ciphers, teaching her to be logical during problem solving, how to go over issues methodically and prioritize things with its urgency, not to lose brain while in critical situations and even gave her self-defence classes. While giving the toy phone, he had told her about the satellite phones and how they were different from the regular mobile phones. He told her that he would call her on this number when in any emergency or that she could also call him up whenever necessary.
Till now that necessity had not arisen and she was glad that the trip was coming to an end. She loved going to different places but being apart from her darling daddy for these many days had made her anxious! Her reverie was broken by a little commotion some place distant on the platform. Instinct made her hide behind people and she saw a couple of men with huge rifles, like they show in movies, moving about threatening to fire them on anyone who made a movement. Fear had rooted everyone to their positions and the whole platform, for once, was at a standstill and noiseless.
Roohi was suddenly assailed fear for her teacher and friends. She tried to silently move towards her group who were on the other end of the platform. While she was moving, she suddenly trip on the small bag placed on the floor. There was a little thud and one of the guy with the gun started coming towards her. In her fright, she made a dash to the exit door which she could see in the front and the guy with the gun coming towards her opened fire.
Ibrahim Rehman, the chief of ISISI, was not ready to listen to Shekhar. "No, we do not want anything. We are fighting for Jihad.". "How is it possible? Everyone wants something.". "You will know the things at their own time. Nothing before and nothing after.". Shekhar lost his temper and his concern for Roohi was mounting. He was hoping that she would remember to call him using the Sat phone he had given her. He wanted to call her but was afraid if it would land her in danger!
He recalls how excited Roohi was when she announced her Delhi excursion, "daddy, I really want to go. They have chosen only 5 among all the class. please, please", and Shekhar could not say no to her even though he already had heard reports of impending terror strikes in India. Just to take all precautions, he handed the satellite phone to her and taught her how to use it. Roohi was just 9 but way more mature than children of her age. Shekhar thought that probably he and Tara were responsible for this and he regretted not being able to give her the life which she deserved.
Jeniffer reached Delhi and rushed out of the train. The fear and chaos were reigning and she had to reach Tara as soon as possible. She takes the first cab which she could find and with great difficulty, she could convince the driver to take her to the attack site. By now, the terror strike at Hotel Continental was all over the news.
Jeniffer had talked to Anand, her fiance. "Hey, where are you? How is everything?". "Jeniffer, I will boss is gonna land in sometime and then we will go forward with our plan. You take care.". "Yeah, ok, you too take care and give me a call as soon as possible.". She never mentioned a word of her activities to him. They were just too unnecessary and he need not tease himself with something as simple as filming a journalist outside the hotel where the terrorists had attacked. She called up Tara and informed her that she would be there in front of the back gate of the hotel in 20 minutes.
Tara was supposed to cover the attack news from outside the hotel and stay there among the mass of other journalists till someone went inside and really did something. She did not become one of the top journalists by just standing among the masses. She was itching to break into the hotel and get some inside scoop. May be she could even help the army people get inside the hotel and nab the terrorists. But, there was a hitch. She needed Jeniffer inside with her but she could not put someone else's life at stake. She decides many lives are more precious than one.
Inside the hotel was a man who had started whimpering and pleading as soon as he saw the people with guns. He had been sure this was the last second of his life and he did not want to die. He started crying loudly and at a sharp rapport from the gun to the wall, he had fainted. There were around 10 men who had taken over the 5-star hotel in the heart of the city and they held everyone at their gun points. They had gathered everyone from the kitchens and the cellars to the penthouse in one room to take control. And, what do they want?
Read the next part of the story here.
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Developer Lionhead Studios became loved after releasing the Fable on the original Xbox. Now after multiple sequels that could never quite capture the magic of the first, it's releasing Fable: Anniversary ten years after the original.
Check out the trailer for a little chicken kicking nostalgia – Lionhead works some humor into its games – and some peeks at some bosses you'll duke it out with. This remake includes reworked audio, visuals, extra content and achievements. For look at how the high-definition remake compares with the 2004 Xbox original check out the comparison video from Gamespot below.
Fable: Anniversary drops on Feb. 7 for Xbox 360. Lionhead – for its part – working on a yet unnamed project. Stay tuned for more details.
RELATED: "Fable Legends" Will Be An Online Xbox One Exclusive (Video)
RELATED: "Fable Anniversary" Delayed: Pushed To Next Year
RELATED: "Fable" Creator Molyneux's Next Game Name Changed Because of NASA Mission to Mars


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