Rachel M-Keyser, PMP’s Post

Eileen Kent’s thoughtful analogy about the importance of translating the back story in the RFP process. Why is it important? 1. You shed light 💡on the ingenuity of concept. 2. You humanise 🕺the sometimes clinical side of the paperwork. 3. You create “buy-in” 🙋🏽from ALL stakeholders. #rfp #proposalmanagement #proposalwriting #RFI #rfq APMP #apmp #govcon #publicprocurement #federalcontractors #federalsales

Eagles and modernist sculpture inspired this concept's streamlined form. But behind the scenes something more revolutionary was unfolding. http://dlvr.it/T1cvL3

Saw this sculpture in a gallery in Santa Fe. It really spoke to me (other than the car in the background). We are both light and darkness. They reside in us simultaneously all the time. How we balance them makes all the difference. This sculpture put it in clear focus. The light, being on the bottom, has to be stronger to support the dark. When we build our strength in light and love, we can hold the darkness where it cannot hurt us, interfere with our plans and goals or manipulate our thinking. Clearly, we need a strong "backbone" as evidenced in this sculpture to accomplish this. Building a strong backbone requires us to remain steadfast with our commitments, desires, goals and dreams. With strength, the light sees in perfect orientation. And the darkness is upside down and disoriented. Yes, we all have a dark side. But life is all about the ability to overcome that dark side by focusing our attention on the light. How do you focus on the light? Are you seeing the light in your life? Or do you let your dark side manipulate your reality?

Nature is in a pinch. Without humans, it's just passively waiting for another asteroid to hit Earth, natural climate change which will kill 90+% of all species, or just wait 5 billion more years for the sun to explode, and then, it's game over. On the other hand, if humans get their shit together, nature via humans can fly off of this rock, and spread across the galaxy, transforming it into a giant garden of Eden. It's just waiting for humans to awaken to this bigger purpose for their existence, stop their self-hatred and regain their self-esteem. Nature doesn't give a crap if we kill polar bears. How many "polar bear like" creatures could exist if humans spread life throughout the galaxy? On the other hand, if we crawl back into our caves, in a technopoor society, feeling guilty for our reckless behaviour with nature, then nature will have lost on all fronts.

The head in the picture is that of "Lajuwa,” The usurper palace courtier of Ife", Ile-Ife. dated 12th -15th century. One of the few famous ile-ife Terracotta head sculpture that lies in famous Museum’s and galleries all over the world. What was the cause, what led to the decline of the art in Ile-Ife ? Lajuwa was the Sarun, the Palace Courtier to Ooni Aworokolofi, a very old man. After his death Lajuwa commissioned the sculptors to do his replica and he mounted this on throne. While Lajuwa ruled Ife indirectly telling the people, the Ooni was too old, thus he pretended to taking instructions from the Ooni statue. There were whispers that he must have colluded with the Princes and Princess to deceive the people of Ife. How true? We can never tell. However, when his deception was discovered, Lajuwa was put on trial and was sentenced to death by beheading, with all the artists and sculptors by the succeeding Ooni at a place call Atiba Grove. And so, Lajuwa wrote himself into history because today, he is the patron 'saint' of the Emese's or the palace courtiers of Ife. The mass killings of the artist ushered in the decline of the art industry in Ile-Ife. Today the Ife terracotta works constitute a large and diverse corpus that includes sculptures and vessels depicting human, animal, and otherworldly subjects. These works vary in size from nearly life-size, full-length figures to tiny figurines only six inches high, and range in style from extreme naturalism to abstract forms. A true testament of a sophisticated civilization that was way ahead of its time. Text Credit:- Omobabirin Olufunmi Odunsi Edited by Ifasakin Abiri-Akoko/ASIRI Magazine #ASIRIMagazine #ileife #YorubaArt #nigeriahistorymatters #digitalhistory #digitalarchive #education #terracotta #sacredart

"Swans" is probably the most recognizable piece of art in the library, and as a 1,000-pound sculpture in the middle of the building, it’s difficult to miss. Learn more about sculptor Elliott Balter and how this piece came to be. https://lnkd.in/gfYAN45d

Art lovers and logistics enthusiasts alike, this one’s for you! Whether we're discussing ancient Greek sculptures or boundary-pushing contemporary art installations, one thing is clear: all art needs careful handling during transport. It’s not just about wrapping them in bubble wrap and calling it a day! Critics and audiences might debate over the aesthetic value of a painting or sculpture, but everyone agrees that these treasures demand the highest standard of protection while being moved. One of our latest articles, “Transport of Artworks and the Art of Transport. A Guide to the Safe Transportation of Works of Art”, delves into the complex process of ensuring the safe transportation of valuable art works. From diligent packing techniques to selecting the right logistics service provider, we’ve got you covered. Ready to discover the secrets behind art transportation? Read the full article here: https://lnkd.in/enMhhSRh #coyote #coyotelogistics #logistics #art #arttransportation #artshipping

Title: "The Question Mark of Complicity" Artist Statement: In my latest sculpture, "The Question Mark of Complicity," I seek to provoke a poignant inquiry into the human tendency to remain silent in the face of injustice. Crafted from metal and wood, this piece takes the form of a gigantic question mark, symbolizing the collective hesitation to challenge authority and demand accountability. Through this work, I aim to expose the insidious grip of corruption and the dangerous complacency it fosters. By habituating ourselves to the status quo, we become accomplices in the perpetuation of wrongdoing. The question mark serves as a stark reminder of our reluctance to ask the hard questions, to confront the mistakes made by those in power, and to demand truth and transparency. This sculpture stands as a testament to the power of inquiry and the importance of critical thinking in shaping a more just and equitable society. It urges us to reexamine our role in enabling corruption and to find the courage to ask the questions that need to be asked. Materials: Metal and Wood Dimensions: 6 feet x 4 feet x 2 feet Year: 2024

Check out my blog post on the amazing glass sculpture by Toots Zynsky!

Frieze Focus 2024: Interconnectivity and Rebellion Against Division. Frieze London’s annual Focus section is held in high esteem as the leading platform for emerging galleries and artists to showcase their innovation and talent. This year’s collaboration with Stone Island showcased thirty-four presentations, a mixture of galleries and solo artists from across five continents. From digital installations and balloon animals to the more traditional mediums of painting and sculpture, the thread that tied a number of the Focus artworks together seemed to be a rebellion against the problematic division that society faces today. A subversion of boundaries and yearning for connection seemed to be the tone of this year’s Focus section at Frieze London 2024. Fostering the connection of galleries and artists from across several continents was Joumana Assily (Founder, Marfa), Piotr Drewko (Founder, Wschód), and Cédric Fauq (Chief curator, CAPC musée d’art contemporain, Bordeaux). The advisors curated thirty-four gallery and solo artist presentations that display the innovative talent of the emerging art scene. Explorations of boundaries, whether a rewilding abandonment or stark materialisation of them, were exhibited throughout the section. Here are some of New Wave’s top picks: https://lnkd.in/eUYmuyFw