Local sculptor Duncan Lewis does welded metals he calls “industrial folk art” and more | Arts & Theatre

“I think art shouldn’t be this elite, inaccessible thing,” Lewis said.

Q: How would you describe your art?

Answer: I am a sculptor who has worked in several different styles or genres over the years. I am working on a commission in welded metals. It is in a style I call “industrial folk art” because I’m using a lot of industrial scrap metal to fabricate a life-sized alligator for someone’s garden.

I studied figurative art for a long time and still do “realistic” bronze castings, primarily expressionistic animals and birds. I have also done large-scale outdoor abstract sculptures and fountains, wood and stone carving and ferrocement pieces. I guess you could say I’m all over the map.

I’m interested in community art as well, and I am involved in a couple of collaborative projects at present. A recent example of this type of work is in King. Adjacent to an

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Aussie researchers using machine learning to analyse rock art


Young Dakal clan landowner Desmond Lindsay visits this site on his country for the first time. Most sites are remote and often impossible to even approach closely by vehicle.

Image: Mimal Land Management Aboriginal Corporation (MLMAC)

South Australian researchers have been working with the Mimal and Marrku traditional owners of the Wilton River area in Australia’s Top End to analyse the evolution of rock art through machine learning.

The study, led by Flinders University archaeologist Dr Daryl Wesley, saw the group test different styles of rock art of human figures in Arnhem Land labelled “northern running figures”, “dynamic figures”, “post dynamic figures”, and “simple figures with boomerangs” to understand how the styles relate to one another. 

The team used machine learning to analyse images of rock art collected during surveys in Marrku country in 2018 and 2019.  

The approach used previously trained and published convolutional neural network models and dataset

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The art of revolution: “Frida Kahlo, Diego Rivera, and Mexican Modernism” | Art

Her face is stern, as it is so often in her self-portraits. She stares out, inscrutable, from a merengue of lace that dwarfs her tiny head. You likely know who she is, of course. The unibrow. The hairline as definite as a border checkpoint. And in this image, the small portrait of her husband, Diego Rivera, on her forehead. She called it Diego on My Mind (Self-Portrait as a Tehuana) (1943).

Over the years, Frida Kahlo has evolved into a name and face recognized by lovers of art, as well as art avoiders. Her image fuels sales of magnets, posters, and canvas bags, coffee cups, scarves, socks, calendars, jewelry, and a lot more in museum shops and trinket spots all over the United States, and possibly the world. For many, it’s her life story that’s made her compelling — imagery that transformed this complicated woman into an icon of

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Artists create meaningful art at The Green Art House

Richard Stergulz, co-founder of The Green Art House and painting fundamentals instructor, teaches techniques in painting to student Linda Herzog at the Fallbrook workshop studio. Valley News/Shane Gibson photo

The Green Art House in Fallbrook was started with a twofold purpose in mind: to provide a teaching facility for artists of all levels and styles to create whatever they wanted and to be eco-friendly while doing it. Richard Stergulz and Leslie Sweetland co-founded the nonprofit about eight years ago with a vision to offer classes and events that promote art, art awareness and art education while encouraging and promoting public interest and understanding of art in its variety of forms.

Along with teaching art classes at the center, Stergulz is the Southern California host for an Australian-based YouTube art program called “Put Some Colour in Your Life!” that is hosted there by the program’s CEO, Graeme Stevenson.

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