Thomas A. Clark

RING OUZEL
RING TONE

free download here

Iphone:

https://www.dropbox.com/s/xv4nbdycn472t6w/Ring%20Ouzel%20Ringtone%20m4r.m4r?dl=0

Other:

https://www.dropbox.com/s/whw2x8ew78oe78r/Ring%20Ouzel%20Ringtone%20mp3.mp3?dl=0

Male Ring Ouzel, Turdus torquatus. Cairngorms National Park, Scotland. May 2006.

Of RING OUZEL RING TONE, Thomas A. Clark writes: “If you can manage to convert it to your ring tone, if your phone will support that, you will have that sound every time someone rings you.

“What a happier world it would be if ring tones were bird songs!”

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Thomas A. Clark lives in the small fishing village of Pittenweem, on the east coast of Scotland. Among his books are Yellow & Blue and The Hundred Thousand Places. In 1973, he and the artist Laurie Clark founded Moschatel Press to produce artist’s books and poetry collections. In the summer months, they run Cairn, a project space for minimal and conceptual art (www.cairneditions.co.uk). Clark’s work often appears as installations or interventions in galleries, public spaces or in the landscape. A large collection of such work was installed throughout New Stobhill Hospital in Glasgow.

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Darren Lee Miller

I Dreamt We Were in Boat

Unlucky

Fecundity

Hidden Place

I Dreamt We Were in a Boat (collaboration with Colleen Toledano), 2014, Archival Inkjet Prints, diptych, approx. 30” x 80,” (30” x 40” each)

Unlucky, 2015, Archival Inkjet Print, 40” x 30”

Fecundity, 2012, Archival Inkjet Print, 30” x 40”

Hidden Place, 2015, Archival Inkjet Print, 30” x 40”

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Darren Lee Miller is an artist, instructor, gallery director, and curator at Allegheny College in Meadville, Pennsylvania. In 2015, he worked with nine artists to create, Performing Blackness::Performing Whiteness, an exhibition that examines constructions of racial identity by destabilizing the often unexamined position of “whiteness.” The themes to which Miller returns – power, identity, control – inform both his curatorial work and his art work. Taking his cues from the metaphors seen in ancient mythology, renaissance painting, and contemporary photography, Miller creates works that undermine the power dynamics and roles that exist within depicted relationships to remind the viewer of familiar stories, but that also challenge expected meaning. His work has been recognized through residencies at Blue Mountain Center and the Vermont Studio Center. Miller holds a BFA from the New York State College of Ceramics at Alfred University, and an MFA at the School of the Museum of Fine Arts, Boston.

Ann Spiers

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Poet Ann Spiers lives on Vashon Island under Puget Sound’s rainy skies and rich beaches and bogs. She is the island’s inaugural poet laureate. She co-authored the guide book, Walks, Trails, and Parks of Vashon Island. Her chapbooks include What Rain Does (Egress Studio), Long Climb into Grace (FootHills), and Bunker Trail (Finishing Line). These four poems with icons are from a poetry cycle, Weather Station, that uses international weather and other visual symbols as titles for poems considering change in the physical, cultural, and personal world of water. “No Clouds,” Stratocumulus…,” “Ground Flooded,” “Clouds Dissolving.”

Sherry Wiggins

Sounds of the Ocean

Sounds of the Ocean

Lemon Tree for Suhair

I made Sounds of the Ocean in 2006 when I was traveling and working in the West Bank in the Occupied Territories of Palestine. I interviewed Palestinians for this project ─ many of whom have become good friends ─ with questions from people in the U.S. The most poignant questions I asked were “What is your dream and what is your idea of paradise?” When I asked these questions of Suhair, who lives in the Dheisheh Refugee Camp in the West Bank, she answered that she wanted to hear the sound of the ocean and have a lemon tree in her garden. Suhair lives in a refugee camp near Bethlehem that is 30 miles from the Mediterranean Sea. She is not allowed access to the ocean nor does she have space in her cramped home in the camp for a lemon tree. Her answer and the answers of other Palestinians struck me strongly. When I returned to the U.S., I performed a ritual on the coast in Oregon. I placed different objects in a golden frame on an artist’s easel by the ocean to reflect the dreams of the Palestinians with whom I had spoken. First I placed the open golden frame, then I placed a painting of a lemon tree for Suhair, then I placed a Palestinian flag for Joseph, who wanted “peace anywhere.” Finally I placed a portrait of Taghrid, who wanted to “be able to travel freely and to study.” These dreams are still unfulfilled for my friends in Palestine almost 10 years later.

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Sherry Wiggins combines the mediums of sculpture, installation, photography, film, drawing and painting. Her work is reflective, often participatory, and rooted within cultural difference, spiritual transformation, and women’s issues. Wiggins is currently working on a multi-faceted international project in which she researches and embodies the work of various remarkable women artists of the 20th century. Wiggins exhibits nationally and internationally from her home base of Boulder, Colorado.