Latest news with #Tulloch
Miami Herald
7 days ago
- Entertainment
- Miami Herald
Communing with the Everglades brings inspiration to AIRIE artists
With its efforts to bring the art and environment closer together since 2001, the non-profit Artists in Residence in the Everglades (AIRIE) has not only grown in size, but in depth. Each year, the organization selects approximately 12 artists to be part of their residency program. The residency lasts for one calendar month, where artists stay in a cabin within the Everglades National Park. Every morning, they see the sunrise over the Everglades and experience the sunset. The hope is to inspire the creation of something beautiful. This season, AIRIE is celebrating its 25th anniversary. The celebration comes in the form of new programming throughout the year as well as an extended residency program featuring 18 fellows instead of the usual dozen. T 'We've also grown in terms of what we're trying to say, which is around creating an affirming space for artists to come and engage with the environment,' says Tracey Robertson Carter, AIRIE's acting director. 'We want to encourage the use of the arts around the challenges that we face every day in our, in our precious environment, and particularly that in South Florida.' The most recent open call for AIRE garnered over 500 applicants, more than any other year, says Carter. While the selection process is lengthy and tough, the director admits it's also wholly inspiring. 'I love reading in the application about what the residency can be,' she says. Carter mentions one incoming fellow, musician Thandeka Mfinyongo from Cape Town, South Africa, who works with ancestral instruments and sounds. 'She's bringing her ancestral instruments here and wanting to create new sounds in our Florida environment. (Reading in her application) what that would mean to the sound, what it might mean to her connection back to her ancestry, it's projects like that you just can't help but be in awe.' Artist residents are given one month to stay on property within the Everglades and given the freedom to create. There is also a stipend for expenses and exclusive access to the national park. Their singular mission is to take inspiration from their surroundings and apply it to their practice. 'We really look at it as a research residency,' says Cornelius Tulloch, global artistic director for AIRIE and former fellow himself. 'The artists' only commitment is to be in the park, engage with the community, and to do one public programming, which could be a talk, a walk, or some other kind of format where we meet the artists… we aren't afraid to allow the artists to be artists.' Tulloch was part of the 2022 AIRIE cohort and was so inspired, he stuck around. 'I think that's the beauty of doing AIRIE,' he says. 'No matter what you thought you'd come in with, you leave with so much more.' Throughout his time with AIRIE, Tulloch has become a pseudo-Everglades influencer, he quips. He went from posting pictures of art and fashion to posting about the national park. 'I feel like for a lot of people, it's that kind of literal fact of representation like, how do I exist in this space?' Tulloch's social media feed inspired fellow artist and friend, Daveed Baptiste. The Haitian-American textile artist and photographer never really saw himself in an environment like the Everglades. That is, until he saw Tulloch's posts. He was inspired and applied to AIRIE. Baptiste will begin his residency at the Everglades National Park in March 2026. 'I just remember seeing footage for like a whole month,' says Baptiste of his friend Tulloch. 'He was posting in the Everglades, like the swamp and trails.' Based in New York City, Baptiste grew up in Miami and shares that he's been searching for an opportunity that would bring him home. 'Miami is where I discovered art… I feel like Miami is the soul of my practice.' When it comes to his residency, the photographer plans on hosting multiple photoshoots among the trees and water. 'When you look up the Everglades, you didn't really see a lot of Black folk in the (attraction) videos or photos. There's this large absence of Black folks. And so during my time there, I'm going to be looking at how visual culture shapes our perception of who has access to the Everglades… and I will be hosting the most fabulous photo shoots with beautiful Black families, friends, queer people, and kind of just presenting this Black Utopia within the river of grass,' says Baptiste. Another Miami native and incoming fellow is Lee Pivnik. The young artist has been applying to the residency on-and-off since 2016. His upcoming residency in September is a dream come true. He lists a handful of growing ideas he has for his one month in nature. 'I'm so excited for September,' shares Pivnik. 'I have two ongoing projects right now that are very Everglades focused and inspired. I'll be thinking about how the Everglades holds all of these histories and stories of trauma, survival, neglect, and then resurgence.' Pivnik adds, 'I'm hoping to really use the experience to produce materials and ideas that'll continue to feed my practice.' In addition to Baptiste, Pivnik, Mfinyongo and Rook, this season's fellows include Ashia Ajani (Denver, Colo.), The Honourable Elizabeth A. Baker (who works within the Radcliffe Institute for Advanced Study at Harvard University), Shenny de Los Angeles (Kissimmee, Fla.), Sarah Doerfel and Vincent Scheers (Munich), Samuel Dominguez (London), Laurena Finéus (New York, N.Y.), Havîn Hât (Germany), Julius Karoubi (Oslo, Norway), Bex McCharen (Miami), Jewel Rodgers (Nebraska), Ackeem Salmon (Detroit), Jean Shin (Brooklyn, N.Y.), Sheherazade Thénard (Miami) and Coco Villa (Queens, N.Y.), and David Rahahę•tih Webb (Tuscarora Nation of North Carolina). Board president Zoë McKenzie has been with AIRE for two years and sees her role as bridging a connection between the organization and the community. 'The folks that are in this cohort have already begun to intersect their point of view and experience and influence with their fellow participants,' says McKenzie. 'They are already building an incredible legacy and network that will go from South Florida, from AIRIE and the Everglades, and beyond.' If you go: WHAT: Artists in Residence in the Everglades (AIRIE) WHERE: Everglades National Park, Ernest F. Coe Visitor Center, 40001 State Highway 9336, Homestead INFORMATION: (305) 209-0177 or is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music and more. Don't miss a story at
South Wales Argus
19-07-2025
- Business
- South Wales Argus
Caerphilly recruitment agency gives away £10,000 in prizes
Vetro Recruitment, based in Caerphilly, runs its Golden Ticket scheme to recognise staff in education, social care and nursing. Alastair Tulloch, founding director of Vetro Recruitment, said: "These sectors are the backbone of our communities, and the professionals working within them often go above and beyond, with little recognition. "Giving back to them – even in small ways – is our way of saying thank you." The company has supported hundreds of agency workers across South Wales and the wider UK since it was established in 2015. Despite its growth, it remains firmly rooted in Caerphilly and committed to its local identity. Mr Tulloch said: "Our team lives and works here – Caerphilly is home. "We are committed to showing that a local business can make a real difference in people's lives." The company plans to continue and expand its reward initiatives in the future. Vetro Recruitment specialises in placing professionals in the education, social care and nursing sectors. The business has a strong community focus and aims to highlight the positive impact a locally based company can have on individuals and the wider community.
CNN
26-06-2025
- Entertainment
- CNN
Is this the most political fashion item ever?
Overlooked, familiar, homely… These are the words traditionally associated with the apron, a detachable, workaday garment that has historically functioned 'almost like an invisibility cloak.' So said Carol Tulloch, a professor of dress, diaspora and transnationalism at Chelsea College of Arts, in a telephone interview with CNN. Just don't tell that to Jeremy Allen White's character Carmy Berzatto in hit TV drama 'The Bear' whose tightly-tied blue Bragard apron (a replica of those worn in chic Napa Valley eatery The French Laundry) only enhances his main character energy as the show's fourth season premieres this week. Tulloch, alongside fellow London-based academic Judith Clark, a professor of fashion and museology at London College of Fashion, have recently come together for a three-month-long residency at the Chelsea Space gallery to reflect upon the apron's cultural and social values — its design and use, as well as role regarding issues of race, class, and gender identity. It's timely as the apron is enjoying something of a renaissance in popular culture — featuring, for example, in recent collections from Hermès, The Row, Dior, Phoebe Philo and Ganni and on Kaia Gerber who wore a chic pinafore-style dress while out in New York in April — and it's ability to encompass unheard stories and experiences is starting to be critically appraised. 'They've been an unconscious part of many of our lives and childhoods,' said Tulloch. 'While they only really have one function — to protect clothes — they come in many forms.' When Tulloch started critically examining aprons, they proved to be a fascinating insight into people across all strata of society, she said. 'Those I wouldn't expect to have a close relationship with aprons — academics, for example — become quite pensive when they start thinking about them.' Tulloch recalled a small show from some years ago, called 'Pinnies from Heaven' at the Makers Guild museum in Wales, exhibiting works created by artists based on their recollections of the apron. One artist talked about how, for them, the apron absorbed the detritus of all the things that happened in the home, not just the mess from cooking or cleaning, but emotional fallout too. 'That really stuck with me,' Tulloch said. For Clark, the apron is 'talismanic.' Speaking to CNN via a phone call, she observed that the residency created an immediate sense of nostalgia for some people. 'Within two minutes of coming in, people recount something of their family history,' she said. Tulloch has also looked at aprons as a tool of protection and activism for women through the lens of African Jamaican market women called 'Higglers'. 'The Higgler is still very much a part of Jamaican identity,' says Tulloch. 'She was visually defined by the apron, whether tied around the waist or as a full bib. Likewise they were worn by women who were pineapple or banana pickers, or domestic workers.' Tulloch references contemporary South African artist Mary Sibande who explores the intersection of race, gender and labor in the country with her sculptural depictions of the apron-wearing 'Sophie,' the artist's self-proclaimed 'alter ego who plays out the fantasies of the maternal women in her family.' 'Sibande's great grandmother all the way up to her mother were all maids,' said Tulloch. 'The apron has served as a visual code in movies too: African American women were often defined as maids by the wearing of aprons in films and cartoons. Separately, the suffragettes reclaimed aprons, using pinafores emblazoned with slogans as activist tools, often when they had come out of prison for their campaigning work…' But aprons weren't always a sign of domesticity, servitude or homeliness, or of being working class. Nor were they always worn predominantly by women. Research suggests that triangular apron-like garments were first worn by noblemen in Ancient Egypt, as evidenced in paintings from the time. In the Middle Ages, aprons made from leather and heavy canvas were worn by farriers, cobblers, butchers, blacksmiths and other tradesmen desiring heavy duty protection from the perils of their work. Then, during the Renaissance, European 'women of means' wore elaborate yet washable aprons adorned with lace and embroidery to keep their luxurious gowns clean. Aprons were a fixture of many employments during the industrial revolution, with strict codes delineating the styles to be worn by staff (plain, workaday) and the styles worn by the women holding the purse strings (elaborate, embroidered and made from more costly cloths). In the 1950s, the apron came to be a symbol of homemaking particularly in the United States — think Lucille Ball's Lucy Ricardo character in the 1950s sitcom 'I Love Lucy' or more recently January Jones' portrayal of Betty Draper in 'Mad Men.' Despite the garment being such a part of our collective consciousness, aprons have rarely been studied, said Clark.' Collections, such as the one held by the Fashion Museum (in Bath, England), are huge and of great cultural value and significance, but there hasn't really been sustained research done on them,' she explained. While displaying aprons comes with its own set of challenges — the style is tricky to mount due to its flat construction — Clark also suspects aprons have 'not been considered of cultural importance because of their relationship to traditionally women's domestic work.' But perhaps that's changing as the apron continues to be modernized, further cementing itself into popular culture. Thanks to Gen-Z's increasing interest in food and cooking, apron-wearing is finding a new genderless and more diverse audience. While alpha male chefs of old wouldn't often be seen in a pinafore (Gordon Ramsay aside, aprons were the preserve of a 'cook') Carmy's proud pinny-wearing is a case in point. Even Vogue magazine decreed the return of the garment (alongside the rise of what they termed 'gardening-core') in their June 2025 issue. 'There's some beautiful imagery of the late (fashion journalist and muse) Anna Piaggi with Karl Lagerfeld, using a Chanel cape as an apron,' said Clark. 'I love their shape, their mobility, that they're not fitted and so therefore are a truly inclusive garment… I love how easily the item can be subverted. It just refuses to be defined.'
The Herald Scotland
23-06-2025
- Lifestyle
- The Herald Scotland
Discover the charm of the Highlands at Spey Green's Heather show home
Newtonmore feels remote with its sweeping views and peaceful pace, and it's also surprisingly well connected. Just off the A9 and under an hour from Inverness, with its own train station linking directly to the Highland main line, the village offers the best of both worlds: true rural beauty, without sacrificing convenience. It's this unique combination that makes Newtonmore such a compelling place to call home. Set against a backdrop of pine forests, rivers and hills, it offers year-round access to walking and hiking routes, world-class fly fishing on the River Spey, and a rich variety of Scottish wildlife. It's also a thriving, active community, home to the renowned Newtonmore Shinty Club - one of the popular Highland sport's leading teams - as well as gardening groups, heritage events, and the lively Highland Games each summer. At the centre of the Spey Green development is the newly opened Heather show home - a beautifully presented three-bedroom detached property. It immediately sets itself apart with its bold exterior including a tiered roofline, generous glazing, and well balanced proportions that offer both kerb appeal and architectural substance. When you step inside, the full story, continues to unfold. Each room has been styled to showcase interior trends, complementing the sense of space created by the natural light flooding each room, while demonstrating how practical and stylish a modern family home can be. The spacious lounge, drenched in natural light, opens through French doors into a turfed rear garden, creating a seamless indoor-outdoor flow. The open-plan kitchen and dining area, crafted by Tulloch's long-term partners, Ashley Ann, is functional and beautiful in equal measure. Worktops, doors, and integrated Bosch appliances come as standard, offering a premium finish that's built to last. Upstairs, all three bedrooms include fitted wardrobes, and the primary bedroom boasts an en suite shower room with sleek tiling, chrome trim, and vanity units. Even the upstairs hallway has been carefully considered, with a large window and overhead Velux creating a bright, flexible area which has been styled as a dedicated work-from-home space in the upstairs landing. That same ethos runs throughout the Heather. There's storage where you need it, in the form of two generous cupboards, a practical utility room and thoughtful room layouts that make use of every inch. For families with busy lives and evolving needs, this home doesn't just look good, it works. Select upgrades have also been added including a quartz kitchen worktop, subline sink, canopy extractor, oak doors, flooring and blinds. A stylish pergola and a flexible garden room extend the living space outdoors, ideal for enjoying Newtonmore's long summer evenings and dramatic Highland views year-round. Sustainability plays a key role in the Heather too. Tulloch's use of air source heat pumps and enhanced insulation ensures high energy performance and lower household bills, a growing priority for today's buyers. Tulloch sales and marketing director, Jo McLaren said: 'The Heather is more than a beautiful home; it's a blueprint for how our customers want to live. From the quality materials and flexible layout to the energy-efficient design, every element has been carefully considered. Our goal was to create a home that feels ready to live in from the moment you step inside, and judging by the early reaction, we've done just that. 'At Tulloch, we've been building homes across Scotland for over 100 years, and our experience has taught us that great homes are about more than just bricks and mortar, they're about communities and connection. Before we officially opened the doors, we invited early buyers and local residents in for a preview, and the response was incredible. That one evening has already sparked friendships and there is plans being made for a summer street party. 'More and more people are realising the Highlands offer something truly special with a chance to live a healthy life at a slower pace, surrounded by nature, but without giving up connectivity or quality. And in places like Spey Green, people aren't just finding new homes - they're finding flourishing new communities.' Spey Green offers a range of two and three-bedroom homes, all finished to Tulloch's signature high specification. Prices start from £235,000. The sales office is open Thursday to Monday, 10.30am-5pm. For further information please call 01479 784022, email speygreen@ or visit
BBC News
10-06-2025
- Entertainment
- BBC News
Lochaber's Inverlair Lodge: World War Two secret agents' house put up for sale
A Highland house where "troublesome" secret agents were kept busy during World War Two has been put up for Lodge was taken over in 1941 by the Special Operations Executive (SOE), an army of saboteurs and guerrilla fighters formed to fight behind enemy residents were foreign nationals who had been unable to perform their duties but needed to be kept safe because of the dangerous secrets they knew about the Allied war by British soldiers, the agents were kept occupied with a range of tasks including mending boots and salvaging scrap metal from the surrounding countryside. Estate agents Galbraith has put the 18th Century property on the market for offers over £1.3m. Six-bedroom Inverlair Lodge, near Tulloch, about 20 miles (32km) from Fort William, was chosen because of its remote WW2 it was known as No. 6 Special Workshop interviews with the Imperial War Museum, Dundee-born Alfred Fyffe told how he was put in charge of Inverlair for 30 said the residents, who included Italians and Dutch, were supervised but not kept under armed guard and were even allowed to make trips into Fort Fyffe described the lodge as an "experiment" with agents of different nationalities living under one roof, and working on tasks designed to distract them from the secrets they of their jobs was salvaging metal, including railway track, abandoned by British Aluminium which operated a smelter in Fort Lodge and similar SOE properties are said to have inspired the plot to 1960s TV drama The Prisoner, which starred Patrick McGoohan. War-time prime minister Winston Churchill enthusiastically supported the formation of SOE, and ordered its agents to "set Europe ablaze".Its history was an inspiration for film director Guy Ritchie's 2024 action-comedy The Ministry of Ungentlemanly was disbanded after the war and Inverlair Lodge was vacated and fell into disrepair. It was restored in the was a key training area for Allied forces during Castle, the ancestral home of the chiefs of Clan Cameron and about 15 miles (24km) north east of Fort William, was used as commando training elite troops were from Britain and the US as well as France, the Netherlands, Norway, former Czechoslovakia, Poland and Belgium.
