Latest news with #Munch
Associated Press
a day ago
- Business
- Associated Press
AI-Powered Omnichannel Marketing System AmpCast May 2025 Launch Announced
AmpiFire, a leading team of innovators in the content marketing space, has announced the upcoming public launch of AmpCast, an AI-powered content distribution system. London, United Kingdom, May 30, 2025 -- AmpiFire has announced the May 2025 launch of AmpCast, a newly developed content creation system designed to help small businesses reach a wider audience across multiple channels. Using AI, the system can adapt human-created content into various formats, including video releases, X threads, Instagram posts, and more. To find out more, visit With the cost of multi-channel content marketing rising across the board, many businesses are being forced to cut corners, resulting in missed connections and an industry-wide reduction in ROI. Not only is this trend a net negative for businesses that rely on multi-channel content as their main form of promotion, but it also negatively impacts customers, who may miss out on hearing about products and services they love. With the launch of AmpCast, AmpiFire hopes to change this by making omni-channel distribution more accessible than ever before. Crucially, the system is still capable of the hyper-local targeting that AmpiFire has been known for in the past, now powered by a system with increased scope and reach. Content created through the AmpCast system functions as more than simple marketing material—through a combination of AI and human-created materials, campaigns can meaningfully boost social media engagement while lowering marketing costs for businesses of all types. Ahead of the launch, AmpiFire CEO Chris Munch stated, 'Our solution helps e-commerce brands drive more organic traffic, cut ad costs, and build trust with highly targeted, high-quality content.' One of the most distinct new additions to the system arrives in the form of next-generation AI podcasting software, which can create Spotify-ready branded content that delivers real value to listeners. The system takes advantage of new AI tools to build a conversational script, which is then fully voiced by proprietary text-to-speech software. Munch continued, 'Local businesses can improve search rankings and attract ready-to-buy customers with focused campaigns, while marketing agencies can create powerful campaigns in minutes, not weeks, for incomparably higher productivity and ROI.' About AmpiFire AmpiFire has been a mainstay in the content marketing industry for many years, delivering local, handcrafted content through its omnichannel delivery model. AmpCast officially launches on Sunday, May 27, 2025—preorders will be available beginning one week prior to launch. More details about the AmpCast system can be found at the link below. Learn more at Contact Info: Name: Chris Munch & Jay Cruiz Email: Send Email Organization: AmpiFire Address: London Office 15 Harwood Road, , London, England United Kingdom, London, England SW6 4QP, United Kingdom Website: Release ID: 89161283 In case of encountering any inaccuracies, problems, or queries arising from the content shared in this press release that necessitate action, or if you require assistance with a press release takedown, we urge you to notify us at [email protected] (it is important to note that this email is the authorized channel for such matters, sending multiple emails to multiple addresses does not necessarily help expedite your request). Our responsive team will be readily available to promptly address your concerns within 8 hours, resolving any identified issues diligently or guiding you through the necessary steps for removal. The provision of accurate and dependable information is our primary focus.
West Australian
22-05-2025
- Entertainment
- West Australian
The West Australian Pulse: Jodie Rankin expresses her journey of anxiety through artwork
Edvard Munch's work has inspired many artists, but it was some words from the master painter that really spoke to Jodie Rankin. The teenager interpreted the revered Munch's quote, 'From my rotting body, flowers shall grow, and I am in them, and that is eternity', through the lens of her anxiety disorder to create her intricately embroidered piece, Eternity, which is on show at The West Australian Pulse exhibit. 'It is my interpretation, not only of Munch's quote, but my portrayal of how my anxiety manifests and feels,' the 18-year-old said. 'In creating the piece, it was very soothing for my anxieties, and the chaoticness of it and all the different aspects of it reflect how anxiety has so many different aspects but there's good and bad parts of it, positives and negatives.' The free West Australian Pulse exhibit is at the Art Gallery of Western Australia.
Perth Now
22-05-2025
- Entertainment
- Perth Now
Story behind young Perth artist's powerful piece
Edvard Munch's work has inspired many artists, but it was some words from the master painter that really spoke to Jodie Rankin. The teenager interpreted the revered Munch's quote, 'From my rotting body, flowers shall grow, and I am in them, and that is eternity', through the lens of her anxiety disorder to create her intricately embroidered piece, Eternity, which is on show at The West Australian Pulse exhibit. 'It is my interpretation, not only of Munch's quote, but my portrayal of how my anxiety manifests and feels,' the 18-year-old said. 'In creating the piece, it was very soothing for my anxieties, and the chaoticness of it and all the different aspects of it reflect how anxiety has so many different aspects but there's good and bad parts of it, positives and negatives.' The free West Australian Pulse exhibit is at the Art Gallery of Western Australia. Artist Jodie Rankin's work is featured in the West Australian Pulse Exhibition. Credit: Michael Wilson / The West Australian
Chicago Tribune
20-05-2025
- Chicago Tribune
Firearm arrest No. 10 made at Naperville Topgolf parking lot
Naperville police have yet again made a firearm-related arrest in the Naperville Topgolf parking lot. There have now been 10 such arrests in or near the business' lot this year. Roberto Chacon, 28, of Alsip, was taken into custody outside the 3211 Odyssey Court facility on a felony charge of aggravated unlawful possession of a weapon as well as one charge each of possession of cannabis and unlawful use of cannabis by a driver. His next court appearance is scheduled for June 26, according to DuPage County Circuit Court records. Officers were performing a proactive foot patrol of the Naperville Topgolf lot when they observed suspected drugs and a handgun in plain view inside a parked, unoccupied Honda, according to Naperville police spokeswoman Kelley Munch. Officers watched the vehicle until three occupants returned, Munch said. The cannabis and loaded handgun were recovered. After a nearly four-month break, gun-related arrests outside the facility started up again in early February. Last month alone, police made five such arrests in the business' lot. Ahead of this year, Naperville police made 25 arrests on gun-related offenses outside Topgolf between August 2023 and October Chacon's arrest, an investigation is also underway after a 33-year-old Chicago man allegedly elbowed an officer in the Topgolf lot, according to Munch. Danzel Swift was taken into custody late Saturday night and charged with aggravated battery to a police officer, possession of open alcohol by a passenger and unlawful possession of cannabis by a passenger. Officers were on a proactive patrol of the lot when they observed four subjects drinking out of cups in the Topgolf lot, Munch said. When officers later approached, they observed the cups, a liquor bottle and a firearm case in plain view inside a vehicle. Officers made contact with the subjects, which resulted in the arrest of Swift. While he was being taken into custody, Swift allegedly elbowed an officer in the face, Munch said. A firearm was also ultimately seized and a follow-up investigation regarding the ownership of the gun is underway, Munch said. Swift's next court appearance is scheduled for June 16.
New European
26-04-2025
- General
- New European
Edvard Munch, beyond The Scream
But there is more to Munch than one painting, or the narrative of a loner beset by his own demons. He was prolific, successful and supported by a network of family and friends. Many of this network feature in the more than 400 portraits he created during a six-decade career. They form the basis of an impressive exhibition at the National Portrait Gallery. The Scream is the one the world knows; the agonised face caught beneath a raging orange sky. Its infinite howl affirms our view of Edvard Munch (1863-1944) as an artist wrecked by mental torment, the man who wrote in an undated notebook that 'sickness, insanity and death were the black angels that guarded my cradle and have since followed me throughout my life'. Munch's family tree is filled with creative relatives who were painters, writers and poets. Each had an influence on his art and life. The paternal side of his family included the neo-classical painter Jacob Munch, who co-founded the Royal Drawing School in Kristiania (Oslo); Peter Andreas Munch, Edvard's uncle, was a respected scholar who wrote the classic History of the Norwegian People. The painters Frits Thaulow, Edvard Diriks and Ludvig Ravensberg (1871-1958) were all related to Munch. In Kristiania, the family of his mother, Laura Bjølstad, were seafarers with an artistic trait. Munch had everyday contact with art through the paintings and portraits on the walls of his family home. One family heirloom was a pair of wall paintings of his great-grandparents by Peder Pedersen Aadnes. These accompanied each house move that Munch's father, Christian, a military doctor, and his wife made. Later, Edvard would inherit the paintings and place them on the wall of his home alongside his own portraits of family and friends. Munch was the second of five children. His older sister Johanne Sophie was born in 1862, his younger brother Peter Andreas in 1865 and younger sisters Laura Cathrine and Inger Marie born in 1867 and 1868. The latter saw their mother's death from tuberculosis at the age of 46, when Munch was five. The loss was traumatic. Munch's father became a melancholic near-recluse, but living with them was Karen, their mother's younger sister, who took over the household and the children's welfare. Adding to their trauma, Sophie died of tuberculosis in 1877, aged 15, a harsh blow to Edvard and his siblings. Munch's father planned a career in engineering for Edvard, and for Peter Andreas to become a doctor, like his father, which he did. However, Edvard Munch's focus was on graphic art and painting, and Karen, a talented artist, encouraged him to practise drawing when he was unable to attend school through illness. In 1880, after his aunt had extracted him from technical college, a 17-year-old Munch enrolled at the Royal School of Art and Design in Kristiania under the mentorship of Christian Krohg and Felix Thaulow, leading realist painters. He wrote in his diary, 'It is my decision now to become a painter.' He would win three art scholarships. At the art school and afterwards, he mixed with a group of affluent middle-class radicals, artists, writers and political activists, nicknamed the Kristiania Bohème (Kristiania Bohemians) who met in local cafes, their debates and arguments aided by a desire for change, and alcohol. It led Munch to alcohol dependency and increased his stress, but mixing with like-minded people who believed in personal freedoms steered him to create expressive work informed by his feelings and experience. He called it 'soul art'. Another friendship group were intellectuals, affectionately referred to as The Mycenaeans. A third group encompassed all his male friends and were nicknamed The Guardians. These promoted him in published essays, wrote excellent reviews, placed his work in galleries, bought his paintings, sat for portraits, proclaimed him as a national icon, and looked after his reputation. Munch referred to them as 'my soldiers, my warriors, my battalions, the Guardians of my art'. Munch lived in Scandinavia (Norway separated from Sweden in 1905), in Paris and Berlin. He networked, creating contacts across Europe. He was an astute businessman, forming useful friendships for patronage. At home, Munch's life-support was his family, and loyal relationships. At times, through nervous exhaustion and alcoholism, his mental and physical strength collapsed. In 1908, he was hospitalised in a private clinic in Copenhagen for two months, under the care of Dr Daniel Jacobsen. He had suffered a mental breakdown in Berlin, not helped by regularly drinking a bottle of port for breakfast. On recovery, his friends encouraged him to return to Norway, to begin again. Now rarely drinking alcohol, he succeeded, becoming one of the most prolific and successful painters of his time. During a six-decade career Munch created over 1,700 artworks. Four hundred were portraits of family, friends, lovers, patrons, collectors, artists and writers, and himself. In an era of Jung and Freud, contemporary critics continuously searched for a psychological underbelly. In 1890, the German art critic Franz Servaes had stated: 'A painter like Munch is rooted in the psychological with all his fibres. He cannot even depict a landscape without making its soul his own. For the same reasons, he is also a highly sensitive portrait painter.' Munch's portraits had a potency that gave insights into his relationship with the sitter. At times the sitters did not like the portraits he painted of them. Munch's self-portraits – there are many – were created throughout his life, depicted as himself, or staged as an alternate ego. In many he is portrayed with a palette and brushes, a traditional painter's portrait. In another, he is dead, undergoing dissection. Kristian Emil Schreiner, Munch's doctor and friend, was a professor of anatomy who took him to a morgue so that Munch, at his own request, could watch a dissection. In the lithograph The Anatomist Schreiner 1 (1928-29), Munch replaces the body of an old man under dissection with a body-portrait of himself under the anatomist's knife, on the autopsy table. The exhibition's curator, Dr Alison Smith, has put Munch's mental health to one side to study his art. What shows through is the naturalness of his approach to composition and painting, each work exploring the inner psychology of the sitter. In Christian Munch with Pipe (1885), his bearded father looks down to light his pipe, in a gentle portrayal. There is a remarkable portrait of Munch's friend, the anarchist political activist Hans Jaeger (1889), quietly seated on a sofa, his eyes fixed on Munch; and the writer Jappe Nilssen (1909), portrayed full-length in a city suit. Jappe Nilssen, Edvard Munch, 1909. Oil on canvas © Munchmuseet. Photo: Munchmuseet / Juri Kobayashi Thor Lütken, Edvard Munch, 1892. Oil on canvas. Private Collection. Photo: Munchmuseet / Sidsel de Jong. The lawyer Thor Lutken (1892) is seated with the sleeve of his jacket along the bottom edge doubling as a moonlit landscape with two figures, a picture within a portrait. Did it have a hidden meaning? The couple are similar to figures in an earlier painting of lovers by Munch. The portraits of the physicist Felix Auerbach (1906), Munch's doctor and patron, and Dr Daniel Jacobsen (1908), his doctor, all reveal their view of Munch through facial expressions. There is no repetition, each work is a stand-alone pictorial account of the sitter. As a successful artist, Munch had several houses, and his staff were often asked to model for him. Sultan Abdul Karim was employed as a chauffeur. A half-length portrait portrays him dressed in clothes for winter temperatures with a large green scarf wrapped tightly around his neck. Munch also dressed in a similar fashion, and this mirroring effect appears in his self-portraits. Less familiar perhaps are Munch's visions of his workers, including Karim naked. Knowing this brings a curiosity to studying the portraits on display. Was it his analytical vision of the sitters, or the reality? The majority of Munch's portraits are of male friends and associates. The women were primarily family and close friends. His sister Sophie appeared posthumously in Munch's famous work The Sick Child. Exhibited in Paris in 1886, its content caused a sensation. Munch, with his commercial eye, made further copies to sell. Evening (1888) is a profile portrait of his sister Laura, painted by a lakeside when the family were on holiday. Laura suffered from mental illness and was sectioned for life in an asylum. She stares fixedly ahead, in isolation. In The Brooch, Eva Mudocci (1902), Munch portrayed his dear friend, the English violinist Eva Mudocci, in a sensual headshot lithograph. Other women were not so lucky, particularly those who had encountered destructive personal relationships with him. Those he disliked could be given malicious portrayals. During his life, many of Munch's portraits remained with him, propped against his studio walls, as if to surround himself with friends. He died of a severe cold on January 23, 1944 at the age of 80. His last work was inevitably a portrait lithograph of a friend – Hans Jaeger, based on the much earlier portrait of 1889. Even at the end, Edvard Munch did not scream alone. Edvard Munch Portraits is at the National Portrait Gallery, St Martin's Place, London until June 15
