ニューヨーク・タイムズさんのインスタグラム写真 - (ニューヨーク・タイムズInstagram)「Freeman Vines set out to capture a sound he’d once heard, one that reverberated in his mind. But his search for a specific tone on mass-produced guitars was fruitless, so he took matters into his own hands: In 1958, he started to make guitars.  Vines, now 80, has crafted dozens of guitars, using wood from barns, troughs and other unexpected sources. A series of his guitars featured in a traveling exhibition (currently at the Maria V. Howard Arts Center at the Imperial Centre in Rocky Mount, North Carolina) came from wood extracted from a tree that had been used to lynch Black people.  “These guitars here got a character and a sound of their own,” Vines said in a video accompanying his exhibition. “To somebody else, it’s just some wood glued together. To me, it’s something else.”  Read more about Vines’s work at the link in our bio. Photos and video by @sashafoto」6月5日 22時09分 - nytimes

ニューヨーク・タイムズのインスタグラム(nytimes) - 6月5日 22時09分


Freeman Vines set out to capture a sound he’d once heard, one that reverberated in his mind. But his search for a specific tone on mass-produced guitars was fruitless, so he took matters into his own hands: In 1958, he started to make guitars.

Vines, now 80, has crafted dozens of guitars, using wood from barns, troughs and other unexpected sources. A series of his guitars featured in a traveling exhibition (currently at the Maria V. Howard Arts Center at the Imperial Centre in Rocky Mount, North Carolina) came from wood extracted from a tree that had been used to lynch Black people.

“These guitars here got a character and a sound of their own,” Vines said in a video accompanying his exhibition. “To somebody else, it’s just some wood glued together. To me, it’s something else.”

Read more about Vines’s work at the link in our bio. Photos and video by @sashafoto


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