The Bonnie Gallery

02/06/2026

02/06/2026

Such an interesting concept. What do you think??🤔

For the past three years, Ireland has invested in 2,000 artists, paying them around $1,500 per month in basic income. Some may argue that it would be a waste of taxpayer money. However, after the three-year trial ended, the endeavor was a net positive for the Irish economy.

According to an external report, for every €1 of public money invested in the pilot, society received €1.39 in return. An external report found that the pilot program cost €72 million ($84 million) but generated nearly €80 million ($91 million) in total benefits to the Irish economy.

Other data showed that the program motivated artists to work an average of four hours more per week on their various projects. Not only was Ireland receiving more artistic work for the public to admire, enjoy, and possibly purchase, but the BIA program also reduced the amount of money spent on other social programs, such as job seeking and unemployment benefits.

"The positive economic impact this report has revealed is a very encouraging outcome for the sector and the general public. The economic return on this investment in Ireland’s artists and creative arts workers is immediately having a positive impact for the sector and the economy overall," Minister Patrick O’Donovan said in a statement. Learn more about the project below.

01/22/2026

Join us for the 2026 City Hall Art Gallery Exhibition Opening on Thursday, February 5, from 5:30–6:30 p.m. at Sandusky City Hall, 240 Columbus Avenue.

This year’s rotating gallery marks its fifth year and features artwork organized around the theme “Journey.” The exhibition includes work by local artists from Sandusky and the surrounding area.

The opening event is hosted by the Sandusky Public Arts and Culture Commission in collaboration with Darian Shepherd, artist and owner of UNDRSTR, whose work is featured in this year’s gallery.

Artwork is always on display and can be viewed during regular City Hall hours, Monday–Friday, 7:30 a.m.–4:30 p.m.

The exhibition opening is free and open to the public.

01/13/2026

08/18/2025

How about that?!…

06/16/2025

What’s your thoughts about this photo?

A photograph, frozen in time, a heart-stopping moment etched forever in history. July 22nd, 1975, a seemingly ordinary day in Boston transformed into a scene of unimaginable tragedy and unexpected heroism. Stanley Forman, a photographer for the Boston Herald American, responded to a fire call on Marlborough Street, unaware he was about to capture an image that would forever alter the landscape of photojournalism and fire safety regulations.

He arrived to witness a terrifying scene: a woman, Diana Bryant, and her two-year-old goddaughter, Tiare Jones, clinging to a failing fire escape. A fireman bravely attempted a rescue, but the metal gave way, sending the two plummeting towards the unforgiving pavement below. Forman, his camera whirring, captured the agonizing descent, the sheer terror etched on young Tiare's face, a moment of freefall suspended between life and death. Bryant's sacrifice, shielding her goddaughter from the full impact, became a tragic testament to the power of maternal instinct.

The resulting photograph, a stark and unsettling depiction of human vulnerability, earned Forman the Pulitzer Prize. It wasn't just a prize for technical skill; it was recognition of the profound ethical questions the image raised. The photograph sparked intense debate: was it right to publish such a disturbing image? The controversy surrounding its publication became as significant as the image itself, prompting a national conversation about the responsibility of photojournalists and the limits of acceptable imagery. More importantly, the photograph acted as a catalyst for change, leading to stricter fire escape safety codes across the nation, saving countless lives in its wake.

The legacy of this single, heartbreaking image extends far beyond the immediate tragedy. It serves as a poignant reminder of the devastating consequences of negligence and the unwavering courage found in the face of unimaginable adversity. What are your thoughts on the ethical considerations surrounding the publication of such powerful, yet disturbing, photographs? Share your perspectives and experiences in the comments below.

04/30/2025

04/22/2025

🎨 Hey artistic people! 🖌️Still time to pick up your bins!
Somewhere along the line... these old blue newspaper bins were waiting for a glow-up — and YOU might be the one to do it! 💡💙

✨ We're calling all creatives to redesign and reimagine these iconic bins. Use your magic — paint, sculpt, collage, or whatever inspires you!

📍 Pick-Up Info:
🗓️ Monday to Friday | ⏰ 8AM – 4PM
📍 West side of the Register Building (follow the mural!)
🏢 314 W Market St, Sandusky, OH 44870

🛑 Deadline to pick up a bin: April 30, 2025
📧 Submission deadline: Email your finished masterpiece to [email protected]

🏆 Winners will be revealed in June during the grand opening of The Emporium at Market Street!
✨ Top finalists will have their bins displayed throughout Sandusky for everyone to enjoy!

Let’s turn the streets into an art gallery! 🎭🧩🖼️

03/25/2025

03/13/2025

🎨 Calling All Artists, Art Teachers & Students! 🎨

Unleash your creativity and transform old newspaper bins into stunning works of art! The Sandusky Register Newsstand Bin Art Contest is your chance to showcase your talent and compete for a $1,000 prize, sponsored by The Emporium at The Register Building. Whether you’re a solo artist, an art teacher guiding a class, or a group of students ready to make an impact, this contest is for you.

Participants can use painting, sculpture, or any creative medium to reimagine a newsstand bin. Choose from inspiring themes like community connections, renewal and reclamation, the power of words, and more. Winning entries will be displayed at the newly renovated Emporium at West Market Street, a vibrant space for local artists, entrepreneurs, and makers to shine.

Don’t miss this exciting opportunity to turn something ordinary into something extraordinary! Sign up now by emailing [email protected] or calling +419-665-3688. Let your creativity tell a story and inspire the community—tag an artist who needs to enter!

02/17/2025

In 2013, the Museum of Modern Art (MoMA) in New York City became the site of a striking live art performance featuring the acclaimed British actress Tilda Swinton. As part of her piece titled The Maybe, Swinton lay motionless inside a transparent glass box, appearing to be asleep. The performance was an unannounced and sporadic installation, adding an element of surprise for museum visitors. The Maybe was originally conceived in 1995, when Swinton first performed it at the Serpentine Gallery in London. The piece, created in collaboration with artist Cornelia Parker, challenged traditional boundaries between art and observer, evoking themes of isolation, vulnerability, and human presence in a curated space.

Swinton’s MoMA performance continued the legacy of live installation art that gained prominence in the 20th century. Drawing comparisons to works by artists like Marina Abramović, whose 2010 MoMA retrospective The Artist Is Present involved a silent, immobile presence, The Maybe invited audiences to reflect on the nature of existence and spectacle. Swinton’s appearances in the glass box were unannounced, taking place on different days throughout the year, ensuring an organic and unrepeatable experience for viewers. This unpredictability heightened the intrigue surrounding the performance, making it a topic of widespread cultural conversation. Visitors encountered Swinton in a vulnerable, dreamlike state, prompting discussions on celebrity, voyeurism, and the nature of contemporary art.

By reviving The Maybe nearly two decades after its debut, Swinton reinforced the power of durational performance art in an era dominated by digital immediacy. Her silent, enigmatic presence within the glass box contrasted sharply with the fast-paced world outside, making the piece even more thought-provoking in 2013. The performance solidified Swinton’s reputation not only as an avant-garde actress but also as a conceptual artist willing to challenge conventional forms of expression. As an enduring example of live art, The Maybe remains a landmark piece in the intersection of cinema, performance, and contemporary art.