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What can you say ! I had to get myself in the picture somehow !
I don't usually dress like this......honestly !
Abstract Series 1441 - WOMAN ARTIST - J Rebecca Trueblood Part 42
About J Rebecca Trueblood
www.facebook.com/TruebloodSuperfineArt
www.facebook.com/BOSTONAREAARTISTS
www.facebook.com/MissTallulahsJunkintheTrunk
I create pieces that acknowledge and respond to the physical presence of the person viewing them. This comes from an uncertainty about my own place in the world; the urge to have a unique identity with clearly marked personal space conflicts with a longing for real intimacy and a feeling of being part of a community.
In some pieces, there are details that will not read from across the room: you must get close to see them, much closer than you would to the face of a stranger.
Colors may cozy up together or push violently. Spaces between shapes create varying degrees of tension.
I take inspiration from everyday objects, anthropological images, microscopic life, and the surface of our planet, utilizing patterning and repetition that makes creation a meditative and obsessive act.
Basement Hanford Artist, declassified
2006
20 w by 16 in h
Based on a photo from the “Hanford Historical Photo Declassification Project”.
© copyright J Kearns 2006
For more info and to view original visit:
www.idyllopuspress.com/meanwhile/?p=738
Having grown up in Richland, when I learned of the Hanford Declassification Project I was greatly interested. And even more interested when a search for the words "Nagasaki" and "Hiroshima" yielded no results in the database. It was curious to me that Nagasaki and Hiroshima had been excised so neatly from the declassified documents for this portion of the Manhattan Project. Thus my interest in taking the photos and using them as base for digital paintings, sometimes adding subcontext.
Description of the declassification project from the govt website:
“The Department of Energy, Richland Operations Office (RL) has aggressively implemented the commitments made by the Federal Government to openness in Government which was stated as a ‘Fundamental principle that an informed citizenry is essential to the democratic process and that the more the American people know about their Government, the better they will be governed. Openness in government is essential to accountability . . .’ RL is committed to responsible openness. The Hanford Declassification Project (HDP) was initiated by RL to declassify to the maximum possible extent all previously classified Hanford operations information (documents and photographs). There are over 77,000 declassified photographs of early Hanford (1943 - 1960) available… \These World War II and Cold War era photographs depict early Hanford construction and the employees/families who lived and build/operated the site.”
The plutonium for the bomb dropped on Nagasaki was manufactured at Hanford, which is now a toxic wasteland. The nearby town of Richland was hurridly constructed during WWII for the express purpose of the secret manufacture of plutonium.
Guest artist Umut Demirgüç Thurman talks to students in Alison Pack's jewelry/metalsmithing classes during the Synergies Workshop: Die Forming and Enameling. James and Umut Demirgüç Thurman's artwork is currently on display at the RU Art Museum.
Sitting beside the trail, not seeming to notice the crowds going past. this artist was totally into her work.
Some photographer who specializes in ultra-realistic "photoshopped" stuff. NOTE the guy has on hipcat 70s reflector shades, jeans, t-shirt & no diving gear. Heh. Anyone know who the artist is ? Another one he did was a calm cocktail party with a few people on fire.
One of the many artists selling their work along the Otaru Canal. Every one of them happily posed for photos. It's just incredible. (小樽市 北海道 日本国)
ISO 100 | F/7.1 | 1/40 sec | 31mm | eval.metering | AWB | raw
Huile siur toile, 73 x 92 cm, 1923, musée de l'Orangerie, Paris.
Le village est le plus radical et le plus singulier des paysages de Soutine. Le sujet choisi par l’artiste semble classique, un paysage, des maisons et des arbres surplombés d’un ciel, mais ici le traitement révèle une personnalité tourmentée et l’affirmation d’une grande modernité. En effet tous les éléments de la toile sont soumis à des distorsions spectaculaires et semblent s’imbriquer les uns dans les autres abolissant tout sentiment de perspective et d’équilibre. Le paysage mental éclipse l’observation stricte de la nature pour faire place à l’expression du sentiment. Cependant le peintre a bien pris pour modèle un lieu existant.
Le paysage du musée de l’Orangerie appartient à un groupe de neuf peintures réalisées en 1923-1924 à La Basse Gaude, située à environ huit kilomètres de Cagnes. Soutine a choisi ce lieu pour ses maisons et son moulin accrochés sur un pic rocheux à des hauteurs différentes. Le peintre réalise cette toile alors qu’il nourrit des sentiments contradictoires envers ce paysage qu’il avait profondément aimé. Il écrit en effet au galeriste parisien Zborowski à la fin de l’année 1923 "je voudrais quitter Cagnes. Ce paysage que je ne peux plus supporter…". Cette retranscription d’une vision angoissée et subjective de son environnement place Soutine dans la lignée de la peinture expressionniste qui trouve ses racines en Europe dès la fin du XIXe siècle et est particulièrement marqué avant et après la Première guerre mondiale (cf. musée de l'Orangerie).
Some day, when Im awfully low,
When the world is cold,
I will feel a glow just thinking of you...
And the way you look tonight.
Yes youre lovely, with your smile so warm
And your cheeks so soft,
There is nothing for me but to love you,
And the way you look tonight.
With each word your tenderness grows,
Tearing my fear apart...
And that laugh that wrinkles your nose,
It touches my foolish heart.
Lovely ... never, ever change.
Keep that breathless charm.
Wont you please arrange it ?
cause I love you ... just the way you look tonight.
-The Way You Look Tonight - Frank Sinatra-
Artist: Martin McNally and Sharonjeet Galsinh
working with Reel Access and Norton Hall
Funded by: Birmingham City Council and
Awards for All
Location: Ward End Park, Washwood Heath
Road
A collaborative project with Anglepoise, Strong Island & The University of Portsmouth.
10 artists/designers will be twinned with 10 photographers and an Anglepoise light.
creatingbalanceproject.tumblr.com/
Photographer Andrew Whyte - www.longexposures.co.uk/
Artist / Blacksmith Peter Clutterbuck - www.deliberateweb.co.uk/PeteClutterbuck/index.htm
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Photo Series 1621 - WOMAN ARTIST - J Rebecca Trueblood Part 47
About J Rebecca Trueblood
www.facebook.com/TruebloodSuperfineArt
www.facebook.com/BOSTONAREAARTISTS
www.facebook.com/MissTallulahsJunkintheTrunk
I create pieces that acknowledge and respond to the physical presence of the person viewing them. This comes from an uncertainty about my own place in the world; the urge to have a unique identity with clearly marked personal space conflicts with a longing for real intimacy and a feeling of being part of a community.
In some pieces, there are details that will not read from across the room: you must get close to see them, much closer than you would to the face of a stranger.
Colors may cozy up together or push violently. Spaces between shapes create varying degrees of tension.
I take inspiration from everyday objects, anthropological images, microscopic life, and the surface of our planet, utilizing patterning and repetition that makes creation a meditative and obsessive act.
Abstract Series 1441 - WOMAN ARTIST - J Rebecca Trueblood Part 42
About J Rebecca Trueblood
www.facebook.com/TruebloodSuperfineArt
www.facebook.com/BOSTONAREAARTISTS
www.facebook.com/MissTallulahsJunkintheTrunk
I create pieces that acknowledge and respond to the physical presence of the person viewing them. This comes from an uncertainty about my own place in the world; the urge to have a unique identity with clearly marked personal space conflicts with a longing for real intimacy and a feeling of being part of a community.
In some pieces, there are details that will not read from across the room: you must get close to see them, much closer than you would to the face of a stranger.
Colors may cozy up together or push violently. Spaces between shapes create varying degrees of tension.
I take inspiration from everyday objects, anthropological images, microscopic life, and the surface of our planet, utilizing patterning and repetition that makes creation a meditative and obsessive act.
Le nom « Yellowstone » (« pierre jaune » en français) provient de la couleur des rochers du grand canyon de Yellowstone.
The Potteries took over the Museum for a night. Exploring the making and meaning of ceramics, drinking at Wedgwood's pop-up tearoom and moved to some Northern Soul as we celebrated with British manufacturers, artists and designers that continue to fire-up Stoke-on-Trent’s ceramic heritage. In collaboration with the British Ceramics Biennial 2015.
Mudpots, or paintpots, are rare hydrothermal features. At such sites, volcanic gases rise through “mud” - a thick slurry of hot, acidic water mixed with fine-grained clay minerals. The clay minerals formed by chemical decomposition of rhyolite lava flows by naturally-occurring sulfuric acid (H2SO4). The sulfuric acid is the result of oxidation of volcanic hydrogen sulfide gas (H2S). From boreal spring to boreal summer, the viscosity of the mudpots increases. Gases reaching the top surface energetically push hot blobs of mud into the air, sometimes up to 20 feet high.
Artists Paintpots are one of the two best, easily accessible mudpot areas in Yellowstone Park, Wyoming. They are are located at Paintpot Hill in the Gibbon Geyser Basin. The rocks that were decomposed to form the mudpots are Paintpot Hill Dome rhyolites (205,000 to 225,000 years old, upper Middle Pleistocene). Rhyolite is a felsic, aphanitic, extrusive igneous rock - it is a common lithology at Yellowstone, where entire plateaus are composed of Pleistocene-aged rhyolite lavas.
Graffiti artists tend to get a bad rep. Labeled as vandals, thugs, and criminals. But a graffiti artist is jus that.. AN ARTIST! Just because they choose a different medium and style than all others should not label theyre art as destruction. Its Beauty all in its own way. Love it or Hate it, these artists are the ones responsible for decorating your streets, maybe not in the favored way of decoration; however its these artists who can spice up your day with beautiful colors arangements, styles, and sometimes actual figural drawings all while enroute to your pathetic, blank cubical. Just stop for a moment and picture youre city blocks, buildings, and abandonment without the help of these straving artists. Its a world untouched and boring, unimaginable and art-less.