View allAll Photos Tagged DRing
3FM Serious Request draait dit jaar om diarree. Jaarlijks overlijden er wereldwijd 800.000 kinderen aan de gevolgen van diarree en om dat aantal terug te dringen, zetten 3FM en het Rode Kruis zich van 18 t/m 24 december vanuit Leeuwarden in om zoveel mogelijk geld in te zamelen voor deze stille ramp. Details: www.3fm.nl
3FM Serious Request draait dit jaar om diarree. Jaarlijks overlijden er wereldwijd 800.000 kinderen aan de gevolgen van diarree en om dat aantal terug te dringen, zetten 3FM en het Rode Kruis zich van 18 t/m 24 december vanuit Leeuwarden in om zoveel mogelijk geld in te zamelen voor deze stille ramp. Details: www.3fm.nl
Voorraadschuren. De opbouw met bamboestokken is voornamelijk bedoeld als bescherming van de granen en gewassen in de schuur. Het verhindert de vrijlopende dieren en ook vooral de knaagdieren, om er binnen te dringen en de oogst te vernielen.
Giel Beelen drinkt sap in het glazenhuis. 3FM Serious Request draait dit jaar om diarree. Jaarlijks overlijden er wereldwijd 800.000 kinderen aan de gevolgen van diarree en om dat aantal terug te dringen, zetten 3FM en het Rode Kruis zich van 18 t/m 24 december vanuit Leeuwarden in om zoveel mogelijk geld in te zamelen voor deze stille ramp. Details: www.3fm.nl
"Dring", ceramics glazed and painted, 160 cm x 110 cm x 100 cm, "I hate you in June" exhibition, Mishkan Le O'Manut Museum of Art, Ein Harod, Israel, 2000, www.ulliknall.com
3FM Serious Request draait dit jaar om diarree. Jaarlijks overlijden er wereldwijd 800.000 kinderen aan de gevolgen van diarree en om dat aantal terug te dringen, zetten 3FM en het Rode Kruis zich van 18 t/m 24 december vanuit Leeuwarden in om zoveel mogelijk geld in te zamelen voor deze stille ramp. Details: www.3fm.nl
Donald Tusk crosses a bridge called Ujibashi at the Ise Jingu Shrine dring the G7 summit Japan on May 26th, 2016.
3fm dj's Coen Swijnenberg, Paul Rabbering en Giel Beelen
3FM Serious Request draait dit jaar om diarree. Jaarlijks overlijden er wereldwijd 800.000 kinderen aan de gevolgen van diarree en om dat aantal terug te dringen, zetten 3FM en het Rode Kruis zich van 18 t/m 24 december vanuit Leeuwarden in om zoveel mogelijk geld in te zamelen voor deze stille ramp. Details: www.3fm.nl
dykes of dikes: een ganggesteente, d.w.z. een gesteente ontstaan uit magma, dat in spleten binnen het erboven gelegen gesteente wist binnen te dringen en aldaar stolde.
The Excalibur SS is based on the old Mercedes Benz SS or SSK. It was at the event as a commerciel for the soft dring Cult.
Momma, will you please teach me how to drive, then you and BC and take pictures and I will worry about cars coming.
Dennis Weening is slaapgast in het glazenhuis. 3FM Serious Request draait dit jaar om diarree. Jaarlijks overlijden er wereldwijd 800.000 kinderen aan de gevolgen van diarree en om dat aantal terug te dringen, zetten 3FM en het Rode Kruis zich van 18 t/m 24 december vanuit Leeuwarden in om zoveel mogelijk geld in te zamelen voor deze stille ramp. Details: www.3fm.nl
Image taken at Luffield Corner, Silverstone dring Friday wet practice at the British Grand Prix 2012. Many thanks to everyone who takes the time to comment or faves my pictures. It is very much appreciated.
3FM Serious Request draait dit jaar om diarree. Jaarlijks overlijden er wereldwijd 800.000 kinderen aan de gevolgen van diarree en om dat aantal terug te dringen, zetten 3FM en het Rode Kruis zich van 18 t/m 24 december vanuit Leeuwarden in om zoveel mogelijk geld in te zamelen voor deze stille ramp. Details: www.3fm.nl
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
3FM Serious Request vaagt dit jaar aandacht voor de allerkleinsten. Elk jaar sterven er namelijk 5,5 miljoen baby's. Met jouw donatie hopen we dit cijfer terug te dringen!
Het 3FM Serious Request Glazen Huis staat dit jaar op de Oude Markt in Enschede.
Wil jij ook een donatie doen? 3fm.nl/doneren
Tegneklubben (Bjørn Bjarre, Ulf Verner Carlsson, Paul Dring, Terje Nicolaisen, Martin Skauen): "Uten tittel (Klubbhuset)." Høstutstillingen 2010, Kunstnernes Hus, Oslo, Norway. September 9, 2010.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
3FM Serious Request draait dit jaar om diarree. Jaarlijks overlijden er wereldwijd 800.000 kinderen aan de gevolgen van diarree en om dat aantal terug te dringen, zetten 3FM en het Rode Kruis zich van 18 t/m 24 december vanuit Leeuwarden in om zoveel mogelijk geld in te zamelen voor deze stille ramp. Details: www.3fm.nl
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
Dring and I went for a nice ride out to Tommy Thompson Park and back. I hope y'all have lots of sunblock with you today. It's gorgeous but a super sunny sunburn possible kind of day.
A butchers in Greenwich London has cheaper cuts of meat on offer to customers during the current recession.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
car lashing,chain tensioner,Ratchet load binder,Ratchet Tie Down, lashing Strap,Lashing hook,Lashing Chain,Shackle,One way Lashing,One Way Buckle, Elephant Foot,D-ring
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.
Voorraadschuren. De opbouw met bamboestokken is voornamelijk bedoeld als bescherming van de granen en gewassen in de schuur. Het verhindert de vrijlopende dieren en ook vooral de knaagdieren, om er binnen te dringen en de oogst te vernielen.
Now used as a scout hall but dring ww2 the Germans converted this mill to an observation post for Batterie Ludendorff.
PUBLICPRIVATE
The high visibility of the self in the 21st Century every-day, at times masked with fabrication, at others genuinely exposed, willfully sheds boundaries between what is submitted for public approval and reserved for personal reflection. On a mass scale, average citizens are compelled toward the digital strip-tease of their private selves or others – all the more comfortable with surveillance, the mass marketing of the photo op, the public defamation of rivals, the fierce cultural cling to childhood obsessions, the landscape portrait of a vacation experience, self personalization in all its forms – true or false. And during days of such exposition, what is concealed? Unspoken? Implied? How does this align with competing impulses within the artist practice? Self portraiture, windows into the intimate lives of self or others, the evolution of the ‘photo bomb’, digital spectatorship, jealous landscape photography, public confessional, criminal intent? Or does art subsist always on Wilde’s ethos of ultimately concealing the artist no matter what? Exposing only ‘beautiful things’ – concept, process, form. And then what are these pretenses at self-exposure, and where do artist’s hide, so to speak, in plain view? Under what false legacies, muddled academicisms, hall-of-mirrors conceits.