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The home we lived in at Monteview, Idaho as it appeared in 1945 and as it appeared in 2005. On the sled are Wayne Violette and Johnny Dring, the dog's name was Browny.
© Cup of Cappuccino Dring Bukittinggi Indonesia Taruko Café Resto Restaurant West Sumatra Sumatera Barat Southeast Asia - Getränk Indonesien Südost-Asien - All rights reserved. Image fully copyrighted. All my images strictly only available with written royalty agreement. If interested, please ask. - Alle Rechte vorbehalten. Alle meine Bilder generell nur mit schriftl. Honorarvereinbg. Bitte ggf. fragen. ©
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
Becourt is 2 kilometres on the east side of Albert. The Military Cemetery is on the south side of the road from Becourt to Albert. The Military Cemetery was begun in August, 1915, by the 51st (Highland) Division, and carried on by the 18th and other Divisions in the line until the Battles of the Somme, 1916. It continued in use, chiefly by Field Ambulances, until April, 1917; and Plot II was made by the 18th Division at the end of August, 1918.
There are now 713 casualties of the 1914-1918 war commemorated in this site. Of these, 8 are unidentified and a special memorial is erected to a soldier from the United Kingdom buried among them. Three German graves have been removed.
The cemetery covers an area of 4,327 square metres and is enclosed by a rubble wall.
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.
Phase 1 of the rear bumper. It is made with 2x3 square tubing (3/16 wall). The mounts are 3/16" thick with 7/8 steel welded to that for the d-ring shackle mounts
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.
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.
D Rings installed on your monkey bars or overhead climber gives your child more climbing options on your redwood swing set.
100% California Redwood
backyardfunfactory.com/wooden-swing-sets/
For more information
Wonderful Paris at Springtime. I'll continue to visit The Champs-Élysées and Paris Fav and comment if you agree
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.
La viande de Baleine sèche au soleil; l'huile récupérée est vendue aujourd'hui comme médicament (Whale meat is dring in the sun; oil is sold as medecine).
Phase 1 of the rear bumper. It is made with 2x3 square tubing (3/16 wall). The mounts are 3/16" thick with 7/8 steel welded to that for the d-ring shackle mounts
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
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.
Wel dringen met al die snelle meiden in de laatste serie.
Er was één valpartij bij de start en een duw in de laatse bocht schakelde Esther Platteeuw uit.
Winzerfest Braubach 2010
Mareike, Irena und Dennis
Sony Alpha 100
Minolta 1,7 50mm
Eins, zwei, drei, gluck gluck
mer dringe noch'n Schluck
der Wein, der kommt vom Himmel her
drum dringe mer das Fäßche leer... (in Hochdeutsch nicht authentisch)
3FM Serious Request vraagt 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? www.3fm.nl/doneren
1955
L’Assemblée législative du Québec promulgue une loi spéciale confirmant la raison sociale de la nouvelle entreprise qui portera désormais le nom de Québec-Téléphone.
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.
Actress Micaiah Dring at the Crying With Laughter photocall at the Mercure Point Penthouse, Edinburgh. 21st June 2009. Photograph: ©Valentina Bonizzi/EIFF Edinburgh International Film Festival 2009
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
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.
Mountain view - I think this is Guye Peak. We actually had a number of views dring the day of Cave Ridge, Kendall Peak and Guye Peak - when it wasn't lightly snowing.
the firt picture: Kichwa´s Native, from comunity Shiwayaku this name it´s means tree of water, in Kichwa lenguage. The place was in the middle of the jungle Amazons in Ecuador very nearly than Jatunyaku river. They live in the cabans and they washing their cloths and use this water for everything, for dring, cooking, and cleang themself. I taked this picture on agust from 2007, and I was surpise went I saw she was pregnant and working very hard now she got a litle baby girl.
Das Gleisbett ist in den ebenen Täler nur niedrig geschüttet und bei der Fahrt werden Unmengen feiner Staub aufgewirbelt, die ins Innere der undichten Waggons dringen.
I learned a new trick while we were at the outback steak house the other night ....I watched a bartender make a flaming dring and poured a powder over the top and it looked like this but in a glass...really cool ...
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
McCall's 8644; ©1966; The Mod Accessories - Bags, Vest, Handkerchief, Ties, Belts for Sizes 10-12-14-16. Triple pouch Bag A or B has open center pouch. D-rings on flaps close outer pouches. Adjustable strap for shoulder or hand slips through D-rings at sides. Vest C (unlined) has welt pockets. Dart fitted at front and back. Top-stitched edges. 2" Tie has straight ends; matching handkerchief 16" square. 4" Tie E has pointed ends. (Tie measurements taken a widest part.) 1 3/4" Fabric Belt F and felt Belts I and J fit hip 1 1/2" below waist; each has buckle and eyelets. I is trimmed with nailheads, J with contrast felt. 1 1/2" and 1 3/4" Braid Belt may be made to fit waist or hip at any level; interlocking buckle. 2 1/2" Fabric Belt H is fitted 3" below waist; fastened with decorative snaps.
Im Rahmen des "Etwas anderen Adventskalender" auf frame-less.com entstanden.
Den ganzen Tag nix zu tun gehabt und zehn Minuten bevor ich aus dem haus muss panisch angefangen mein heutiges Fotomotiv zu suchen. Ich muss dringen mein Zeitmanagment verbesser.
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.
Peter Doetschman, David Dring and some buds enjoy the mass trans ride as they scurry back to Bucktown.
The initiation of novice monks is occasion for a family celebration in Laos. The family shows its social status by bringing luxury stuff for the event, like Pepsi.
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.