View allAll Photos Tagged Dating
BOX DATE: 1995
MANUFACTURER: Mattel
DOLLS IN LINE: Barbie; Teresa
BODY TYPE: 1993; articulated elbows, waist, knees, & ankles with molded ballet slippers (my doll on the left is on the wrong body)
HEAD MOLD: 1990 "Teresa"; pierced ears; molded headband
***The doll on the left is wearing 1994 Twirling Ballerina Barbie's outfit.
The doll on the right is wearing 1994 Dance Moves Teresa's outfit.
PERSONAL FUN FACT: Never in a million years did I ever imagine that I would find such a "gimmicky" ballerina doll to be so alluring. Growing up, I had a particular distaste for dolls on specialty bodies, such as the one featured on this Teresa doll (my gal on the right is on the correct body). I suppose it was because I liked to have the freedom to do whatever I pleased with a doll, and I felt that gimmicks got in the way of that. They often times hindered my imagination from doing everything it desired, so I ended up shunning dolls with special bodies/features. As an adult, I've become more open minded to gimmicky dolls, such as these two Teresa dollies. That's because I have learned to enjoy all dolls, and since I don't play with dolls all the time anymore, I don't need to fixate on what dolls are the most versatile for play or for clothing options. On Memorial Day 2014, my sister and I found a massive, grey container stuffed to the gills with Barbie stuff. The dolls, clothes, and other contents of this lot (which we named the "Memorial Day bin") were filthy. And by filthy, I mean that they left a dirt trail behind them on our living room carpet. Colleen and I didn't even want to identify the dolls or their clothes prior to washing them because everything was so downright disgusting. I found several doll heads floating around the bottom of the container. One of them was the Teresa doll on the left hand side of the photo. Finding her body-less gave me the chance to appreciate the one thing she still had left--that gorgeous face. I absolutely adore her beautiful brown/purple eyes. Plus, her silky saran, brown hair is breathtaking. I was eager to find her a body, and was actually somewhat disappointed that I didn't have a more appropriate body donor in storage for her (she's currently on a Olympic USA Skater body). This Teresa doll needed a little extra love than the average flea market rescue. Not only was she filthy, but she was also decapitated for who knows how long. She's wormed a special place in my heart since the day we first met. She is most certainly one of the most gorgeous Teresa dolls in my collection, and I'm very proud to call her my own.
I was just as excited about finding my duplicated Twirling Ballerina Teresa as I had been about discovering my first. Two years later, in 2016, I found my second doll (on the right) in the "Teresa lot." She was one of many Teresa dolls I got from that particular bin of dollies. You would think that my first gal would have been in worse condition, considering that loose heads rolling around the bottoms of doll containers tend to take the greatest beatings. But on the contrary, I have found that dolls who are just heads tend to fair better in the hair department than those who are on bodies. For instance, Julia, my 1987 Doctor Barbie, was often times separated from her body when I was growing up. Like my first Twirling Ballerina Teresa, she spent most of her time as a loose head, with matted hair, sitting at the bottom of my doll drawer/container. But both of these unlucky gals turned out to have beautiful, silky soft hair beneath the surface dreadlocks. My second Twirling Ballerina Teresa doll was not nearly as lucky. I have a hunch that her previous owner enjoyed blow drying his/her dolls. I found some evidence of burn damage on a few of the dolls that came from the "Teresa lot." This girl had some very short, wiry bits of hair around her hairline, particularly at the top of her scalp, where a blow dryer would make the most contact. I boil washed her several times, but despite all my efforts, her hair did not clean up nearly as well as my first Twirling Ballerina Teresa doll's hair. Even though she isn't as beautiful as my first doll, nor are her tresses as lovely, she is a babe nonetheless. These two dolls have subtly different looking faces. I assume that they were different country makes, but since my first doll's body is long gone, and since her head is not marked on the inside rim, I'll never know for sure. It's amazing how the most ordinary dolls can become some of my favorites. I never thought that I'd be so fond of two gimmicky ballerina Teresa dolls. I love them with all my heart, and I hope that they have finally found peace with their new family.
#datingadvice #relationships #relationshipsgoals #onlinedating #singles #singlestatus #chat #findme #dating #girl #girls #woman #sex #matching #love #sex #interracialdating #christiandating #marriage #romance #followme #me #likeme #likes #instalikes #instagramanet #kissme #kiss #instatag
Hagia Sophia
Hagia Sophia (from the Greek: Ἁγία Σοφία, "Holy Wisdom"; Latin: Sancta Sophia or Sancta Sapientia; Turkish: Ayasofya) is a former Orthodox patriarchal basilica, later a mosque, and now a museum in Istanbul, Turkey. From the date of its dedication in 360 until 1453, it served as the Greek Patriarchal cathedral of Constantinople, except between 1204 and 1261, when it was converted to a Roman Catholic cathedral under the Latin Patriarch of Constantinople of the Western Crusader established Latin Empire. The building was a mosque from 29 May 1453 until 1931, when it was secularized. It was opened as a museum on 1 February 1935.
The Church was dedicated to the Logos, the second person of the Holy Trinity, its dedication feast taking place on 25 December, the anniversary of the Birth of the incarnation of the Logos in Christ. Although it is sometimes referred to as Sancta Sophia (as though it were named after Saint Sophia), sophia is the phonetic spelling in Latin of the Greek word for wisdom – the full name in Greek being Ναός τῆς Ἁγίας τοῦ Θεοῦ Σοφίας, "Church of the Holy Wisdom of God".
Famous in particular for its massive dome, it is considered the epitome of Byzantine architecture and is said to have "changed the history of architecture." It was the largest cathedral in the world for nearly a thousand years, until Seville Cathedral was completed in 1520. The current building was originally constructed as a church between 532 and 537 on the orders of the Byzantine Emperor Justinian and was the third Church of the Holy Wisdom to occupy the site, the previous two having both been destroyed by rioters. It was designed by the Greek scientists Isidore of Miletus, a physicist, and Anthemius of Tralles, a mathematician.
The church contained a large collection of holy relics and featured, among other things, a 49-foot (15 m) silver iconostasis. It was the seat of the Patriarch of Constantinople and the religious focal point of the Eastern Orthodox Church for nearly one thousand years. It is the church in which Cardinal Humbert in 1054 excommunicated Michael I Cerularius – which is commonly considered the start of the Great Schism.
In 1453, Constantinople was conquered by the Ottoman Turks under Sultan Mehmed II, who subsequently ordered the building converted into a mosque. The bells, altar, iconostasis, and sacrificial vessels were removed and many of the mosaics were plastered over. Islamic features – such as the mihrab, minbar, and four minarets – were added while in the possession of the Ottomans. It remained a mosque until 1931 when it was closed to the public for four years. It was re-opened in 1935 as a museum by the Republic of Turkey.
For almost 500 years the principal mosque of Istanbul, Hagia Sophia served as a model for many other Ottoman mosques, such as the Sultan Ahmed Mosque (Blue Mosque of Istanbul), the Şehzade Mosque, the Süleymaniye Mosque, the Rüstem Pasha Mosque and the Kılıç Ali Paşa Mosque.
History
First church
The first church was known as the Μεγάλη Ἐκκλησία (Megálē Ekklēsíā, "Great Church"), or in Latin "Magna Ecclesia", because of its larger dimensions in comparison to the contemporary churches in the City. Inaugurated on 15 February 360 (during the reign of Constantius II) by the Arian bishop Eudoxius of Antioch, it was built next to the area where the imperial palace was being developed. The nearby Hagia Eirene ("Holy Peace") church was completed earlier and served as cathedral until the Hagia Sophia was completed. Both churches acted together as the principal churches of the Byzantine Empire.
Writing in 440, Socrates of Constantinople claimed that the church was built by Constantius II, who was working on it in 346. A tradition which is not older than the 7th – 8th century, reports that the edifice was built by Constantine the Great. Zonaras reconciles the two opinions, writing that Constantius had repaired the edifice consecrated by Eusebius of Nicomedia, after it had collapsed. Since Eusebius was bishop of Constantinople from 339 to 341, and Constantine died in 337, it seems possible that the first church was erected by the latter. The edifice was built as a traditional Latin colonnaded basilica with galleries and a wooden roof. It was preceded by an atrium. It was claimed to be one of the world's most outstanding monuments at the time.
The Patriarch of Constantinople John Chrysostom came into a conflict with Empress Aelia Eudoxia, wife of the emperor Arcadius, and was sent into exile on 20 June 404. During the subsequent riots, this first church was largely burned down. Nothing remains of the first church today.
Second church
Stone remains of the basilica ordered by Theodosius II, showing the Lamb of God
Marble blocks from the second church
A second church was ordered by Theodosius II, who inaugurated it on 10 October 415. The basilica with a wooden roof was built by architect Rufinus. A fire started during the tumult of the Nika Revolt and burned the second Hagia Sophia to the ground on 13–14 January 532
Several marble blocks from the second church survive to the present; among them are reliefs depicting 12 lambs representing the 12 apostles. Originally part of a monumental front entrance, they now reside in an excavation pit adjacent to the museum's entrance. Discovered in 1935 beneath the western courtyard by A. M. Schneider, further digging was forsaken for fear of impinging on the integrity of the Hagia Sophia.
Third church (current structure)
On 23 February 532, only a few days after the destruction of the second basilica, Emperor Justinian I elected to build a third and entirely different basilica, larger and more majestic than its predecessors.
Construction of church depicted in codex Manasses Chronicle
Justinian chose physicist Isidore of Miletus and mathematician Anthemius of Tralles as architects; Anthemius, however, died within the first year of the endeavor. The construction is described in the Byzantine historian Procopius' On Buildings (Peri ktismatōn, Latin: De aedificiis). The emperor had material brought from all over the empire – such as Hellenistic columns from the Temple of Artemis at Ephesus, large stones from quarries in porphyry from Egypt, green marble from Thessaly, black stone from the Bosporus region, and yellow stone from Syria. More than ten thousand people were employed. This new church was contemporaneously recognized as a major work of architecture. The theories of Heron of Alexandria may have been utilized to address the challenges presented by building such an expansive dome over so large a space. The emperor, together with the patriarch Eutychius, inaugurated the new basilica on 27 December 537 with much pomp. The mosaics inside the church were, however, only completed under the reign of Emperor Justin II (565–578).
Hagia Sophia was the seat of the Orthodox patriarch of Constantinople and a principal setting for Byzantine imperial ceremonies, such as coronations. The basilica also offered asylum to wrongdoers.
Earthquakes in August 553 and on 14 December 557 caused cracks in the main dome and eastern half-dome. The main dome collapsed completely during a subsequent earthquake on 7 May 558, destroying the ambon, altar, and ciborium. The crash was due mainly to the too high bearing load and to the enormous shearing load of the dome, which was too flat. These caused the deformation of the piers which sustained the dome. The emperor ordered an immediate restoration. He entrusted it to Isidorus the Younger, nephew of Isidore of Miletus, who used lighter materials and elevated the dome by "30 feet" (about 6.25 metres (20.5 ft)) – giving the building its current interior height of 55.6 metres (182 ft). Moreover, Isidorus changed the dome type, erecting a ribbed dome with pendentives, whose diameter lay between 32.7 and 33.5 m. This reconstruction, giving the church its present 6th-century form, was completed in 562. The Byzantine poet Paul the Silentiary composed a long epic poem (still extant), known as Ekphrasis, for the rededication of the basilica presided over by Patriarch Eutychius on 23 December 562.
In 726, the emperor Leo the Isaurian issued a series of edicts against the veneration of images, ordering the army to destroy all icons – ushering in the period of Byzantine iconoclasm. At that time, all religious pictures and statues were removed from the Hagia Sophia. After a brief reprieve under Empress Irene (797–802), the iconoclasts made a comeback. Emperor Theophilus (829–842) was strongly influenced by Islamic art, which forbids graven images. He had a two-winged bronze door with his monograms installed at the southern entrance of the church.
The basilica suffered damage, first in a great fire in 859, and again in an earthquake on 8 January 869, that made a half-dome collapse. Emperor Basil I ordered the church repaired.
After the great earthquake of 25 October 989, which collapsed the Western dome arch, the Byzantine emperor Basil II asked for the Armenian architect Trdat (Armenian: Տրդատ ճարտարապետ; Latin: Tiridates), creator of the great churches of Ani and Argina, to direct the repairs. He erected again and reinforced the fallen dome arch, and rebuilt the west side of the dome with 15 dome ribs. The extent of the damage required six years of repair and reconstruction; the church was re-opened on 13 May 994. At the end of the reconstruction, the church's decorations were renovated, including the additions of paintings of four immense cherubs, a new depiction of Christ on the dome, and on the apse a new depiction of the Virgin Mary holding Jesus between the apostles Peter and Paul. On the great side arches were painted the prophets and the teachers of the church.
In his book De caerimoniis aulae Byzantinae ("Book of Ceremonies"), Emperor Constantine VII (913–919) wrote a detailed account of the ceremonies held in the Hagia Sophia by the emperor and the patriarch.
19th Century marker of the tomb of Enrico Dandolo, the Doge of Venice who commanded the Sack of Constantinople in 1204, inside the Hagia Sophia
Upon the capture of Constantinople during the Fourth Crusade, the church was ransacked and desecrated by the Latin Christians. The Byzantine historian Niketas Choniates described the capture of Constantinople; many reputed relics from the church – such as a stone from the tomb of Jesus, the Virgin Mary's milk, the shroud of Jesus, and bones of several saints – were sent to churches in the West and can be seen there now in various museums. During the Latin occupation of Constantinople (1204–1261) the church became a Roman Catholic cathedral. Baldwin I of Constantinople was crowned emperor on 16 May 1204 in Hagia Sophia, at a ceremony which closely followed Byzantine practices. Enrico Dandolo, the Doge of Venice who commanded the sack and invasion of the city by the Latin Crusaders in 1204, is buried inside the church. The tomb inscription carrying his name, which has become a part of the floor decoration, was spat upon by many of the angry Byzantines who recaptured Constantinople in 1261. However, restoration led by the brothers Gaspare and Giuseppe Fossati during the period 1847–1849 cast doubt upon the authenticity of the doge's grave; it is more likely a symbolic memorial rather than burial site.
After the recapture in 1261 by the Byzantines, the church was in a dilapidated state. In 1317, emperor Andronicus II ordered four new buttresses (Πυραμὶδας, Greek:"Piramídas") to be built in the eastern and northern parts of the church, financing them with the inheritance of his deceased wife, Irene. New cracks developed in the dome after the earthquake of October 1344, and several parts of the building collapsed on 19 May 1346; consequently, the church was closed until 1354, when repairs were undertaken by architects Astras and Peralta.
Mosque (1453–1935)
In 1453 Sultan Mehmed laid siege to Constantinople, driven in part by a desire to convert the city to Islam. The Sultan promised his troops three days of unbridled pillage if the city fell, after which he would claim its contents himself. Hagia Sophia was not exempted from the pillage, becoming its focal point as the invaders believed it to contain the greatest treasures of the city. Shortly after the city’s defenses collapsed, pillagers made their way to the Hagia Sophia and battered down its doors. Throughout the siege worshipers participated in the Holy Liturgy and Prayer of the Hours at the Hagia Sophia, and the church formed a refuge for many of those who were unable to contribute to the city’s defense. Trapped in the church, congregants and refugees became booty to be divided amongst the invaders. The building was desecrated and looted, and occupants enslaved or slaughtered; a few of the elderly and infirm were killed, and the remainder chained. Priests continued to perform Christian rites until stopped by the invaders. When the Sultan and his cohort entered the church he insisted it should be at once transformed into a mosque. One of the Ulama then climbed the pulpit and recited the Shahada.
Fountain (Şadırvan) for ritual ablutions
The mihrab located in the apse where the altar used to stand, pointing towards Mecca
As written above, immediately after the conquest of Constantinople in 1453, Mehmed II converted Hagia Sophia into the Aya Sofya Mosque. As described by several Western visitors (such as the Córdoban nobleman Pero Tafur and the Florentine Cristoforo Buondelmonti), the church was in a dilapidated state, with several of its doors off; sultan Mehmed II ordered the cleanup of the church and its conversion. He attended the first Friday prayer in the mosque on 1 June 1453. Aya Sofya became the first imperial mosque of Istanbul. To the corresponding Waqf were endowed most of the existing houses in the city and the area of the future Topkapı Palace. Through the imperial charters of 1520 / 926H and 1547 / 954 H shops and parts of the Grand Bazaar and other markets were added to the foundation.Before 1481 a small minaret was erected on the SW corner of the building, above the stair tower. Later, the subsequent sultan, Bayezid II (1481–1512), built another minaret at the NE corner. One of these crashed because of the earthquake of 1509, and around the middle of the 16th century they were both replaced by two diagonally opposite minarets built at the E and W corners of the edifice.
In the 16th century the sultan Suleiman the Magnificent (1520–1566) brought back two colossal candlesticks from his conquest of Hungary. They were placed on either side of the mihrab. During the reign of Selim II (1566–1577), the building started showing signs of fatigue and was extensively strengthened with the addition of structural supports to its exterior by the great Ottoman architect Mimar Sinan, who is also considered one of the world's first earthquake engineers. In addition to strengthening the historic Byzantine structure, Sinan built the two additional large minarets at the western end of the building, the original sultan's loge, and the Türbe (mausoleum) of Selim II to the southeast of the building in 1576-7 / 984 H. In order to do that, one year before parts of the Patriarchate at the S corner of the building were pulled down. Moreover, the golden crescent was mounted on the top of the dome, while a respect zone 35 arşin (about 24 m) wide was imposed around the building, pulling down all the houses which in the meantime had nested around it. Later his türbe hosted also 43 tombs of Ottoman princes. In 1594 / 1004 H Mimar (court architect) Davud Ağa built the türbe of Murad III (1574–1595), where the Sultan and his Valide, Safiye Sultan were later buried. The octagonal mausoleum of their son Mehmed III (1595–1603) and his Valide was built next to it in 1608 / 1017 H by royal architect Dalgiç Mehmet Aĝa. His Son Mustafa I (1617–1618; 1622–1623) let convert the Baptistery into his Türbe.
Later additions were the sultan's gallery, a minbar decorated with marble, a dais for a sermon and a loggia for a muezzin.
Murad III had also two large alabaster Hellenistic urns transported from Pergamon and placed on two sides of the nave.
In 1717, under Sultan Ahmed III (1703–1730), the crumbling plaster of the interior was renovated, contributing indirectly to the preservation of many mosaics, which otherwise would have been destroyed by mosque workers. In fact, it was usual for them to sell mosaics stones – believed to be talismans – to the visitors. Sultan Mahmud I ordered the restoration of the building in 1739 and added a medrese (a Koranic school, now the library of the museum), an Imaret (soup kitchen for distribution to the poor) and a library, and in 1740 a Şadirvan (fountain for ritual ablutions), thus transforming it into a külliye, i.e. a social complex. At the same time a new sultan's gallery and a new mihrab were built inside.
The most famous restoration of the Aya Sofya was ordered by Sultan Abdülmecid and completed by eight hundred workers between 1847 and 1849, under the supervision of the Swiss-Italian architect brothers Gaspare and Giuseppe Fossati. The brothers consolidated the dome and vaults, straightened the columns, and revised the decoration of the exterior and the interior of the building. The mosaics in the upper gallery were cleaned. The old chandeliers were replaced by new pendant ones. New gigantic circular-framed disks or medallions were hung on columns. They were inscribed with the names of Allah, the Prophet Muhammad, the first four caliphs Abu Bakr, Umar, Uthman and Ali, and the two grandchildren of Mohammed: Hassan and Hussain, by the calligrapher Kazasker Mustafa İzzed Effendi (1801–1877). In 1850 the architect Fossati built a new sultan's gallery in a Neo-Byzantine style connected to the royal pavilion behind the mosque. Outside the Aya Sofya, a timekeeper's building and a new madrasah were built. The minarets were altered so that they were of equal height. When the restoration was finished, the mosque was re-opened with ceremonial pomp on 13 July 1849.
Source: Wikipedia
Camera Nikon D7000
Exposure 1
Aperture f/6.3
Focal Length 10.5 mm
ISO Speed 100
It's finally up! My photos for Mattel's Official New Basics Website:
www.barbiecollector.com/barbiebasics/
Then click on Doll Artists, and from the drop-down menu, select Michael Williams.
Be aware, I did not do a make-over like the fabulous OOAK dolls other artists created. Instead, I did a diorama showing all the accessory packs in one display, then I found Barbie the one accessory missing for each pack - the perfect coordinated date!
post here: natalienoack.blogspot.com/2010/03/date-nights.html
photo by luke but i'm in it & he's my husband so i guess i am allowed, right? haha!
have a good day, friends. i've been feeling a bit overwhelmed lately, but today just feels different. i woke up early to make muffins. some friends are coming over for good conversation & tea.
for those who are lead to this picture via pinterest or any wedding website,
I've been receiving e-mails almost everyday requesting me to shoot this for their save the date cards. unfortunately, i live in New Jersey, and most people that want the picture are not from around here. so please, only e-mail me if you live near by and can come to my studio to shoot. I will not photoshop pictures you send me. thanks!
a wedding save the date card I made. if you arent familiar with this layout, its from the DVD cover of the movie Mr. & Mrs. Smith, starring brad pitt and angelina jolie (shes so hot). i love working with this couple. if you go back into my pictures i shot this girl a million times. shot her maternity shots, shot her newborn, and now shooting her wedding.
Strobe:
AB800 1/4 power big softbox above camera
AB800 1/8 power big softbox hitting their backs
radio poppers
l BLOG POST l
- FEATURING -
Cravin - Gia Set
- LOCATION -
TSA EVENT
maps.secondlife.com/secondlife/TSA/131/129/3503
- SOCIALS -
beacons.ai/alexmugler_
Are you looking for adult dating in the USA so that you can join the great adult dating scene and have fun? Here at CitySex we have thousands of singles from the USA who are just like you - looking for a date, hookup or some serious relationship. This is one of our member's picture. Catch MakemeSmile143 and other girls from the USA and join the adult dating scene in the world's best place to do it
When you are searching for even a true love, on line dating is the best choice. You should find your good date in a few minutes of your time with helping hands of married online dating sites. There is no need to wait.
Date: February 3, 2018
Location: Fox Chase Pond & Wetlands Area - West Friendship, Maryland (Howard County)
First gig of the year turned into a bit of a date night — Midlake at The Firestation in Sunderland, and I was there with a new man, well not new exactly, he's part of Larry's circle of friends who I happen to share a love of live music with, which instantly made everything feel a bit more electric.
We headed to the venue with that giddy little feeling of ooh, this could be something.
We stood close near the front, and during the slower numbers he held me in, warm and steady, like it was the most natural thing in the world. The music washed over us, and for once I wasn’t overthinking anything — I was just there, tucked against him, letting the night happen.
Afterwards we stepped back out into the cold, that sharp January air sobering us up a little as we walked away from the lights and noise. On the metro home we sat shoulder to shoulder, talking quietly about how good Midlake had been, quietly in that soft, happy way, the kind where the conversation flows easily
Then as we closed in on whitley Bay, right before we headed our separate ways, he pulled me in and kissed me, not a quick peck, but a proper, lingering, breath-stealing kiss that made the whole night feel like the start of something. And when we finally broke apart, I walked away smiling into the cold like an absolute idiot… already planning the next gig!
Text messaging can be done at each and every given point of the day, this means that you will get to know your match in the mornings, during their work perhaps or sometimes even in the middle of the night when he/she can't sleep. This will give you a better inside look at who the other person really is | YouText.com
Day 46, Feb. 15: Received the "Save the Date" notice from Emily and Justin, and it's on our refrigerator. I'm excited at the prospect!
Beautiful mold-blown translucent blue glass flask in the shape of a date, probably used to hold perfume.
At the start of the 1st century CE, cast glass vessels were a luxury item, intended for the patrician Roman household. But by the end of the century, less labor-intensive blown glass methods meant that people with fewer means could afford glassware for their homes.
Molds enabled many multiples of identical blown glass vessels to be made fairly quickly. It’s almost certain that the molds for these blown glass date vessels were made from actual dates. They would have been used for perfumes or precious oils. Dates were a staple of the Roman diet, and used to sweeten several foods (and wine). During New Year's Day, the Romans used to work a few hours; later, they met with family and friends for lunch. They exchanged the Strenae - dates, dried figs, a jar of honey, leaves and branches of laurel, collected in the woods along the Via Sacra. One can imagine these glass date vessels being passed out at a dinner party - perhaps even for New Year’s Day - to the delight of the guests.
Although the findspot of this glass vessel isn’t known, we can surmise that it was found in a tomb, where it lay undisturbed for centuries. A beautiful object, filled with precious oil or perfume, for the deceased to enjoy in the afterlife.
Roman, Eastern Mediterranean, 1st-2nd century CE.
Getty Villa Museum (2003.333)
click on all sizes" above picture to see larger view
last year at artomatic 2008 neal and i started a "tradition" of "date night" at artomatic. there is so much art to see and it is hard to really view all in one time there. we decided that every wednesday we would go to artomatic for "date night". either we'd bring a picnic dinner, or last year bought food from one of our vendors (we hope "on the fly" will be back again...great food!).
we eat our dinner , usually on the floor where my art is (this year...9th floor right off the elevator) and then we would slowly walk around two floors. even though we would complete the floors so carefully, when we would return again to the floor (another "date night" night) we would see art we hadn't seen the first time. there is so much to see!
at our first "date night", may 14, we were able to look at all 8 floors as almost all of the 800 plus artists haven't started their installing of their work yet.
the 9th floor is planning a "artists get to know each other and celebrate the joy of aom" party.
i walked the 9th floor putting out advertisements for all the artists telling them about the party so they could join in.
after we did that we toured floors 8-5.
then a picnic dinner. then toured floors 4-2.
the busiest floors were 5 and 7. each floor had perhaps 10 artists working there.
i ran into a few folks i know (sean busy at work, veronica setting up, kevin and his grafetti, my partition mate lisa and her mosaics, to name a few). also met some new artists and admired the work of ben tolman.
neal and i will return next wednesday to "date" and have a look see. hopefully there will be more art up and ready...time is getting close!
day three of installation 1 may: the painting is done. the lights are up and today the art work was all hung, along with my name sign, business cards, and comment book for art loving patrons to write in.
neal and i were able to finish installing in three days! of course this is largely due to my wonderful neal who worked very hard to do the painting, lights and hanging the art.
and what did i do.......well.....i made the art and the picnic dinners and lavished praise and kisses on my great guy!
actually neal really enjoys doing all this. we have always, through out our marriage, worked well as a team and he likes "helpng out"...makes him feel part of the artomatic experience and also part of what i do in my llife as an artist. he is my biggest fan and supporter. knowing he is "in my corner" really aids in my creative processes!
in between hanging work we stopped for a picnic dinner.
now that i have finished hanging my work i can "relax", do my volunteer shifts and come to artomatic just to check up on my space and also see what the rest of the aom-ers are doing for install and get a sneak peek at the art work before the show opens.
the space turned out just as i had envisioned it. i am very pleased.
done with installation!!!!!!!!!!!!!
last year i painted my space lime green and it became known as "the lime green beast". this year i am painted my space orange. i wonder what it's "name" will be?
artomatic art show at new artomatic space...55 m st. SE, washington dc.
this is the space for one of my upcoming art shows...29 may to 5 july. artomatic is an art happening that occurs in the washington, dc area usually every year. this is the 10th year anniversary..so a special show. i have been in artomatic since 2007. there are around 800 artists that participate. not all are 2d artists. some are sculptors, musicians, dance, other performance artists (like fire eaters!), there is food, music, bars, and all sorts of happenings. it is one of the most popular shows in this area. all the art is for sale. i have had many good things happen to me art-wise with artomatic.
an artist can display anything they want. this year i will be showing my pastels.
the building is a new building under construction. the owner will let us have the art show there (FOR FREE...NO RENT) before he rents the building to businesses.
we built walls, partitions for artists to hang their work, rooms, stages, put in lighting, etc. all the artists do the work together.
it is great fun.
these are the partitions artomatic used in the artomatic '08 show. this year we turned the wood inside out...the surfaces from last year, that each artist painted/decorated to suit her/his artistic creation are now facing inward.
after artist selects their space they will begin to paint and hang their work.
following week:
i was very pleased to see a change since last wednesday. there were partitions painted, art installed, artists busy at work getting ready! though, give the 1000 plus aom artists, i'd say maybe only 25% or less was anywhere started (and very few actually completed). most of all the core wall spaces were totally untouched!
we visited 9-5 ( a good place to stop since that is where the bathrooms are! and yes, there is toilet paper...thanks to those who brought it).
then our picnic dinner, chatting with some of my space mates (glass folks), visiting with gerald, who stopped by while working his shift, to say hello and look at my work. we met gerald last year at aom '08. he makes fabulous africa masks. since that interests neal and i, and since we were, shortly after aom '08 ended, off to trek west africa, we had stopped to talk to him...and even if we weren't going to africa his masks are worth the look. this year gerald is on the 3rd floor. we are very pleased to see him again.
afterward we walked floors 4-2. had a fun talk with the fabulous paul of british ink as he was painting the outside of his space...in british flag colors of course!
we saw many new folks..stopped to talk about lights, partition colors, exciting art, etc.
observations:
the building is very noisy! the a/c "fans" that blow are deafening! neal and i had to shout, at times, to hear each other. this issue was raised during an epm meeting. it was put forth, by some, that once the building filled with artists and art loving patrons, the noise would be absorbed by all the people. i am really skeptical. i hope i am wrong as i personally find the noise very annoying and the thought of 1000 plus artists and all the visitors shouting at each other to be heard doesn't sound appealing....a cacophony of noise!!!!!!!
as mentioned before.....the installation seems to be only 25% done.........and less than that totally finished.......i am sure it will all be finished on time, but the mind boggles at the crowds at the loading dock, freight elevator, trouble parking after unloading due to nationals games........
orange, as a partition color, seems to be very popular this year. at least i had the first orange...and probably the only one with a name (vote vote vote). in fact, one artist, in my row space, painted her wall orange....you can see my wall and then near the window hers. i trust my family and friends that i tell "get off the elevator at 9, go immediately south west. my space is the orange wall right off the elevator" will not be confused headonwall
many artists "expanded" their space by hanging projections of signs sticking out from core walls into the walk way. others "expanded" their space by having projections coming off of the cement columns. (some, it seemed to me, encroaching on their partition mates). one artist, on a lower floor, who must have a space in front of the window, covered all the windows, top to bottom, with heavy black material...that made all the partition spaces there look as if they were in the dark. i fear it will be very hard to see their art. cores walls, i thought were suppose to be painted white or off white. i saw a brown core wall (true a light brown, but?). supposedly cement columns not to be painted or used for art...but i saw columns painted and art hung on them (i may not be up to date on the
"why" of that).
an amusing sight....an artist painting her core wall in her bra! neal was a gentleman and averted his eyes.
the line of cars to get to the loading dock stretched around the corner and down the block! the cars were 4 across and three deep at the loading dock itself! i have no idea how long the wait was for the freight elevator as i didn't use it.
we had a wonderful "date night". great aom energy. a lovely way to spend the evening.........we will "date night" next tuesday since aom will be closed wednesday in anticipation of the opening 29 may!!!!
starting april 29 artomatic artists will be installing their work.
the show runs 29 may-5 july.
the show runs 29 may-5 july.
jenniferbeinhacker.com
art outside the edge
Date: 1908
Source Type: Postcard
Publisher, Printer, Photographer: Unknown
Postmark: December 31, 1908, San Pierre, Indiana
Collection: Steven R. Shook
Remark: The original Dunn's Bridge was erected during the 1880s by Isaac Dunn, a native of Maine residing in Jasper County, as a means of moving his farming equipment from one side of the Kankakee River to the other side.
In an article published in the October 23, 1897, issue of The Westchester Tribune, an individual signing themselves as “A Taxpayer” had become annoyed with the fact that P. E. Lane of the Lane Bridge & Iron Works, who was from Illinois, was receiving numerous contracts to construct bridge spans throughout Porter County. “A Taxpayer” complained that the county commissioners were allowing “old iron of the World’s Fair, corroded, rusty, and full of holes” to be “dumped on the people of Porter county.”
In this same article, it is also mentioned that the auditor of Porter County had paid the Lane Bridge & Iron Works on November 13, 1895, for the construction of “Dunn’s bridge.” Thus, Dunn’s Bridge was constructed in November and December of 1895 by the Lane Bridge & Iron Works using iron originating from buildings that were razed after the conclusion of the 1893 World’s Fair in Chicago.
Between 1895 and 1897, the Lane Bridge & Iron Works had constructed at least six other bridges using discarded World’s Fair iron in Porter County.
Three of these bridges were located in Westchester Township, one being the bridge over Coffee Creek in Chesterton where today’s Porter Avenue now spans this creek, another spanning the Little Calumet River on today's Brummitt Road (just west of the Brummitt School), and the third being located just west of the present day Howe Road bridge over the Little Calumet River.
One thirty-six foot long trestle bridge was constructed in Morgan Township over Crooked Creek on present day Indiana State Road 49, just north of County Road 500 South. Another bridge was built in Washington Township just west of present day County Road 400 East along Indiana State Road 2. Finally, in Jackson Township, the Lane Bridge & Iron Company constructed a bridge where present day Mander Road spans Coffee Creek, which was replaced in the 1970s.
Dunn’s Bridge is the only known surviving bridge that the Lane Bridge & Iron Works built in Porter County. In 1895, Porter County paid Lane Bridge & Iron Works $3,613.45 for the materials to construct Dunn's Bridge. It is unclear from the source of this information as to whether this represented one-half of the materials costs, with Jasper County paying the other one-half, or if this amount was the total cost of materials.
The iron bridge span seen in this image was erected to replace the original wood bridge structure built by Isaac Dunn. It has long been rumored that the Dunn's Bridge iron framing was constructed from iron trusses taken from the world's first Ferris wheel that operated at the 1893 World's Columbian Exposition in Chicago, Illinois. This rumor is untrue since the top of the bridge arch flattens out and, more importantly, the 1893 Ferris wheel from the World's Columbian Exposition was removed to St. Louis, Missouri, for use at the 1904 Louisiana Purchase Exposition - being dynamited on May 11, 1906, and sold for scrap. Thus, the bridge's construction predated the dismantling of the Ferris wheel by many years.
The bridge trusses did indeed originate from the 1893 World's Columbian Exposition, but they originated from one or more of the domed or barrel-arched structures that were dismantled after the exposition. One persistent theory is that the arches for Dunn's Bridge were obtained from the dismantled Administration Building from the World's Columbian Exposition.
Sources:
The Chesterton Tribune, Chesterton, Porter County, Indiana; December 25, 1897; Volume 14, Number 37, Page 1, Columns 1-2. Column titled "The News of the Week. Taxpayer of Valparaiso Throws a Bombshell Into Camp by Claiming the County Commissioners Have a New Bird to Throw Money at."
Nichols, Kay Folsom. 1965 The Kankakee: Chronicle of an Indiana River and Its Fabled Marshes. Brooklyn, New York: Theodore Gaus' Sons, Inc. 209 p.
The Westchester Tribune, Chesterton, Porter County, Indiana; October 23, 1897; Volume 14, Number 28, Page 1, Columns 3-5. Column titled "Those Iron Bridges. A Correspondent Asks Pertinent Questions About Them. And is Answered With the Testimony Given by Chairman Fulton of the County Board of Commissioners, Who Makes Some Startling Admissions."
Copyright 2022. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Tim Hortons at night. Lovely couple sitting together inside the cafe.
shot with Rollei35 S-Xenar & Centuria 100 (expired)
"Entzun ezazue ondo esango dudana
Euskalerrietaz hitzegingo dut ta.
Azken bolada hontan egunkarietan,
Irrati telebista eta abarrekotan
badaude hitz batzuk:
Pakea, Arrazoia,
Behin eta berriro aipatzen direnak.
Gaixorik omen gaude,
larri ta etsituak,
gaitzaren izena:
Milenarismoa.
Basati eta arlote ,txit odolzaleak
elizkoi eta ankerra beti izan gara.
Eraikitzeko gauza ez gara inoiz izan
suntsitzeko bakarrik gaituzu bikainak.
Madrilen ez bilatu inongo erruduna
gure gaitzen sustraia datza gure baitan,
hala diote behintzat jakintsu guztiek:
Savater, Onaindia eta Caro Barojak.
Milenioa dator: Hala omen da.
Milenioa dator: zoritxarra!
Milenioa dator: ta gu honela!
Milenioa dator: Hau ikara!
Milenioa dator: Euskaldunok!
Milenioa dator: Guztiontzat!
Milenioa dator: Prest gaitezen!
Milenioa dator: Berehala."
(M-ak)
"Escuchad bien lo que voy ha decir,
porque voy a hablar de Euskalerria.
Últimamente, en los periódicos,
radio, television y demás
hay unas palabras:
Paz, Razón,
que se repiten eternamente.
Dicen que estamos enfermos,
apurados y rendidos,
el nombre de la enfermedad:
Milenarismo.
Salvajes y andrajosos, muy sanguinarios,
creyentes y viles siempre hemos sido.
Nunca hemos sido
capaces de construir nada,
sólo somos geniales
a la hora de destruir.
No busques en Madrid al culpable,
la raíz de nuestros males
reside en nosotros,
o eso dicen al menos
todos los sabios:
Savater, Onaindia y Caro Baroja.
Viene el milenio: Así parece ser.
Viene el milenio: Que desgracia!
Viene el milenio: Y nosotros así!
Viene el milenio: Que miedo!
Viene el milenio: Euskaldunes!
Viene el milenio: Para todos!
Viene el milenio: Preparémonos!
Viene el milenio: Enseguida."
(M-ak)
Banda sonora:
Shop @maui_sl for the new La Cubana Restaurant scene !!!
Get it at the Grand event : maps.secondlife.com/secondlife/The%20Grand%20Event/115/31/47