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On April 23, 2006, I rode a Speeder from Cordele to Plains, Georgia on a trip sponsored by NARCOA (aka North American Rail Car Owners Association). Since I don't own a Motor Car (aka a Speeder), I rode with a friend who owns two Motor Cars. The Next Day, Monday April 24, 2006, I spent another Day (near Cordele) to get a more comprehensive look at the SAM Short Line Tourist Line and the surrounding area.
One of the places I visited was Veterans Park, where I found some Military Antiques to Photograph, such as this 155 mm Howitzer MA1918A3.
The Long Tom 155mm GUN M1 is mounted on a Carriage. It is a Superior Artillery Weapon with Excellent Long Range. Accuracy. It's apparently the only US ARMY Towed Artillery Weapon.
This LVT-3 Bushmaster was Manufactured by Borg-Warner Corp. and was modified to an LVT-3C by Continental Aviation & Engineering in 1950. This Landing Craft was Waterproof, withstood Heavy Surf. and had TREADS designed for Water & Sans rather than Land Travel. It was developed and had a Strong Stern Landing Ramp suited for Cargo Hauling rather than Troop Transportation with it's Twin Cadillac V-8 Model 42 Engines.
"2,992 LVT-3's were built for the United States Marine Corps. Production Issues delayed Combat Introduction at Okinawa until 1945.
In 1949, plans were implemented to Modernize LVT-3C's. In 1950, Overhead Armor was added to the protect the Troops. The Modified Version, named LVT-3C Bushmaster, were the Backbone of Marine amtrac units in the Korean War. They were prominent in Landings at Inchon, Attacks across the Han River and the Evacuation of Hungarian Harbor.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Arsenal (de l'Aéronautique) VB 31 was a French naval fighter aircraft developed shortly after World War II. In January 1947 Arsenal were given a contract to develop a powerful naval fighter for the four French aircraft carriers. Since the modernization of the Aéronavale was pressing, the aircraft had to be developed fast. In order to cut time, the initial concept, the VB 30, was based on the unrealized German Messerschmitt Me 155 project.
The Me 155 naval fighter had been a naval development of the Messerschmitt Bf 109G, intended for the German aircraft carrier Graf Zeppelin, which never saw the light of day. When it was clear that the Me 155 was a dead end, the basic design was developed further into a high altitude interceptor and the project handed over to Blohm & Voss. The resulting, highly modified Bv 155 saw the prototype stage in the late years of WWII, but was never put into service. Years later, though, the Me 155 should surface again: Evolved by Ingenieur-General Vernisse and M. Badie, the VB 30 did not only use many design features of the original Me 155 design, it also heavily drew on the indigenous VB 10 heavy fighter which had been previously under development since WWII.
The VB 30 was more compact than the VB 10, though, even though it had similar proportions. IIt was an all-metal single-seat fighter with a low-wing monoplane, a retractable tailwheel undercarriage and of largely orthodox configuration. The wings had an inverted gull wing shape, in order to shorten the main undercarriage as much as possible, and were foldable. The landing gear retracted inwards, and the tail wheel was retractable, too.
The VB 30's layout resembled much the smaller North American Mustang. The aircraft was powered by a powerful Arsenal 24 H engine which was theoretically capable of 3.400hp – itself a development based on the cylinder blocks of the German Junkers IV12 213 engine. A huge radiator bath for the liquid-cooled engine was located under the fuselage, at the wings’ trailing edge.
The aircraft was heavily armed, with a newly developed, compact 30mm cannon (which would eventually become the famous DEFA cannon), firing through the propeller axis, plus four HS-404 20mm cannons or six 12.7mm machine guns in the wings, outside of the propeller arc. Various ordnance loads, including bombs of up to 500 kg caliber, drop tanks or unguided missiles, could be carried under the fuselage and outer wings.
Unlike the huge, tandem-engined VB 10, the VB 30 was (relatively) more successful, but its career started under misfortunate stars: Just one month after the VB 10 contract was cancelled, the prototype VB 30-01 made its maiden flight on 8th of December 1948. Overall, the aircraft behaved well, but its low speed handling was hampered by the immense torque of the Arsenal 24 H engine and the huge, four-bladed propeller. This problem was eventually countered with an enlarged fin, which earned the type its nickname "Requin" (Shark).
With this and many other detail modifications the aircraft was now called VB 31and cleared for series production, even though it was already apparent that the future of the fighter lay with jet power. A second prototype, the VB 30-02, had been started, but its assembly lagged so much behind that it was eventually finished as the first serial VB 31. Anyway, the development of the VB 31 continued as a safety net for France's nascent jet fighter programs, since it was not clear when pure jets would eventually offer the appropriate performance for carrier use, and when they'd be ready for service.
The VB 31’s development saw several drawbacks, including constant problems with the complicated, liquid-cooled engine, the radiator system and the landing gear. Serial production and service introduction of the VB 31 started slowly and was delayed until January 1951 – by which the French Air Force already had to rely on surplus British and American fighters to tide it over until domestically-produced jet fighters appeared. Time was already working against the VB 31.
Additionally, with the brooding Indochina War since August 1945, the need for a maritime fighter and fighter-bomber became so dire that the Aéronavale had to order the WWII Vought F4U-7 to fill this specific gap and replace several obsolete types. The XF4U-7 prototype did its test flight on 2 July 1952 with a total of 94 F4U-7s built for the French Navy's Aéronavale (79 in 1952, 15 in 1953), with the last of the batch, the final Corsair built, rolled out on 31 January 1953. With this proven (and cheaper) alternative, only a single batch of 40 VB 31 aircraft (instead of the planned 200!) was eventually built and put into service.
The VB 31 just came in time for the First Indochina War between France’s French Far East Expeditionary Corps and Emperor Báo Dai’s Vietnamese National Army against the Viet Minh, Led by Ho Chi Minh and Vo Nguyen Giap. During this conflict, the French used many different pre Cold War aircraft of World War Two, as well as the new types.The VB 31 were distrubuted between Flotille 3F and 12F, where they replayced Curtiss SB2C Helldivers and Grumman F6F-3 Hellcats, respectively. Flotille 12F pilots arrived in Asia on board of the aircraft carrier 'Arromanches' in early 1952, equipped with both VB 31 and F4U-7 fighters. Both types were deployed from the carrier and also served from Haiphong for CAS and escort duties in the Tonkin area.
The operational era of the VB 31 did not last long, though. The type was powerful, but complicated. The VB 31 also needed much more maintenance than the sturdy Corsair, which could also take more damage and had a considerable larger range. Hence, already in June 1953, all VB 31 were returned to Europe and based at Hyères, where they replaced obsolete F6F-5 Hellcats and were mainly used for training purposes. In the early sixties, with naval jet fighters finally available, the VB 31 were quickly withdrawn and scrapped, being replaced by Sud-Ouest SO-203 'Aquilon' (license-built D.H. Sea Venom) and Dassault Etendard IVM.
General characteristics:
Crew: one, pilot
Length: 11.63 m (38 ft 8 in)
Wingspan: 13.07 m (43 ft 6 in)
Height (peopeller at max. elevation): 4,9 m (16 ft 1 in)
Powerplant:
1 × Arsenal 24 H, 2.260 kW (3.000 hp), driving a four-bladed propeller
Performance:
Maximum speed: 665 km/h (413 mph)
Range: 1.191 km (740 miles)
Service ceiling: 11.125 m (37.100 ft)
Rate of climb: 10.2 m/s (2008 ft/min)
Armament:
1× 30 mm cannon with 100 RPG, firing through the propeller axis
4× 20 mm HS-404 cannons with 200 RPG or 6×12,7mm machine guns with 250 RPG in the outer wings
1.500kg (3.300 lbs.) of external ordnance, including bombs of of to 454kg (1.000 lbs) calibre, drop tanks or up to eight unguided missiles under the outer wings.
The Kit and its assembly:
I wonder if you recognize the basis for this fantasy airplane? It's actually a modified Bv 155 kit from ART Model/Special Hobby from Russia (Both kits are identical; the ART Model contains an injected clear canopy while the Special Hobby kit offers two vacu canopies, though).
Inspiration struck when I read about the huge VB 10, which has, in its profile view, much resemblance to the Bv 155 - and the latter actually has some naval-friendly features, e .g .the raised cockpit, placed pretty far forward at the wings' leading edge, or the massive landing gear. Since France used some German aircraft after WWII (e.g. Fw 190 for the Air Force and Ju 188 for the Navy), why not create a naval fighter from the Me 155/Bv 155 concept? Well, here it is... the Arsenal VB 31.
For this fantasy conversion, the Bv 155 kit saw major modifications, e. g.:
● The wing span was reduced - from each wing, 4.2cm/1.65" were taken away
● The wings received a new inverted gull wing shape, the cuts came handy
● Outer wings were clipped by 10mm/0,4" each
● Original wing tips were transplanted and re-sculpted to fit
● The rear fuselage was shortened by about 1.3cm/0.5"
● A carburetor intake was added under the nose (from a Hawker Hurricane)
● New horizontal stabilizers from a Grumman Panther (Matchbox)
● Lower position of the horizontal stabilizers
● New landing gear wells had to be cut out, a simple interior was scratch-built
● The landing gear retracts now inwards, original struts and covers were slightly shortened
● New main wheels from a Douglas Skyknight (Matchbox) were used
● New tail wheel (front wheel of a Revell F-16, I guess)
● Modified tail section with an arrestor hook
● The original, extensive exhaust piping between the engine and the turbo charger had to go
● New exhausts at the nose were added (scratch, HO scale roof tiles)
● New propeller from a Matchbox Hawker Tempest was mated with the original spinner
● Cockpit was taken OOB, but a different seat, a pilot and a radio in the rear were added
● Some panel lines had to be re-engraved, due to putty work and/or logical reasons
● Missile hardpoints under the wings come from an F4U
● Antennae were added, accoring to French F4U-7 pictures
There actually was no big plan - I had an idea of what to make from the kit, but modifications came step by step, as the parts fell together and looked or looked not right.
The 24 cylinder Arsenal 24 H engine was really under development in France, so it was a neat choice for such a relatively large aircraft. The huge turbocharger bath under the fuselage of the Bv 155 could easily be taken as a radiator bath for the large, liquid-cooled engine, so that no additional adaptations had to be made.
Overall, I wanted to save the elegant lines of the Bv 155. With the reduced wing span the aircraft looks even elegant, IMHO. All in all, and with its slender, inverted gull wings, the VB 31 somehow reminds of the Ju 87 and the later paper Ju 187 development. There's also something IL-2ish to it?
A side note concerning the kit itself: it has nice engraved details and some fine resin parts for the cockpit or the radiators. But wall strength is high (up to 2mm!), the material is somewhat soft and waxy, and fit is mediocre, so expect serious putty work. Not a bad kit, but something for the experienced modeler. Things surely were worse here, since my modifications to wings and fuselage called for even more sculpting.
Painting and markings:
It took some time to settle on a French naval aircraft, since I already have an all dark-blue whif in my collection (the whiffy F1J Sea Mustang). But I had some appropriate decals at hand, and the time frame as well as the potential user offered a good and plausible story behind the VB 31 in Aéronaval service.
Overall, the aircraft was painted in Blue Angels Blue (FS 15050, Testors 1718) and weathered with slightly lighter shades of blue and grey, for a sun-bleached look and in order to emphasize the panel lines. One can argue about this tone: many Aéronavale aircraft look much darker, rather like FS 15042, but I have seen pictures of such bright aircraft - I'd assume that the color standard was not very strict, as long as the aircraft was "dark blue"?
After basic painting the VB 31 looked very bright, so I did some major dry painting with darker/duller shades like Humbrol 67, 77 and 104 to tame things down, and the result is O.K. now.
The interior surfaces were painted in Mid Stone and dry-painted with Chromate Yellow (Humbrol 225 and 81). AFAIK, this is the typical interior finish for Aéronavel aircraft of that time, and it is a nice contrast to the dark and uniform outside.
Most markings come from an F4U-7 decal sheet, some things like the tail rudder Tricolore had to be improvised (comes from a 30 year old Airfix Bristol Blenheim decal sheet!).
Beyond the dry-painted blue and grey hues on the upper surfaces, the model was slightly weathered with exhaust and soot stains and some dry-painted silver on the leading edges. This makes the all-blue aircraft look a bit more lively and is IMHO authentic for Aéronavale fighters of the 50ies, esp. under the harsh climate of South East Asia.
Finally, everything was sealed under a semi-matt varnish (Tamiya Acryllics, rattle can), and some additional matt varnish was applied on the upper surfaces, also for a dull and sun-bleached look.
The kit was built in a week from sprues to pictures, overall a sleek and elegant aircraft with plausible lines - an hommage to the many elegant and innovative aircraft which were developed in France in WWII and later but which are easily overlooked today!
Taken with Contax Aria & Contax Zeiss 50mm 1:1.7.
Film used Arista.EDU Ultra 100 shot @ 50 ASA.
Developed with Clayton F76+ 1+9 for 6 minutes @ 20C/68F.
Fixed with Photographers Formulary TF-5 for 4 Minutes 30 Seconds.
The Saunders-Roe SR.45 Princess was a British flying boat aircraft developed and built by Saunders-Roe at their Cowes facility on the Isle of Wight. It has the distinction of being the largest all-metal flying boat to have ever been constructed.
The Princess had been developed to serve as a larger and more luxurious successor to the pre-war commercial flying boats, such as the Short Empire. It was intended to serve the transatlantic route, carrying up to 100 passengers between Southampton, United Kingdom and New York City, United States in spacious and comfortable conditions. To achieve this, it was decided early on to make use of newly developed turboprop technology, opting for the Bristol Proteus engine still in development to power the aircraft. The project suffered delays due to difficulties encountered in the development of the Proteus engine.
On 22 August 1952, the first prototype Princess, G-ALUN, conducted its maiden flight. Between 1952 and 1954, the first prototype performed a total of 47 test flights, including two public appearances at the Farnborough Air Show. This work was carried out under a development contract for the Ministry of Supply, the intention being that this would lead to a contract for the aircraft from British flag carrier British Overseas Airways Corporation (BOAC). Although the initial development contract had been successfully met, BOAC eventually decided to focus on its land-based routes using the jet-powered De Havilland Comet instead. The era of the large flying boat had effectively ended prior to the aircraft's completion.
Work on the Princess was ultimately cancelled after having produced three examples, only one of which flew. By the mid-1950s, large commercial flying boats were being increasingly overshadowed by land-based jet airliners. Factors such as runway and airport improvements had added to the viability of land-based aircraft, which did not have to compromise to accommodate the additional weight and drag of the boat hulls that were necessary on seaplanes, or the mitigating measures needed against the corrosion caused by seawater. Following the project's termination, the three airframes were stored with the intention of selling them on; however, upon receipt of a promising offer for the aircraft, it was found that corrosion had set in while in storage. As a result, all three aircraft prototypes were subsequently scrapped. (WIKIPEDIA).
SoulRider.222 / Eric Rider © 2022
The M60 is an American second-generation main battle tank (MBT). It was officially standardized as the Tank, Combat, Full Tracked: 105-mm Gun, M60 in March 1959. Although developed from the M48 Patton, the M60 tank series was never officially christened as a Patton tank. The US Army considered it a product-improved descendant of the Patton tank's design. The design similarities are evident comparing the original version of the M60 and the M48A2. It has been sometimes informally grouped as a member of the Patton tank family.
The United States fully committed to the MBT doctrine in 1963, when the Marine Corps retired the last (M103) heavy tank battalion. The M60 tank series became America's primary main battle tank during the Cold War. Over 15,000 M60s were built by Chrysler Defense Engineering. Hull production ended in 1983, but 5,400 older models were converted to the M60A3 variant ending in 1990.
The M60 reached operational capability upon fielding to US Army European units beginning in December 1960. The first combat use of the M60 was by Israel during the 1973 Yom Kippur War, where it saw service under the Magahi 6 designation, performing well in combat against comparable tanks such as the T-62. In 1982 the Israelis again used the M60 during the 1982 Lebanon War, equipped with upgrades such as explosive reactive armor to defend against guided missiles that proved very effective at destroying tanks. The M60 also saw use in 1983 during Operation Urgent Fury, supporting US Marines in an amphibious assault on Grenada. M60s delivered to Iran also served in the Iran–Iraq War.
The United States' largest deployment of M60s was in the 1991 Gulf War, where the US Marines equipped with M60A1s effectively defeated Iraqi armored forces, including T-72 tanks. The United States retired the M60 from front-line combat after Operation Desert Storm, with the last tanks being retired from National Guard service in 1997. M60-series vehicles continue in front-line service with a number of countries' militaries, though most of these have been highly modified and had their firepower, mobility and protection upgraded to increase their combat effectiveness on the modern battlefield.
The M60 underwent many updates over its service life. The interior layout, based on the design of the M48, provided ample room for updates and improvements, extending the vehicle's service life for over four decades. It was widely used by the US and its Cold War allies, especially those in NATO, and remains in service throughout the world, despite having been superseded by the M1 Abrams in the US military.
The M60 featured the M68 105mm main gun in the clamshell shaped Patton-styled T95E5 turret and several component improvements as well as the AVDS-1790-2A diesel engine and improved hull design. Some early production units did not have the commander's cupola.
The 116th Cavalry Brigade Combat Team is the largest formation of the Idaho Army National Guard. It is headquartered at Gowen Field, Boise, Idaho. It has been reorganized into an Armored Brigade Combat Team (ABCT) but remains the only unit to be designated a "Cavalry Brigade Combat Team" by special appointment of the US Army. The 116th Cavalry Brigade Combat Team has units located throughout Idaho, Montana, Oregon, and Nevada. It was reorganized into a heavy armor brigade in 1989. Often referred to as the Snake River Brigade and formerly known as the 116th Armored Cavalry Regiment, the unit includes about 3,000 citizen-soldiers from Idaho.
In July 2016, the 116th CBCT took part in Exercise Saber Guardian, which involve deploying troop elements from Armenia, Azerbaijan, Bulgaria, Canada, Georgia, Moldova, Poland, Romania, Ukraine and the U.S.
The 116th CBCT consists of the following units:
Headquarters and Headquarters Company, 116th Cavalry Brigade Combat Team (Idaho Army National Guard)
116 Cav Rgt DUI.png2nd Battalion (Combined Arms), 116th Cavalry Regiment (Idaho Army National Guard)
116 Cav Rgt DUI.png3rd Battalion (Combined Arms), 116th Cavalry Regiment (Oregon Army National Guard)
163rd Cavalry Regiment DUI.jpg1st Battalion (Combined Arms), 163rd Cavalry Regiment (Montana Army National Guard)
221st Cavalry Regiment DUI.jpg1st Squadron (Armored Reconnaissance), 221st Cavalry Regiment (Nevada Army National Guard) (joined CBCT Nov. 2016)
148 FA Rgt DUI.jpg1st Battalion, 148th Field Artillery Regiment (Idaho Army National Guard)
US 116th BEB insignia.png116th Brigade Engineer Battalion (Idaho Army National Guard) (re-organized from a special troops battalion and elements of the former 116th Engineer Battalion October 2016)
US 145th BSB insignia.png145th Brigade Support Battalion (Idaho, Montana, Nevada, and Oregon Army National Guard)
History
The 116th Cavalry (Snake River Regiment) was constituted on 4 March 1920 in the Idaho National Guard as the 1st Cavalry. It organized between March – November 1920 in the valley of the Snake River. It was redesignated on 12 October 1921 as the 116th Cavalry (less 2nd and 3rd Squadrons): Headquarters was federally recognized on 11 February 1922 at Boise (2nd and 3rd Squadrons were allotted in 1929 to the Idaho National Guard). The location of headquarters changed on 15 March 1929 to Weiser; and on 9 December 1930 back to Boise. The 116th Cavalry (less 3rd Squadron) converted and was redesignated on 16 September 1940 to the 183rd Field Artillery (the 3rd Squadron concurrently converted and was redesignated as elements of the 148th Field Artillery—hereafter separate lineage).
The 183rd Field Artillery Battalion was inducted into federal service on 1 April 1941 at home stations. The regiment was broken up on 8 February 1943 and its elements were reorganized and redesignated as follows: Headquarters and Headquarters Battery as Headquarters and Headquarters Battery, 183 Field Artillery Group; the 1st Battalion as the 183rd Field Artillery Battalion (it inactivated on 30 October 1944, Camp Myles Standish, Massachusetts); the 2nd Battalion as the 951st Field Artillery Battalion (it inactivated on 13 October 1945 also at Camp Myles Standish.
The above units were reorganized as elements of the 183rd Infantry (Headquarters was federally recognized on 10 January 1947 at Twin Falls) and the 116th Mechanized Cavalry Reconnaissance Squadron (Headquarters was federally recognized on 8 January 1947 at Caldwell). The 183rd Infantry (less 3rd Battalion) and 116th Mechanized Cavalry Reconnaissance Squadron were consolidated, reorganized, and redesignated on 12 September 1949 as the 116th Armored Cavalry with headquarters at Twin Falls. The 3rd Battalion, 183rd Infantry, was concurrently converted and redesignated as the 116th Engineer Combat Battalion—hereafter separate lineage. The 3rd Squadron was allotted on 15 December 1967 to the Nevada Army National Guard; it was relieved on 11 May 1974 from allotment to the Nevada Army National Guard and allotted to the Oregon Army National Guard. The 1st Squadron was relieved on 1 May 1977 from allotment to the Idaho Army National Guard. The Attack Helicopter Company was allotted on 1 September 1975 to the Washington and Wyoming Army National Guard. The 116th was one of the four Army National Guard armored cavalry regiments during the 1980s, along with the 107th Armored Cavalry Regiment, 163rd Armored Cavalry Regiment and the 278th Armored Cavalry Regiment.
The unit reorganized and was redesignated on 1 September 1989 in the Idaho and Oregon Army National Guard as the 116th Cavalry, a parent regiment under the United States Army Regiment System, to consist of the 2nd and 3rd Battalions and Troop E, elements of the 116th Cavalry Brigade, and Troop F, and element of the 41st Infantry Brigade. The 116th Cavalry Brigade then joined the 4th Infantry Division as the round out brigade. It was reorganized on 1 October 1995 to consist of the 2nd and 3rd Battalions, elements of the 116th Cavalry Brigade and in 1996 the brigade left the 4th Infantry Division.
Operation JOINT FORGE (SFOR XI)
Approximately 300 Idaho and Montana Army National Guardsmen and women of the 116th served in Bosnia in 2001 and 2002. The 116th Cavalry Brigade, headquartered at Gowen Field, deployed approximately 100 soldiers in March 2002, returning in October 2002. The 116th was under the command and control of the Army's 25th Infantry Division, Hawaii, during the deployment. The 91st Division (Training Support) trained the 116th Cavalry Brigade prior to its deployment to Bosnia for Stabilization Force 11.
Operation Iraqi Freedom III
In the early part of 2004 the 116th Cavalry Brigade was alerted for a mobilization to support Operation Iraqi Freedom. In June that year the entire brigade deployed for 18 months. The brigade spent the first six months at Fort Bliss, TX and Fort Polk, LA training for their combat mission.
The majority of the brigade arrived in Iraq late 2004. The 116th Cavalry Brigade was assigned to the northern part of Iraq, primarily in and around the oil-rich city of Kirkuk with elements occupying FOB Warrior, FOB McHenry and Gains Mills. For nearly a full year the soldiers of the 116th Cavalry Brigade conducted full spectrum operations in and around Kirkuk, stabilizing the region for national elections, and training the Iraqi Army and police forces.
The Iraq deployment marked the first time in the 116th Cavalry Brigade's history that the entire brigade had deployed together. This was also the first time that the 116th shoulder sleeve insignia was authorized to wear as the shoulder sleeve insignia – Former Wartime Service (often referred to as a combat patch).
As a cavalry unit, many soldiers serving in the brigade during the deployment were authorized to wear the gold combat spurs.
In November 2005 the 116th Cavalry Brigade redeployed to the United States. After redeployment the 116th Cavalry was officially redesignated from 116th Cavalry Brigade to 116th Cavalry Brigade Combat Team.
Operation New Dawn
On 17 September 2010 the brigade began a 12-month deployment to Iraq, first traveling to Camp Shelby, Mississippi, for training and premobilization certification. After serving for a year in various locations in Iraq performing Force Protection missions, the brigade returned to Idaho in September 2011.
During their deployment, they conducted numerous Force Protection missions. The unit was spread all over Iraq, being the main controlling task force for the country, from late November 2010 to early September 2011, when they turned the country over to the Kentucky National Guard.
From Quick Reaction Force platoons, convoy security teams, to ECP operations as well as administrative and biometrics operations, UAV operations, the 116th play a major role in initiating Operation New Dawn and the overall turnover of the country to the Iraqi Government.
Insignia
Shoulder Sleeve Insignia
Description: On a scarlet disc with a 1⁄8 inch yellow border 2 1⁄2 inches in diameter overall, a yellow sun emitting twelve rays surmounted by a blue horizontal wavy band bearing a yellow gliding snake.
Symbolism: The wavy band and the snake are taken from the coat of arms of the former organization, the 116th Armored Cavalry Regiment. The wavy band and snake represent the Snake River, and refer to the home area of the former organization, the Snake River Valley. The sun alludes to the state of Idaho, noted for the beauty of its sunrises. The name is taken from Shoshoni Indian words meaning " the sun comes down the mountain" or "it is morning." The predominant color, yellow, is representative of Armored Cavalry units.
Background: The shoulder sleeve insignia was originally approved for the 116th Armored Cavalry Regiment on 9 October 1967. The insignia was redesignated and the symbolism revised on 1 September 1989.
Distinctive Unit Insignia
A gold color metal and enamel device 1 3⁄16 inches high, consisting of a bundle of five gold arrows, points up, encompassed on either side of the tripartite black scroll passing across the center of the arrows and inscribed "MOVE STRIKE DESTROY" in gold letters; overall in base a red coiled rattlesnake.
Symbolism: Yellow/gold is the color traditionally associated with Cavalry. The coiled rattlesnake epitomizes the unit's motto – capabilities and military preparedness. The snake also alludes to the unit's association with the old 116th Armored Cavalry Regiment. The five arrows symbolize the unit's five campaign credits during World War II as Field Artillery; scarlet and yellow/gold are the colors associated with Field Artillery.
Background: The distinctive unit insignia was authorized on 2 May 1989.
I thought that this photo was the little sister in the second photo (www.flickr.com/photos/addie-b/7701320452/in/photostream/) but now that I've viewed it in a larger size, I'm not 100% sure. If it is, she's got short hair and a romper rather than a dress (though it does have a flower print) . But, it could possibly be a little boy. This is one of very few of the pictures that has no developer's mark on the back, so that might signal it as an earlier picture, but the other ones with blank backs are later. I really don't know what to think and the time frame it was taken in really depends on who's in the picture too. Any opinions?
Whoever it is, he or she seems to be well on his/her way to achieving the level of stoicism that the boy from the first few pictures displays.
There is what looks like a name written on the back which might settle the question if anyone can make it out. I'll post a scan of the reverse below.
On another note, I do believe that's the backside of a rocking horse in the bottom left corner. I didn't notice it until last night when I was taking the picture over to the printer to scan it.
*UPDATE*- After taking a closer look at another one of the pictures ( www.flickr.com/photos/addie-b/7733811116/in/photostream/ ) I think this is the same little girl in that picture, but I'm not quite sure who she is. It's possible that she's the sister of the little boy from the first few pictures, but I'm more inclined to think that she's another little girl altogether. Perhaps a cousin or just a neighborhood kid.
And talking about how awesome it was.
Developed from the single seat Yak-50, the '52 was a standard trainer for the former soviet airforce, although it has proved a popular mount for civil display pilots as well.
Downtown Nashville, Tennessee
I did some street photography work in Nashville. Check out my blog post about my venture here: www.shutteringthrulife.com/around-town-an-exercise-in-str...
Olympus OM1
Olympus OM 50mm f1.8
Ilford Delta 100
Developed & Scanned by the Film Box Lab
I have developed a bit of a fascination for colourful (and busy) restaurant counters and the adjacent work spaces. We had been at local Grimsby, Ontario coffee house (Station One, located in our former downtown fire-hall, hence the name) for a bit of a light supper and I decided to try a hand-held panorama of the main counter. It was a bit of a gamble. Not only was I shooting hand-held in low light, but people had the poor judgement to keep getting into (or leaving) my frames at he most inopportune times. Nothing wrong with photography that getting rid of all the people could not cure! Regardless, I got the three frames I would need, although not without being spotted by one of the staff (see the lady on the left of centre). A bit of computer magic in PP took care of traces of unwanted people in the result (including removal of a second instance of the staff member behind the counter right of centre). A crude but acceptable panorama resulted. In case you are wondering, I did try this with my usual panorama software, free Open Source Hugin) but it kept getting cranky about the fit and that led me to the manual approach. - JW
Date Taken: 2015-06-19
Tech Details:
Three overlapping frames taken using a hand-held Nikon D7100 fitted with a Nikkor 35mm f/1.8 DX lense, ISO640 (manually set), Auto WB, Aperture priority mode, f/2.2, 1/25 sec. PP of individual frames using free Open Source RAWTherapee from Nikon RAW/NEF source files (all three frames identically processed to optimize matching result): exposure compensation set to 0, contrast set to 60, black level set to 500, vibrance set to 20, saved. PP in free Open Source GIMP: created a new blank canvas large enough to contain the resulting panorama (i.e. 18,000x5000 pixels which was more than enough), all three frames added as layers (left one on top, middle one in middle and right frame on bottom), frames reposition to approximate location in pano and then the middle and right frames were scaled to get matching size at the overlap point, location adjustment fine tuned to optimize fit, large soft-edged eraser tool used to remove right edges of top and middle frames layers to get a smooth overlap, a bit of cloning done to clean up some mall, rough transition areas, new layer created from visible result, image cropped to maximum size that fits inside the full image, sharpened, scaled to 4000 pixels high to obtain the working size I wanted for image prep intended for use online, added fine black and white frame, add bar and text on bottom, scaled to 4000 pixels wide for posting.
developed and printed this after months of the roll lying around and was delighted to find snapshots of one of my fave places (brixton in general, not the fishmonger)
Until the end of 2013, Etna's recent eruptive activity was mainly focused on the latest creation of the volcano, the new cone of the Southeast Crater, which was the site of 21 episodes of intense Strombolian activity and - in all cases except the latest two - lava fountaining accompanied by the emission of copious loose volcanic rock material, called tephra. The latest - and weakest - of these episodes took place between 29 and 31 December 2013, although minor lava outflow continued through the two first days of the year 2014, ending altogether during the night of 2-3 January 2014.
For some time, though, we've seen some activity also at the Northeast Crater, the tallest - and since many years, least violently active - of Etna's four summit craters. On 26 October 2013, when the new cone of the Southeast Crater was the site of the first episode of lava fountaining for six months, spectacular ash emissions started also from the Northeast Crater, where the latest significant visible activity had occurred during the summer of 2002. Strangely enough, the conduit of this crater has remained open - possibly down to 1000 or even more meters below the summit - and it has been the source of the most intense and continuous gas emissions of Etna over the past decade.
As the new cone of the Southeast Crater continued to make its eruptive episodes through the fall of 2013, we often saw some sympathetic minor ash emissions at the Northeast Crater, but over the past few days they have become virtually continuous. Today, 9 January 2014, the weather conditions are particularly favorable, with clear skies and a virtually complete absence of wind at Etna's summit, and the plume of ash is rising straight to a few hundred meters above the peak of the mountain. This phenomenon is also well visible from Catania, and from the roof of the INGV building in the center of town, from where I took this photograph on the early afternoon of 9 January 2014 (I admit that I deleted the metal thread of an antenna out of the right upper part of the image).
This is something different, and now everybody is wondering whether old Northeast Crater, after many years of steaming and producing rumbling sounds from deep within its conduit is feeling the drive to return on the scene on a grander scene. The signals that are constantly monitored by the INGV - seismic activity, gas emissions, ground deformation - do not presently indicate that something big is on the move. But Etna, after all, is an active volcano. So we should not be surprised if she gave us another surprise, after all the surprises she's unleashed on us over the years ...
Develop your senses- especially learn how to see. Realize that everything connects to everything else.
Marksman is a British anti-aircraft weapon system developed by Marconi, consisting of a turret, a Marconi Series 400 radar and two Swiss 35mm Oerlikon automatic cannons. It is similar to the German Gepard system in terms of engine performance, ammunition carried and effective range of the ammunition.
The turret could be adapted to many basic tank chassis, creating a self-propelled anti-aircraft gun (SPAAG). It is seen here on display at the Farnborough Air Show in 1988, mounted atop an M48 tank chassis.
The only known major operator of the system to date is the Finnish Army, which ordered seven units in 1990. The turrets were fitted on Polish T-55AM tank chassis. The system is known as the ItPsv 90 in Finnish service (Ilmatorjuntapanssarivaunu 90, Anti-Aircraft tank 90, the number being the year the tank entered service). It is considered a very accurate anti-aircraft artillery (AAA) system, having a documented hit percentage of 52.44%.
In 2010, the Marksman systems in service in Finland were moved to wartime reserve storage. In 2015 work began to install the system on the Leopard 2A4 chassis in order to make up for the loss of mobile anti-aircraft coverage when the Marksman was originally retired. The new Leopard 2 Marksman is to enter service in 2016.
The M48 Patton is a main battle tank (MBT) designed in the USA and was a further development of the M47 Patton tank. Some 12,000 were built between 1952 and 1959. The M48 Patton was in US service until replaced by the M60 and served as the US Army and USMC's primary battle tank in South Vietnam during the Vietnam War.
Some 1,800 M48s still remain in active service with a variant of militaries. Multiple variants have resulted in bridgelayers, flamethrowers, bulldozers and armoured recovery vehicles, as well as SPAAGs.
A developing Supercell across far Northeast Wisconsin on July 1 2017. Only isolated storms were expected, but this beast began to develop along an old outflow boundary from a storm early in the afternoon. Aiding in the development was a lake breeze boundary. The updraft was so explosive.
A combination of straight lines, circle arcs and s-curves on a circle divided in 10.
I know that morning glories are five-sided, but they have a pronounced crease in the middle of each side.
All you need to develop black and white or color film, from 135 to 120/220 or 4x5 sheet film. What you need apart from this is a dark room (as in "you shouldn't be able to see your hand in front of your face if you hold it a few centimeters away" – a windowless toilet will do), a working surface that is easy to clean (stainless steel will do it, I use the kitchen surfaces for this), and a kitchen sink for the color developing in order to keep the chemicals at an even temperature. You will also need a timer – a watch with a seconds hand will do the trick too.
Lots of notes in this shot, if you're interested. Make sure to check them out if you're curious about the various things on display (you need to click on the image in order to see the notes).
The equipment is not that expensive either. The prize here is the Paterson Orbital for 4x5 sheet film developing; if you find one (try eBay, you can't buy them new any longer: more info here – pig.sty.nu/wiqi/paterson_orbital.html – a good introduction, though you can use a lot less developer in reality) it will set you back anything from 40 dollars to a 100 – but then, if you're into large format photography this is not a large expenditure compared to the costs of cameras and lenses and film … the bottles, the jugs, the thermometers, the Paterson film tank – all these are affordable items easy to find second hand.
And it's much, much easier to develop C-41 film at home than people say. And cheap! I'm estimating a cost of SEK 10 per roll (SEK 5 per 135 roll, even), which compares to the minilab's price of SEK 59 per roll (SEK 118 for 220 film). This would sound more expensive translated to dollars, as the exchange rate is not flattering the dollar at the moment: but SEK 10 will buy you $1.50, give or take. It's that cheap.
Children's Day at the Aviation Museum of the Royal Thai Air Force
The Aero L-39 Albatros is a high-performance jet trainer developed in Czechoslovakia by Aero Vodochody. It was designed during the 1960s as a replacement for the Aero L-29 Delfín as a principal training aircraft. The L-39 Albatros has the distinction of being the first of the second-generation jet trainers to be produced, as well as being the first trainer aircraft to be equipped with a turbofan powerplant. The type was exported to a wide range of countries as a military trainer.
The L-39 Albatros later served as the basis for the updated L-59 Super Albatros, as well as the L-139 (prototype L-39 with Garrett TFE731 engine). A further development of the design, designated as the L-159 ALCA, entered production in 1997. To date, more than 2,800 L-39s have served with over 30 air forces around the world. The Albatros is the most widely used jet trainer in the world; in addition to performing basic and advanced pilot training, it has also flown combat missions in a light-attack role. The design never received a NATO reporting name.
At the Farnborough Airshow in July 2014, Aero Vodochody announced the launch of the L-39NG, an upgraded and modernised version of the L-39.
Source: Wikipedia
Liz by Andy Warhol. Ken C. Arnold Art Collection Andy Warhol
From Wikipedia, the free encyclopediaJump to:navigation, search
For the song by David Bowie, see Andy Warhol (song)
Andy Warhol
Warhol in 1977
Birth name Andrew Warhola
Born August 6, 1928(1928-08-06)
Pittsburgh, Pennsylvania, U.S.
Died February 22, 1987 (aged 58)
New York City, U.S.
Nationality American
Field Painting, Cinema
Training Carnegie Mellon University
Movement Pop art
Works Chelsea Girls (1966 film)
Exploding Plastic Inevitable (1966 event)
Campbell's Soup Cans (1962 painting)
Andrew Warhola (August 6, 1928 – February 22, 1987), known as Andy Warhol, was an American painter, printmaker, and filmmaker who was a leading figure in the visual art movement known as pop art. After a successful career as a commercial illustrator, Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and public figure known for his membership in wildly diverse social circles that included bohemian street people, distinguished intellectuals, Hollywood celebrities and wealthy patrons.
Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression "15 minutes of fame." In his hometown of Pittsburgh, Pennsylvania, The Andy Warhol Museum exists in memory of his life and artwork.
The highest price ever paid for a Warhol painting is $100 million for a 1963 canvas titled Eight Elvises. The private transaction was reported in a 2009 article in The Economist, which described Warhol as the "bellwether of the art market." $100 million is a benchmark price that only Jackson Pollock, Pablo Picasso, Gustav Klimt and Willem de Kooning have achieved.[1]
Contents [hide]
1 Childhood
2 Early career
3 1960s
4 Attempted assassination
5 1970s
6 1980s
7 Sexuality
8 Religious beliefs
9 Death
10 Works
10.1 Paintings
10.2 Films
10.3 Factory in New York
10.4 Filmography
10.5 Music
10.6 Books and print
10.7 Other media
10.8 Producer and product
11 Dedicated museums
12 Movies about Warhol
12.1 Dramatic portrayals
12.2 Documentaries
13 See also
14 References
15 Further reading
16 External links
Childhood
Warhol's childhood home at 3252 Dawson Street in the South Oakland neighborhood of Pittsburgh, PennsylvaniaAndy Warhol was born in Pittsburgh, Pennsylvania.[2] He was the fourth child of Ondrej Warhola (died 1942)[3] and Julia (nee Zavacka, 1892-1972),[4] whose first child was born in their homeland and died before their migration to the U.S. His parents were working-class immigrants from Mikó (now called Miková), in northeastern Slovakia, then part of Austro-Hungarian Empire. Warhol's father immigrated to the US in 1914, and his mother joined him in 1921, after the death of Andy Warhol's grandparents. Warhol's father worked in a coal mine. The family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh.[5] The family was Byzantine Catholic and attended St. John Chrysostom Byzantine Catholic Church. Andy Warhol had two older brothers, Ján and Pavol, who were born in today's Slovakia. Pavol's son, James Warhola, became a successful children's book illustrator.
In third grade, Warhol had chorea, the nervous system disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever and causes skin pigmentation blotchiness.[6] He became a hypochondriac, developing a fear of hospitals and doctors. Often bed-ridden as a child, he became an outcast among his school-mates and bonded strongly with his mother.[7] At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.[8]
Early career
Warhol showed early artistic talent and studied commercial art at the School of Fine Arts at Carnegie Institute of Technology in Pittsburgh, Pennsylvania (now Carnegie Mellon University).[9] In 1949, he moved to New York City and began a successful career in magazine illustration and advertising. During the 1950s, he gained fame for his whimsical ink drawings of shoe advertisements. These were done in a loose, blotted-ink style, and figured in some of his earliest showings at the Bodley Gallery in New York. With the concurrent rapid expansion of the record industry and the introduction of the vinyl record, Hi-Fi, and stereophonic recordings, RCA Records hired Warhol, along with another freelance artist, Sid Maurer, to design album covers and promotional materials.[10]
Campbell's Soup I (1968)1960s
His first one-man art-gallery exhibition as a fine artist[11][12] was on July 9, 1962, in the Ferus Gallery of Los Angeles. The exhibition marked the West Coast debut of pop art.[13] Andy Warhol's first New York solo Pop exhibit was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962. The exhibit included the works Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles and 100 Dollar Bills. At the Stable Gallery exhibit, the artist met for the first time John Giorno who would star in Warhol's first film, Sleep, in 1963.[citation needed]
It was during the 1960s that Warhol began to make paintings of iconic American products such as Campbell's Soup Cans and Coca-Cola bottles, as well as paintings of celebrities such as Marilyn Monroe, Elvis Presley, Troy Donahue, Muhammad Ali and Elizabeth Taylor. He founded "The Factory", his studio during these years, and gathered around himself a wide range of artists, writers, musicians, and underground celebrities. He began producing prints using the silkscreen method. His work became popular and controversial.
Among the imagery tackled by Warhol were dollar bills, celebrities and brand name products. He also used as imagery for his paintings newspaper headlines or photographs of mushroom clouds, electric chairs, and police dogs attacking civil rights protesters. Warhol also used Coca Cola bottles as subject matter for paintings. He had this to say about Coca Cola:
What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.[14]
New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception. Throughout the decade it became more and more clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.[citation needed]
Campbell's Tomato Juice Box (1964)A pivotal event was the 1964 exhibit The American Supermarket, a show held in Paul Bianchini's Upper East Side gallery. The show was presented as a typical U.S. small supermarket environment, except that everything in it – from the produce, canned goods, meat, posters on the wall, etc. – was created by six prominent pop artists of the time, among them the controversial (and like-minded) Billy Apple, Mary Inman, and Robert Watts. Warhol's painting of a can of Campbell's soup cost $1,500 while each autographed can sold for $6. The exhibit was one of the first mass events that directly confronted the general public with both pop art and the perennial question of what art is (or of what is art and what is not).[citation needed]
As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; in the 1960s, however, this was particularly true. One of the most important collaborators during this period was Gerard Malanga. Malanga assisted the artist with producing silkscreens, films, sculpture, and other works at "The Factory", Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).[15]
During the '60s, Warhol also groomed a retinue of bohemian eccentrics upon whom he bestowed the designation "Superstars", including Edie Sedgwick, Viva, Ultra Violet, and Candy Darling. These people all participated in the Factory films, and some – like Berlin – remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time.
Attempted assassination
On June 3, 1968, Valerie Solanas shot Warhol and art critic and curator Mario Amaya at Warhol's studio.[16] Before the shooting, Solanas had been a marginal figure in the Factory scene. She founded a "group" called S.C.U.M. (Society for Cutting Up Men) and authored the S.C.U.M. Manifesto, a separatist feminist attack on patriarchy. Over the years, Solanas' manifesto has found a following.[17] Solanas appears in the 1968 Warhol film I, A Man. Earlier on the day of the attack, Solanas had been turned away from the Factory after asking for the return of a script she had given to Warhol. The script, apparently, had been misplaced.[18]
Amaya received only minor injuries and was released from the hospital later the same day. Warhol however, was seriously wounded by the attack and barely survived (surgeons opened his chest and massaged his heart to help stimulate its movement again). He suffered physical effects for the rest of his life. The shooting had a profound effect on Warhol's life and art.[19][20]
Solanas was arrested the day after the assault. By way of explanation, she said that Warhol "had too much control over my life." She was eventually sentenced to three years under the control of the Department of Corrections. After the shooting, the Factory scene became much more tightly controlled, and for many this event brought the "Factory 60s" to an end.[20] The shooting was mostly overshadowed in the media due to the assassination of Robert F. Kennedy two days later.
Warhol had this to say about the attack: "Before I was shot, I always thought that I was more half-there than all-there – I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television – you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television." [21]
1970s
Andy Warhol and Jimmy Carter in 1977Compared to the success and scandal of Warhol's work in the 1960s, the 1970s proved a much quieter decade, as Warhol became more entrepreneurial. According to Bob Colacello, Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions– including Shah of Iran Mohammad Reza Pahlavi, his wife Empress Farah Pahlavi, his sister Princess Ashraf Pahlavi, Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, Brigitte Bardot, and Michael Jackson.[22][citation needed] Warhol's famous portrait of Chinese Communist leader Mao Zedong was created in 1973. He also founded, with Gerard Malanga, Interview magazine, and published The Philosophy of Andy Warhol (1975). An idea expressed in the book: "Making money is art, and working is art and good business is the best art."[cite this quote]
Warhol used to socialize at various nightspots in New York City, including Max's Kansas City; and, later in the '70s, Studio 54.[23] He was generally regarded as quiet, shy, and a meticulous observer. Art critic Robert Hughes called him "the white mole of Union Square."[24]
1980s
Warhol had a re-emergence of critical and financial success in the 1980s, partially due to his affiliation and friendships with a number of prolific younger artists, who were dominating the "bull market" of '80s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle and other so-called Neo-Expressionists, as well as members of the Transavantgarde movement in Europe, including Francesco Clemente and Enzo Cucchi.
By this period, Warhol was being criticized for becoming merely a "business artist".[25] In 1979, unfavorable reviews met his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. This criticism was echoed for his 1980 exhibit of ten portraits at the Jewish Museum in New York, entitled Jewish Geniuses, which Warhol – who exhibited no interest in Judaism or matters of interest to Jews – had described in his diary as "They're going to sell."[25] In hindsight, however, some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times," contending that "Warhol had captured something irresistible about the zeitgeist of American culture in the 1970s."[25]
Warhol also had an appreciation for intense Hollywood glamour. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic."[26]
Sexuality
Warhol never married or had children.[27] Many people think of him as asexual and merely a "voyeur"; however, it is now well-established that he was homosexual (see biographers such as Victor Bockris, Bob Colacello,[28] and art historian Richard Meyer[29]). The question of his sexuality aside, Warhol stated in a 1980 interview that he was still a virgin.[30] The question of how Warhol's sexuality influenced his work and shaped his relationship to the art world is a major subject of scholarship on the artist, and is an issue that Warhol himself addressed in interviews, in conversation with his contemporaries, and in his publications (e.g. Popism: The Warhol Sixties).
Throughout his career, Warhol produced erotic photography and drawings of male nudes. Many of his most famous works (portraits of Liza Minnelli, Judy Garland, and Elizabeth Taylor, and films like Blow Job, My Hustler, and Lonesome Cowboys) draw from gay underground culture and/or openly explore the complexity of sexuality and desire. Many of his films premiered in gay porn theaters. That said, some stories about Warhol's development as an artist revolved around the obstacle his sexuality initially presented as he tried to launch his career. The first works that he submitted to a gallery in the pursuit of a career as an artist were homoerotic drawings of male nudes. They were rejected for being too openly gay.[31] In Popism, furthermore, the artist recalls a conversation with the film maker Emile de Antonio about the difficulty Warhol had being accepted socially by the then more famous (but closeted) gay artists Jasper Johns and Robert Rauschenberg. De Antonio explained that Warhol was "too swish and that upsets them." In response to this, Warhol writes, "There was nothing I could say to that. It was all too true. So I decided I just wasn't going to care, because those were all the things that I didn't want to change anyway, that I didn't think I 'should' want to change... Other people could change their attitudes but not me".[32][33] In exploring Warhol's biography, many turn to this period – the late 1950s and early 1960s – as a key moment in the development of his persona. Some have suggested that his frequent refusal to comment on his work, to speak about himself (confining himself in interviews to responses like "Um, No" and "Um, Yes", and often allowing others to speak for him) – and even the evolution of his Pop style – can be traced to the years when Warhol was first dismissed by the inner circles of the New York art world.[34]
Religious beliefs
Images of Jesus from The Last Supper cycle (1986). Warhol made almost 100 variations on the theme, which the Guggenheim felt "indicates an almost obsessive investment in the subject matter."[35]Warhol was a practicing Byzantine Catholic. He regularly volunteered at homeless shelters in New York, particularly during the busier times of the year, and described himself as a religious person.[36] Several of Warhol's later works depicted religious subjects, including two series, Details of Renaissance Paintings (1984) and The Last Supper (1986). In addition, a body of religious-themed works was found posthumously in his estate.[36]
During his life, Warhol regularly attended Mass, and the priest at Warhol's church, Saint Vincent's, said that the artist went there almost daily,[36] although he never took communion or made confession and sat or knelt in the pews at the back.".[30] The priest thought he was afraid of being recognized; Warhol said he was self-conscious about being seen in a Roman Catholic church crossing himself "in the Orthodox way" (right to left instead of the reverse).[30]
His art is noticeably influenced by the eastern Christian iconographic tradition which was so evident in his places of worship.[36]
Warhol's brother has described the artist as "really religious, but he didn't want people to know about that because [it was] private." Despite the private nature of his faith, in Warhol's eulogy John Richardson depicted it as devout: "To my certain knowledge, he was responsible for at least one conversion. He took considerable pride in financing his nephew's studies for the priesthood".[36]
Death
Warhol died in New York City at 6:32 a.m. on February 22, 1987. According to news reports, he had been making good recovery from a routine gallbladder surgery at New York Hospital before dying in his sleep from a sudden post-operative cardiac arrhythmia.[37] Prior to his diagnosis and operation, Warhol delayed having his recurring gallbladder problems checked, as he was afraid to enter hospitals and see doctors. His family sued the hospital for inadequate care, saying that the arrhythmia was caused by improper care and water intoxication.[38]
Warhol's grave at St. John the Baptist Byzantine Catholic CemeteryWarhol's body was taken back to Pittsburgh by his brothers for burial. The wake was at Thomas P. Kunsak Funeral Home and was an open-coffin ceremony. The coffin was a solid bronze casket with gold plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and sunglasses. He was posed holding a small prayer book and a red rose. The funeral liturgy was held at the Holy Ghost Byzantine Catholic Church on Pittsburgh's North Side. The eulogy was given by Monsignor Peter Tay. Yoko Ono also made an appearance. The coffin was covered with white roses and asparagus ferns. After the liturgy, the coffin was driven to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a south suburb of Pittsburgh. At the grave, the priest said a brief prayer and sprinkled holy water on the casket. Before the coffin was lowered, Paige Powell dropped a copy of Interview magazine, an Interview t-shirt, and a bottle of the Estee Lauder perfume "Beautiful" into the grave. Warhol was buried next to his mother and father. Weeks later a memorial service was held in Manhattan for Warhol on April 1, 1987, at St. Patrick's Cathedral, New York.
Warhol's will dictated that his entire estate – with the exception of a few modest legacies to family members – would go to create a foundation dedicated to the "advancement of the visual arts". Warhol had so many possessions that it took Sotheby's nine days to auction his estate after his death; the auction grossed more than US$20 million. His total estate was worth considerably more, due in no small part to shrewd investments over the years.[citation needed]
In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts was founded. The Foundation not only serves as the official Estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature."[39]
The Artists Rights Society is the U.S. copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills.[40] The U.S. copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh.[41] Additionally, the Andy Warhol Foundation for the Visual Arts has agreements in place for its image archive. All digital images of Warhol are exclusively managed by Corbis, while all transparency images of Warhol are managed by Art Resource.[42]
The Andy Warhol Foundation released its 20th Anniversary Annual Report as a three-volume set in 2007: Vol. I, 1987–2007; Vol. II, Grants & Exhibitions; and Vol. III, Legacy Program.[43] The Foundation remains one of the largest grant-giving organizations for the visual arts in the U.S.[44]
Works
Paintings
This section needs references that appear in reliable third-party publications. Primary sources or sources affiliated with the subject are generally not sufficient for a Wikipedia article. Please add more appropriate citations from reliable sources. (February 2009)
By the beginning of the 1960s, Warhol was a very successful commercial illustrator. His detailed and elegant drawings for I. Miller shoes were particularly popular. These illustrations consisted mainly of "blotted ink" drawings (or monoprints), a technique which he applied in much of his early art. Although many artists of this period worked in commercial art, most did so discreetly. Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.
Pop Art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning). Warhol's first Pop Art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced.[45] Eventually, Warhol pared his image vocabulary down to the icon itself – to brand names, celebrities, dollar signs – and removed all traces of the artist's "hand" in the production of his paintings.
To him, part of defining a niche was defining his subject matter. Cartoons were already being used by Lichtenstein, typography by Jasper Johns, and so on; Warhol wanted a distinguishing subject. His friends suggested he should paint the things he loved the most. It was the gallerist Muriel Latow who came up with the ideas for both the soup cans and Warhol's dollar paintings. On 23 November 1961 Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, Pop, The Genius of Warhol, was payment for coming up with the idea of the soup cans as subject matter.[46] For his first major exhibition Warhol painted his famous cans of Campbell's Soup, which he claimed to have had for lunch for most of his life. The work sold for $10,000 at an auction on November 17, 1971, at Sotheby's New York – a minimal amount for the artist whose paintings sell for over $6 million more recently.[47]
He loved celebrities, so he painted them as well. From these beginnings he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the hand-made from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations.[48]
In 1979, Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project. Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile. It was indicated that Warhol spent only a total of 23 minutes to paint the entire car.[49]
Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques– silkscreens, reproduced serially, and often painted with bright colors – whether he painted celebrities, everyday objects, or images of suicide, car crashes, and disasters, as in the 1962–63 Death and Disaster series. The Death and Disaster paintings (such as Red Car Crash, Purple Jumping Man, and Orange Disaster) transform personal tragedies into public spectacles, and signal the use of images of disaster in the then evolving mass media.
The unifying element in Warhol's work is his deadpan Keatonesque style – artistically and personally affectless. This was mirrored by Warhol's own demeanor, as he often played "dumb" to the media, and refused to explain his work. The artist was famous for having said that all you need to know about him and his works is already there, "Just look at the surface of my paintings and films and me, and there I am. There's nothing behind it." [50]
His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works – and their means of production – mirrored the atmosphere at Andy's New York "Factory". Biographer Bob Colacello provides some details on Andy's "piss paintings":
Victor... was Andy's ghost pisser on the Oxidations. He would come to the Factory to urinate on canvases that had already been primed with copper-based paint by Andy or Ronnie Cutrone, a second ghost pisser much appreciated by Andy, who said that the vitamin B that Ronnie took made a prettier color when the acid in the urine turned the copper green. Did Andy ever use his own urine? My diary shows that when he first began the series, in December 1977, he did, and there were many others: boys who'd come to lunch and drink too much wine, and find it funny or even flattering to be asked to help Andy 'paint.' Andy always had a little extra bounce in his walk as he led them to his studio...[51]
Warhol's first portrait of Basquiat (1982) is a black photosilkscreen over an oxidized copper "piss painting".
After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand in a series of over 50 large collaborative works done with Jean-Michel Basquiat between 1984 and 1986.[52][53] Despite negative criticism when these were first shown, Warhol called some of them "masterpieces," and they were influential for his later work.[54]
The influence of the large collaborations with Basquiat can be seen in Warhol's The Last Supper cycle, his last and possibly his largest series, seen by some as "arguably his greatest,"[55] but by others as “wishy-washy, religiose” and “spiritless."[56] It is also the largest series of religious-themed works by any U.S. artist.[55]
At the time of his death, Warhol was working on Cars, a series of paintings for Mercedes-Benz. [57]
Films
Warhol worked across a wide range of media – painting, photography, drawing, and sculpture. In addition, he was a highly prolific filmmaker. Between 1963 and 1968, he made more than 60 films [58], plus some 500 short black-and-white "screen test" portraits of Factory visitors.[59] One of his most famous films, Sleep, monitors poet John Giorno sleeping for six hours. The 35-minute film Blow Job is one continuous shot of the face of DeVeren Bookwalter supposedly receiving oral sex from filmmaker Willard Maas, although the camera never tilts down to see this. Another, Empire (1964), consists of eight hours of footage of the Empire State Building in New York City at dusk. The film Eat consists of a man eating a mushroom for 45 minutes. Warhol attended the 1962 premiere of the static composition by LaMonte Young called Trio for Strings and subsequently created his famous series of static films including Kiss, Eat, and Sleep (for which Young initially was commissioned to provide music). Uwe Husslein cites filmmaker Jonas Mekas, who accompanied Warhol to the Trio premiere, and who claims Warhol's static films were directly inspired by the performance.[60]
Batman Dracula is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics. It was screened only at his art exhibits. A fan of the Batman series, Warhol's movie was an "homage" to the series, and is considered the first appearance of a blatantly campy Batman. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary Jack Smith and the Destruction of Atlantis.
Warhol's 1965 film Vinyl is an adaptation of Anthony Burgess' popular dystopian novel A Clockwork Orange. Others record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico, and Jackie Curtis. Legendary underground artist Jack Smith appears in the film Camp.
His most popular and critically successful film was Chelsea Girls (1966). The film was highly innovative in that it consisted of two 16 mm-films being projected simultaneously, with two different stories being shown in tandem. From the projection booth, the sound would be raised for one film to elucidate that "story" while it was lowered for the other. The multiplication of images evoked Warhol's seminal silk-screen works of the early 1960s.
Other important films include Bike Boy, My Hustler, and Lonesome Cowboys, a raunchy pseudo-western. These and other titles document gay underground and camp culture, and continue to feature prominently in scholarship about sexuality and art.[61][62] Blue Movie – a film in which Warhol superstar Viva makes love and fools around in bed with a man for 33 minutes of the film's playing-time – was Warhol's last film as director. The film was at the time scandalous for its frank approach to a sexual encounter. For many years Viva refused to allow it to be screened. It was publicly screened in New York in 2005 for the first time in over thirty years.
After his June 3, 1968, shooting, a reclusive Warhol relinquished his personal involvement in filmmaking. His acolyte and assistant director, Paul Morrissey, took over the film-making chores for the Factory collective, steering Warhol-branded cinema towards more mainstream, narrative-based, B-movie exploitation fare with Flesh, Trash, and Heat. All of these films, including the later Andy Warhol's Dracula and Andy Warhol's Frankenstein, were far more mainstream than anything Warhol as a director had attempted. These latter "Warhol" films starred Joe Dallesandro – more of a Morrissey star than a true Warhol superstar.
In the early '70s, most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. After Warhol's death, the films were slowly restored by the Whitney Museum and are occasionally projected at museums and film festivals. Few of the Warhol-directed films are available on video or DVD.
Factory in New York
Factory: 1342 Lexington Avenue (the first Factory)
The Factory: 231 East 47th street 1963-1967 (the building no longer exists)
Factory: 33 Union Square 1967-1973 (Decker Building)
Factory: 860 Broadway (near 33 Union Square) 1973-1984 (the building has now been completely remodeled and was for a time (2000–2001) the headquarters of the dot-com consultancy Scient)
Factory: 22 East 33rd Street 1984-1987 (the building no longer exists)
Home: 1342 Lexington Avenue
Home: 57 East 66th street (Warhol's last home)
Last personal studio: 158 Madison Avenue
Filmography
Main article: Andy Warhol filmography
Music
In the mid 1960s, Warhol adopted the band the Velvet Underground, making them a crucial element of the Exploding Plastic Inevitable multimedia performance art show. Warhol, with Paul Morrissey, acted as the band's manager, introducing them to Nico (who would perform with the band at Warhol's request). In 1966 he "produced" their first album The Velvet Underground & Nico, as well as providing its album art. His actual participation in the album's production amounted to simply paying for the studio time. After the band's first album, Warhol and band leader Lou Reed started to disagree more about the direction the band should take, and their artistic friendship ended.[citation needed]
Warhol designed many album covers for various artists starting with the photographic cover of John Wallowitch's debut album, This Is John Wallowitch!!! (1964). He designed the cover art for the Rolling Stones albums Sticky Fingers (1971) and Love You Live (1977), and the John Cale albums The Academy In Peril (1972) and Honi Soit in 1981. In 1975, Warhol was commissioned to do several portraits of Mick Jagger, and in 1982 he designed the album cover for the Diana Ross album Silk Electric.[citation needed] One of his last works was a portrait of Aretha Franklin for the cover of her 1986 gold album Aretha, which was done in the style of the Reigning Queens series he had completed the year before.[63]
Warhol was also friendly with many recording artists, including Deborah Harry, Grace Jones, Diana Ross and John Lennon (with whom he posed for an infamous photograph[64]) - he designed the cover to Lennon's 1986 posthumously released Menlove Ave. Warhol also appeared as a bartender in The Cars' music video for their single "Hello Again", and Curiosity Killed The Cat's video for their "Misfit" single (both videos, and others, were produced by Warhol's video production company).[citation needed] Warhol featured in Grace Jones' music video for "I'm Not Perfect (But I'm Perfect for You)".
Warhol strongly influenced the New Wave/punk rock band Devo, as well as David Bowie. Bowie recorded a song called "Andy Warhol" for his 1971 album Hunky Dory. Lou Reed wrote the song "Andy's Chest", about Valerie Solanas, the woman who shot Warhol, in 1968. He recorded it with the Velvet Underground, but this version wasn't officially released until the VU album appeared in 1985. He recorded a new version for his 1972 solo album Transformer, produced by Bowie and Mick Ronson.[citation needed]
Cover of copy no. 18 of 25 Cats Name [sic] Sam and One Blue Pussy by Andy Warhol given in 1954 to Edgar de Evia and Robert Denning when the author was a guest in their home in the Rhinelander Mansion.[citation needed]Books and print
Beginning in the early 1950s, Warhol produced several unbound portfolios of his work.
The first of several bound self-published books by Warhol was 25 Cats Name Sam and One Blue Pussy, printed in 1954 by Seymour Berlin on Arches brand watermarked paper using his blotted line technique for the lithographs. The original edition was limited to 190 numbered, hand colored copies, using Dr. Martin's ink washes. Most of these were given by Warhol as gifts to clients and friends. Copy #4, inscribed "Jerry" on the front cover and given to Geraldine Stutz, was used for a facsimile printing in 1987[65] and the original was auctioned in May 2006 for US $35,000 by Doyle New York.[66]
Other self-published books by Warhol include:
A Gold Book
Wild Raspberries
Holy Cats
After gaining fame, Warhol "wrote" several books that were commercially published:
a, A Novel (1968, ISBN 0-8021-3553-6) is a literal transcription– containing spelling errors and phonetically written background noise and mumbling– of audio recordings of Ondine and several of Andy Warhol's friends hanging out at the Factory, talking, going out.[citation needed]
The Philosophy of Andy Warhol (From A to B & Back Again) (1975, ISBN 0-15-671720-4)– according to Pat Hackett's introduction to The Andy Warhol Diaries, Pat Hackett did the transcriptions and text for the book based on daily phone conversations, sometimes (when Warhol was traveling) using audio cassettes that Andy Warhol gave her. Said cassettes contained conversations with Brigid Berlin (also known as Brigid Polk) and former Interview magazine editor Bob Colacello.[citation needed]
Popism: The Warhol Sixties (1980, ISBN 0-15-672960-1), authored by Warhol and Pat Hackett is a retrospective view of the sixties and the role of Pop Art.
The Andy Warhol Diaries (1989, ISBN 0-446-39138-7), edited by Pat Hackett, is a diary dictated by Warhol to Hackett in daily phone conversations. Warhol started the diary to keep track of his expenses after being audited, although it soon evolved to include his personal and cultural observations.[67]
Warhol created the fashion magazine Interview that is still published today. The loopy title script on the cover is thought to be either his own handwriting or that of his mother, Julia Warhola, who would often do text work for his early commercial pieces.[68]
Other media
As stated, although Andy Warhol is most known for his paintings and films, he has authored works in many different media.
Drawing: Warhol started his career as a commercial illustrator, producing drawings in "blotted-ink" style for advertisements and magazine articles. Best known of these early works are his drawings of shoes. Some of his personal drawings were self-published in small booklets, such as Yum, Yum, Yum (about food), Ho, Ho, Ho (about Christmas) and (of course) Shoes, Shoes, Shoes. His most artistically acclaimed book of drawings is probably A Gold Book, compiled of sensitive drawings of young men. A Gold Book is so named because of the gold leaf that decorates its pages.[69]
Sculpture: Warhol's most famous sculpture is probably his Brillo Boxes, silkscreened ink on wood replicas of Brillo soap pad boxes (designed by James Harvey), part of a series of "grocery carton" sculptures that also included Heinz ketchup and Campbell's tomato juice cases.[70] Other famous works include the Silver Clouds– helium filled, silver mylar, pillow-shaped balloons. A Silver Cloud was included in the traveling exhibition Air Art (1968–69) curated by Willoughby Sharp. Clouds was also adapted by Warhol for avant-garde choreographer Merce Cunningham's dance piece RainForest (1968).[71]
Audio: At one point Warhol carried a portable recorder with him wherever he went, taping everything everybody said and did. He referred to this device as his "wife". Some of these tapes were the basis for his literary work. Another audio-work of Warhol's was his "Invisible Sculpture", a presentation in which burglar alarms would go off when entering the room. Warhol's cooperation with the musicians of The Velvet Underground was driven by an expressed desire to become a music producer.[citation needed]
Time Capsules: In 1973, Warhol began saving ephemera from his daily life– correspondence, newspapers, souvenirs, childhood objects, even used plane tickets and food– which was sealed in plain cardboard boxes dubbed Time Capsules. By the time of his death, the collection grew to include 600, individually dated "capsules". The boxes are now housed at the Andy Warhol Museum.[72]
Television: Andy Warhol dreamed of a television show that he wanted to call The Nothing Special, a special about his favorite subject: Nothing. Later in his career he did create two cable television shows, Andy Warhol's TV in 1982 and Andy Warhol's Fifteen Minutes (based on his famous "fifteen minutes of fame" quotation) for MTV in 1986. Besides his own shows he regularly made guest appearances on other programs, including The Love Boat wherein a Midwestern wife (Marion Ross) fears Andy Warhol will reveal to her husband (Tom Bosley, who starred alongside Ross in sitcom Happy Days) her secret past as a Warhol superstar named Marina del Rey. Warhol also produced a TV commercial for Schrafft's Restaurants in New York City, for an ice cream dessert appropriately titled the "Underground Sundae".[73]
Fashion: Warhol is quoted for having said: "I'd rather buy a dress and put it up on the wall, than put a painting, wouldn't you?"[cite this quote] One of his most well-known Superstars, Edie Sedgwick, aspired to be a fashion designer, and his good friend Halston was a famous one. Warhol's work in fashion includes silkscreened dresses, a short sub-career as a catwalk-model and books on fashion as well as paintings with fashion (shoes) as a subject.[citation needed]
Performance Art: Warhol and his friends staged theatrical multimedia happenings at parties and public venues, combining music, film, slide projections and even Gerard Malanga in an S&M outfit cracking a whip. The Exploding Plastic Inevitable in 1966 was the culmination of this area of his work.[74]
Theater: Andy Warhol's PORK opened on May 5, 1971 at LaMama theater in New York for a two week run and was brought to the Roundhouse in London for a longer run in August, 1971. Pork was based on tape-recorded conversations between Brigin Berlin and Andy during which Brigid would play for Andy tapes she had made of phone conversations between herself and her mother, socialite Honey Berlin. The play featured Jayne County as "Vulva" and Cherry Vanilla as "Amanda Pork".[citation needed] In 1974, Andy Warhol also produced the stage musical Man On The Moon, which was written by John Phillips of the Mamas and the Papas.
Photography: To produce his silkscreens, Warhol made photographs or had them made by his friends and assistants. These pictures were mostly taken with a specific model of Polaroid camera that Polaroid kept in production especially for Warhol. This photographic approach to painting and his snapshot method of taking pictures has had a great effect on artistic photography. Warhol was an accomplished photographer, and took an enormous amount of photographs of Factory visitors, friends.[citation needed]
Computer: Warhol used Amiga computers to generate digital art, which he helped design and build with Amiga, Inc. He also displayed the difference between slow fill and fast fill on live TV with Debbie Harry as a model.[75] (video)
Producer and product
Warhol had assistance in producing his paintings. This is also true of his film-making and commercial enterprises.[citation needed]
He founded the gossip magazine Interview, a stage for celebrities he "endorsed" and a business staffed by his friends. He collaborated with others on all of his books (some of which were written with Pat Hackett.) He adopted the young painter Jean-Michel Basquiat, and the band The Velvet Underground, presenting them to the public as his latest interest, and collaborating with them. One might even say that he produced people (as in the Warholian "Superstar" and the Warholian portrait). He endorsed products, appeared in commercials, and made frequent celebrity guest appearances on television shows and in films (he appeared in everything from Love Boat to Saturday Night Live and the Richard Pryor movie, Dynamite Chicken).[citation needed]
In this respect Warhol was a fan of "Art Business" and "Business Art"– he, in fact, wrote about his interest in thinking about art as business in The Philosophy of Andy Warhol from A to B and Back Again.[citation needed]
Dedicated museums
Two museums are dedicated to Andy Warhol. The Andy Warhol Museum, one of the Carnegie Museums of Pittsburgh, is located at 117 Sandusky Street in Pittsburgh, Pennsylvania. It is the largest American art museum dedicated to a single artist, holding more than 12,000 works by the artist.[citation needed]
The other museum is the Andy Warhol Museum of Modern Art, established in 1991 by Andy's brother John Warhola, the Slovak Ministry of Culture, and the Warhol Foundation in New York. It is located in the small town of Medzilaborce, Slovakia. Andy's parents and his two brothers were born 15 kilometres away in the village of Miková. The museum houses several originals donated mainly by the Andy Warhol Foundation in New York and also personal items donated by Warhol's relatives.[citation needed]
Movies about Warhol
Dramatic portrayals
Warhol (right) with director Ulli Lommel on the set of 1979's Cocaine Cowboys, in which Warhol appeared as himselfIn 1979, Warhol appeared as himself in the film Cocaine Cowboys.[76]
After his passing, Warhol was portrayed by Crispin Glover in Oliver Stone's film The Doors (1991), by David Bowie in Basquiat, a film by Julian Schnabel, and by Jared Harris in the film I Shot Andy Warhol directed by Mary Harron (1996). Warhol appears as a character in Michael Daugherty's 1997 opera Jackie O. Actor Mark Bringleson makes a brief cameo as Warhol in Austin Powers: International Man of Mystery (1997). Many films by avant-garde cineast Jonas Mekas have caught the moments of Andy's life. Sean Gregory Sullivan depicted Warhol in the 1998 film 54. Guy Pearce portrayed Warhol in the 2007 film, Factory Girl, about Edie Sedgwick's life.[77] Actor Greg Travis portrays Warhol in a brief scene from the 2009 film Watchmen.
Gus Van Sant was planning a version of Warhol's life with River Phoenix in the lead role just before Phoenix's death in 1993.[78]
Documentaries
The 2001 documentary, Absolut Warhola was produced by Polish director Stanislaw Mucha, featuring Warhol's parents' family and hometown in Slovakia.[79]
Andy Warhol: A Documentary Film is a reverential four-hour 2006 movie by Ric Burns.[80]
Andy Warhol: Double Denied is a 52 minute movie by lan Yentob about the difficulties in authenticating Warhol's work.[81]
Four giants and two bottles of mineral water
Nerdy stuff:
Tmax400 120 shot with a Yashica Mat 124G
Stand developed R09 One Shot (Rodinal old recipe) 1+100/1 hour@20º
Needed heavy tone correction in LR to compensate for differential developing and some dust removing in PS.
Developed in parallel with the legendary Avro Canada CF-105 Arrow Cold War bomber interceptor, the pioneering Orenda Iroquois military twin-spool jet engine was cancelled on 20 February 1959, 'Black Friday' in Canada's aviation sector, along with the CF-105.
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en.wikipedia.org/wiki/Orenda_Iroquois
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en.wikipedia.org/wiki/Avro_Canada_CF-105_Arrow
_DSC4538 Anx2 1200h Q90 0.5k-3k
East London
Leica M3 , 15mm Voigtländer super wide angle lens and Rollei Retro 400S , stand developed in Rodinal 1+100 for 1 hour.
- Topcon 35-L @ 1/50
- Topcor 44mm f/2 @ f/4.8
- Kodak TMAX 100
- Developed in Agfa Rondinax 35U tank with SP-110EC (HC-110 equivalent) dilution B 5:45 at 21c
Developed by Bayer, Perfected by Pete! Oh how could we avoid a target like Pete. Here we have a Pete Doherty endorsed pack of Heroin which includes two syringes of Pete’s all-time favourite 70% mix and all the paraphernalia you need for a great night in! There’s even a competition on the back to enter with the top prize being an exclusive house party hosted by Pete – at your house! Available at your local supermarket now!
Interestingly Heroin was first trademarked by Bayer in 1895 and originally sold as a non-addictive morphine substitute!
Cheers
id-iom
Title: Pete Doherty Heroin (Front of pack detail)
Media: Mixed media
A developing thunderstorm swirls over the Old Post Office. According to Doppler radar, this storm went north and later spawned a tornado warning near Baltimore.
Quiet STOL research aircraft, developed by the National Aerospace Laboratory. The airframe was based on the Kawasaki C-1 design. This is the only example built and was retired in 1989. It has been part of the museum since 1996.
Kakamigahara Aerospace Science Museum
Kakamigahara City,
Gifu Prefecture, Japan
15th March 2019
The following info on the Asuka is from the fascinating j-hangarspace.jp website:-
“The Asuka experimental aircraft was developed as a national project by the then Science and Technology Agency’s National Aerospace Laboratory (NAL, now the Japan Aerospace Exploration Agency), the aircraft was designed to investigate short takeoff and landing technologies, in combination with the utilization of a computer-controlled flight system, and ways to reduce aircraft noise footprints. Unlike the other test aircraft in the collection, Asuka was from the outset modelled on rather than a conversion of an existing airframe, in this case a Kawasaki C-1. The two-kanji name Asuka (飛鳥), literally means ‘flying bird’ or ‘bird on the wing’; more obscurely, it was also the name of the Imperial capital during the Asuka period (538–710) in Japanese history.
The four Japan-produced FJR710 turbofan engines were mounted ahead of and above the main wing. The STOL performance tests centered on lift generation by means of upper surface blowing (USB), by which the jet efflux from the engines was passed over the top of the blast-protected main wing through double rows of vortex generators and redirected downwards over the flaps. This configuration had already been adopted on twin-engine designs in the mid-1970s, most notably the two Boeing YC-14 tactical transport prototypes as well as the somewhat more successful Antonov An-72. In the case of the Asuka, the test programme lasted for three and a half years, ending on March 30, 1989, with the retirement of the aircraft after 97 flights and 167 flight hours.”
Olympus OM-2
Olympus 50mm f/1.8
Kodak GC/Ultramax 400
Home Developed in Unicolor/Argentix.ca
Pakon F135 scan