View allAll Photos Tagged EXCITING
I want to confess that there isnt anything more exciting than waking up and begining the day doing my housework as a housewife. I enjoy so much. I miss my husband reading the newspaper while preparing the breakfast for him.
know the thought of that is exciting, even if you must suffer through different kinds of troubles for a short time now.
www.ravishlondon.com/londonstreetart
Together Shoreditch and Spitalfields in the East of London constitute the most exciting place to be in London. The population is young, dynamic and imaginative; Friday and Saturday nights are a riot with a plethora of bars and clubs many with their own unique flavour. But what makes this area really special is that Shoreditch and Spitalfields comprise what one might call, ‘the square mile of art’; a de factor open air art gallery; with graffiti, posters and paste-ups being displayed on the main streets, down the side roads and in all the nooks and crannies of this post-industrial environ.
From Eine’s huge single letters being painted on shop shutters, to the haunting propaganda posters of Obey, to Cartrain’s political black and white pop-art; and to the one very small bronze coloured plastic circle, with the imprint of a dog shit and a man's foot about to step into it, which I once saw pasted to a wall, there is an incredible diversity.
Being on the streets, the work can be destroyed, taken or painted over at any minute. It is fragile and transient. Furthermore the juxtaposition of different pieces of art is random and unpredictable both in content and its location, which means that each day throws up a new and unique configuration of work within the streets, which you can only experience by travelling through the city.
Street Art Beginnings
The reasons for why East London has seen the flowering of street art are manifold. The post-industrial legacy of Shoreditch’s crumbling low-rise warehouses, not only provides an environment in which the artists and designers can do their work, but East London’s proximity to the City of London provides an economic source of support for the artists and designers; and finally Shoreditch with its building sites, old dilapidated warehouses provides a canvas upon which those artists can display their work and increase their commercial value.
Set against the characterless nature of the steely post-modernity of the city, the autumnal colours of the terraced warehouses in Shoreditch, no bigger than four to five stories high; offer a reminder of the legacy of a thriving fabrics and furniture industry which blossomed in the seventeenth Century. Both Shoreditch and Spitalfields have industrial pasts linked to the textiles industry, which fell into terminal decline by the twentieth century and was almost non-existent by the end of Wolrd War II. The decline was mirrored in the many three to four storey warehouses that were left to decay.
The general decline was arrested in the 1980s with the emergence of Shoreditch and Hoxton (Hoxton and Shoreditch are used interchandeably to refer to the same area) as a centre for new artists. It is difficult to say what attracted the artists to this area. But it was likely to be a combination of the spaces offered by the old warehouses, the cheap rents, and the location of Shoreditch and Spitalfields close to the City of London; where the money was to buy and fund artistic endeavour.
Not just that but post-war Shoreditch dominated by tens of post-war tower blocks, built amidst the ruins of the terraced housing that lay there before, which was bombed during World War II; had the rough edge which might inspire an artist. Shoreditch hums with the industry of newly arrived immigrants but also of the dangers of the poorer communities which inhabit these areas. Homeless people can be found sat underneath bridges on the main thoroughfares on Friday and Saturday nights; and Shoreditch is apparently home to one of the largest concentrations of striptease joints and a number of prostitutes. So, Shoreditch is a crumbling dirty, dodgy, polluted mess but it also has money; and these two factors provide an intoxicating mix for artists, who can take inspiration from their environment, but also rub shoulders with people who have the kind of money to buy their work.
By the early nineties Hoxton’s reputation as a centre for artists had become well established. As Jess Cartner-Morley puts it ‘Hoxton was invented in 1993. Before that, there was only 'Oxton, a scruffy no man's land of pie and mash and cheap market-stall clothing…’ At that time artists like Damien Hirst and Tracy Emin were taking part in ‘A Fete Worth than Death’ an arts based event in Hoxton. Gradually these artists began to create their own gravity, attracting more and more of their own like. Clubs and bars began to emerge, as did a Hoxton style, ‘the Hoxton fin’ being a trademark haircut. Many designers and artists located around Shoreditch and Spitalfields. Shoreditch has also become a hive of studios for artists, vintage fashion shops, art students and musicians.
At the same time as an artistic community was forming fuelled by money from the City, London was subject to a revolution in street art. According to Ward, writing for Time Out, the street art scene began in the mid-1980s as part of London’s hip-hop scene. Graffiti artists, emulating what was going on Stateside, began to tag their names all over London. According to Ward many of those pioneers ‘went on to paint legal commissions and are at the heart of today’s scene’. That is to say, from the community of artists congregating in East London, a number were inspired by graffiti, and because the East London, with its countless dilapidated warehouses, and building sites, offered such a good canvas; they went on to use the East London as a canvas for their work.
Little seems to have been written about the individual journey’s particular street artists have taken to get to where they are, which help illuminate some of the issues talked about in this section. Cartrain said that Banksy was a huge influence for him commenting that, "I've sent him a few emails showing him my work and he sent me a signed piece of his work in the post."
What created the East London street art scene may also kill it
The East London urban art scene is unlikely to last forever, being the symptom of a delicate juxtaposition of industrial decline and economic forces.
The irony is that the same factors which are responsible for the creation of the East London art scene are likely to destroy it.
Politicians from all parties, spiritual leaders for global capital, tell us of the unstoppable forces of globalisation. They say if Britain is to continue to dip its paw into the cream of the world’s wealth it needs to become a post-industrial service economy; suggesting a rosy future of millions of Asians slaving away co-ordinated by keyboard tapping British suits, feet on desk, leant back on high backed leather chairs, secretary blowing them off.
Art, which is feeble and dependent upon the financial growth of an economy for its survival, will have to shape itself around the needs and demands of capital.
The financial district of the City of London, lying to the south of Shoreditch, has been successfully promoted as a global financial centre, and its mighty power is slowly expanding its way northwards. Plans are afoot for the glass foot soldiers of mammon, fuelled by speculative property investment, to gradually advance northwards, replacing old warehouses with a caravan of Starbucks and Japanese sushi places and a concomitant reduction in dead spaces to portray the art, increased security to capture and ward off street artists, increased property prices and the eventual eviction of the artistic community. Spitalfields has already had big corporate sized chunks taken out of it, with one half of the old Spitalfields Market being sacrificed for corporate interests in the last five years.
So then the very same financial forces, and post-industrial legacy, which have worked to create this micro-environment for street art to thrive, are the same forces which will in time eventually destroy it. Maybe the community will move northwards, maybe it will dissipate, but until that moment lets just enjoy what the community puts out there, for its own financial interests, for their own ego and also, just maybe, for the benefit of the people.
Banksy
Banksy is the street artist par excellence. London’s street art scene is vibrant and diverse. There is some good, cure, kitschy stuff out there, but in terms of creativity and imagination Banksy leads by a city mile. His stuff is invariably shocking, funny, thought provoking and challenging.
Banksy considers himself to be a graffiti artist, which is what he grew up doing in the Bristol area in the late eighties. According to Hattenstone (2003) Banksy, who was expelled from his school, and who spent some time in prison for petty crimes, started graffiti at the age of 14, quickly switching over to stencils, which he uses today, because he didn’t find he had a particular talent for the former. His work today involves a mixture of graffiti and stencils although he has shown a capacity for using a multitude of materials.
Key works in London have included:
•In London Zoo he climbed into the penguin enclosure and painted "We're bored of fish" in six-foot-high letters.
•
•In 2004 he placed a dead rat in a glass-fronted box, and stuck the box on a wall of the Natural History Museum.
•
•‘A designated riot area’ at the bottom of Nelson’s Column.
•
•He placed a painting called Early Man Goes to Market, with a human figure hunting wildlife while pushing a shopping trolley, in the British Museum.
•
His work seems to be driven by an insatiable desire to go on producing. In an interview with Shepherd Fairey he said, ‘Anything that stands in the way of achieving that piece is the enemy, whether it’s your mum, the cops, someone telling you that you sold out, or someone saying, "Let’s just stay in tonight and get pizza." Banksy gives the impression of being a person in the mould of Tiger Woods, Michael Schumacher or Lance Armstrong. Someone with undoubted talent and yet a true workaholic dedicated to his chosen profession.
Its also driven by the buzz of ‘getting away with it’. He said to Hattenstone, ‘The art to it is not getting picked up for it, and that's the biggest buzz at the end of the day because you could stick all my shit in Tate Modern and have an opening with Tony Blair and Kate Moss on roller blades handing out vol-au-vents and it wouldn't be as exciting as it is when you go out and you paint something big where you shouldn't do. The feeling you get when you sit home on the sofa at the end of that, having a fag and thinking there's no way they're going to rumble me, it's amazing... better than sex, better than drugs, the buzz.’
Whilst Banksy has preferred to remain anonymous he does provide a website and does the occasional interview putting his work in context (see the Fairey interview).
Banksy’s anonymity is very important to him. Simon Hattenstone, who interviewed Banksy in 2003, said it was because graffiti was illegal, which makes Banksy a criminal. Banksy has not spoken directly on why he wishes to maintain his anonymity. It is clear that Banksy despises the notion of fame. The irony of course is that ‘Banksy’ the brand is far from being anonymous, given that the artist uses it on most if not all of his work. In using this brand name Banksy helps fulfil the need, which fuels a lot of graffiti artists, of wanting to be recognised, the need of ego.
Banksy is not against using his work to ‘pay the bills’ as he puts it. He has for example designed the cover of a Blur album, although he has pledged never to do a commercial job again, as a means of protecting his anonymity. Nevertheless he continues to produce limited edition pieces, which sell in galleries usually for prices, which give him a bit of spending money after he has paid the bills. Banksy has said, ‘If it’s something you actually believe in, doing something commercial doesn’t turn it to shit just because it’s commercial’ (Fairey, 2008). Banksy has over time passed from urban street artist into international artistic superstar, albeit an anonymous one.
Banksy has a definite concern for the oppressed in society. He often does small stencils of despised rats and ridiculous monkeys with signs saying things to the effect of ‘laugh now but one day we’ll be in charge’. Whilst some seem to read into this that Banksy is trying to ferment a revolutionary zeal in the dispossessed, such that one day they will rise up and slit the throats of the powers that be, so far his concern seems no more and no less than just a genuine human concern for the oppressed. Some of what seems to fuel his work is not so much his hatred of the system but at being at the bottom of it. He said to Hattenstone (2003) ‘Yeah, it's all about retribution really… Just doing a tag is about retribution. If you don't own a train company then you go and paint on one instead. It all comes from that thing at school when you had to have name tags in the back of something - that makes it belong to you. You can own half the city by scribbling your name over it’
Charlie Brooker of the Guardian has criticised Banksy for his depictions of a monkey wearing a sandwich board with 'lying to the police is never wrong' written on it. Certainly such a black and white statement seems out of kilter with more balanced assessments that Banksy has made. Brooker challenges Banksy asking whether Ian Huntley would have been right to have lied to the police?
Brooker has also criticized Banksy for the seemingly meaninglessness of some of this images. Brooker says, ‘Take his political stuff. One featured that Vietnamese girl who had her clothes napalmed off. Ho-hum, a familiar image, you think. I'll just be on my way to my 9 to 5 desk job, mindless drone that I am. Then, with an astonished lurch, you notice sly, subversive genius Banksy has stencilled Mickey Mouse and Ronald McDonald either side of her. Wham! The message hits you like a lead bus: America ... um ... war ... er ... Disney ... and stuff.’ Brooker has seemingly oversimplified Banksy’s message, if indeed Banksy has one, to fuel his own criticisms. It is easy to see that for many the Vietnam painting tells us that the United States likes to represent itself with happy smiling characters, that hide the effects of its nefarious activities responsible for the real life faces of distress seen on the young girl. Something that we should be constantly reminded of. But then that’s a matter of politics not of meaninglessness.
Banksy’s ingenuity comes through in his philosophy on progression, ‘I’m always trying to move on’ he says. In the interview he gave with Shepherd Fairey he explained that he has started reinvesting his money in to new more ambitious projects which have involved putting scaffolding put up against buildings, covering the scaffolding with plastic sheeting and then using the cover of the sheets to do his paintings unnoticed.
Banksy has balls. Outside of London he has painted images in Disney Land; and on the Israeli wall surrounding Palestine. How far is he willing to push it? What about trying something at the headquarters of the BNP, or on army barracks, or at a brothel or strip club employing sex slaves, or playing around with corporate advertising a la Adbusters?
Even though I didn't know what it was going to be my teenage dream of being someone special and exciting seems to have come true, anyway I like to think I am even if it's only because I've done it. As you know never a day passes without me putting on pictures and writing about this wonderful new life. The only trouble is at Fifty I was a bit late starting to bring out my transgendered side and becoming a female. That means of course Jojo can never be young and beautiful but that doesn't stop me from trying. My biggest problem is as I've become more feminine of late I've put on some weight too and all those lovely skirts and dresses I've picked up along the way no longer zip up which as you can imagine is most dishearteniing. My latest little challenge is to try to lose half a stone over the course of the summer and I've done it before so I can do it again. I love it, so the biggest sacrifice will be my portion of trifle every day as that can't help with slimming and I'm going to cut back a little bit on the red wine too which is something else I love. I walk quite a bit and now the weather is better I hope to get out on my bicycle more. A key component in my plan is to perhaps start swimming even if it's just once a week. I might have done this before but there are certain difficulties to address first and one is finding swimwear which doesn't make it too obvious that I am a trans girl, and the other is it would be no good going in wearing my wig for as I dived in and submerged into the depths much to everyones amusement the poor thing would still be floating on the top like a poor drowned rat. However one of the items I've collected over the years is a black latex swim cap which comes right down and covers the ears. At the bottom of this pic I've put a little insert to show how my face looks without a wig and I think I still look like the woman I've become without my hair. That is important as I hate people seeing me without my wigs unless maybe under suitable headwear and a rubber cap might even look quite sexy too.
Instead of working on the important stuff in life, I of course chose something else to do ;). After having a quick look through the Bricklink Designer Program palette for Series 7, I quickly got inspired to build something for it, and now that submissions have closed I'm happy to say that this little steam tram will be a part of the Public Vote starting February 10th!
For now, I'll stick to these teasers, but expect more details and pictures soon!
Look closely and you can see the window &camera/tripod in my eyes :)
EXPLORE #412!!!! yayyyyyyyyyyyyyyy :D
100 views-Feb. 11th
Exciting time!
Photographer Khalid Almasoud © All rights reserved
I wanted to know a sense of who they are inside the Kuwait Towers in this moment! , View from height of more than 180 meters, without a doubt a great, rare and distinguished , when you see the clouds with the level of your eyes, embrace you, the season will return again, and return such moments!
وددت أن أعرف شعور من هم داخل أبراج الكويت في هذه اللحظات ! , مشاهدة من ارتفاع تبلغ أكثر من ١٨٠ متر، بلا شك رائعة ، نادرة تلك الاوقات ومميزة ، عندما تشاهد السحاب مع مستوى نظرك ، يعانقك ، سيعود الموسم من جديد ، وتعود مثل تلك اللحظات !
This photo was taken on March 8, 2011 using a Leica D-LUX 5
----------------------------------------------------------------------------------------
Exciting times on March 29, 2023, walking the trail at the Mohawk Towpath Scenic Byway in Clifton Park, New York, USA. My friend Erika spotted a beaver who stayed in one place for a long time, enabling me to take photo after photo! Not sure what he was doing in this shot. I'll post another tomorrow, as well as sharing photos of a Muskrat & a Northern Mockingbird!
My friend made these outfits on this sewing machine when she was eight or ten. I LOVE the blue and white dress! An awesome benefit of being the keeper of things is that my friends give me their treasures knowing I will always cherish them and when my friends become nostalgic they can come for a visit. A few days ago one of my friends gave me her childhood dolls. I have been having so much fun.
Another Exciting New year to the start, 2017. We are pleased to announce that we are participating in the 2nd level event. Do come and check out our designs and also from others too.
Hugs and Big Kisses
Here's what it was like to come upon the slot canyon I posted yesterday. From Oct 12, 2018.
Watch my YouTube video of the exploration of Atlantis:
'The Face' is an exciting, fresh and new for 2013 competition pining young wannabe top models against each other to compete for the chance of becoming 'The Face' 2013
Each week, starting January 2013 a photo shoot challenge will be set where each contestant will give her all in order to carry on and continue on in the competition with the chance of still becoming 'The Face' While the public give their views and opinions on each of the girls' photos each week - along with the help of the 3 Head Judges - they, themselves will come to the decision as to which girl is to leave the competition each week.
Coaching the hopefuls along the way are the 3 Head Judges of the cycle that are soon to be revealed. These 3 judges will act as the representatives of the competition and the public's views and opinions will also be shown during elimination as well as their own.
14 young hopefuls will compete against one another to be crowned 'The Face' aswell as scoring the following other prizes:
✰ The cover of CHIC Magazine.
✰ The cover of FLAIRE Magazine
✰ The cover of Beauty in VENUS.
✰ A one-year contract with leading agency POLLY. Model Management
✰ The cover and spread in POLLY. Magazine
✰ Will also be photographed regularly and featured constantly in OhKumi's photostream.
14 girls will start their journey beginning January 1st 2013...
...But only 1 will remain.
Which girl will be the first to become...
...'The Face' ?
www.ravishlondon.com/londonstreetart
Together Shoreditch and Spitalfields in the East of London constitute the most exciting place to be in London. The population is young, dynamic and imaginative; Friday and Saturday nights are a riot with a plethora of bars and clubs many with their own unique flavour. But what makes this area really special is that Shoreditch and Spitalfields comprise what one might call, ‘the square mile of art’; a de factor open air art gallery; with graffiti, posters and paste-ups being displayed on the main streets, down the side roads and in all the nooks and crannies of this post-industrial environ.
From Eine’s huge single letters being painted on shop shutters, to the haunting propaganda posters of Obey, to Cartrain’s political black and white pop-art; and to the one very small bronze coloured plastic circle, with the imprint of a dog shit and a man's foot about to step into it, which I once saw pasted to a wall, there is an incredible diversity.
Being on the streets, the work can be destroyed, taken or painted over at any minute. It is fragile and transient. Furthermore the juxtaposition of different pieces of art is random and unpredictable both in content and its location, which means that each day throws up a new and unique configuration of work within the streets, which you can only experience by travelling through the city.
Street Art Beginnings
The reasons for why East London has seen the flowering of street art are manifold. The post-industrial legacy of Shoreditch’s crumbling low-rise warehouses, not only provides an environment in which the artists and designers can do their work, but East London’s proximity to the City of London provides an economic source of support for the artists and designers; and finally Shoreditch with its building sites, old dilapidated warehouses provides a canvas upon which those artists can display their work and increase their commercial value.
Set against the characterless nature of the steely post-modernity of the city, the autumnal colours of the terraced warehouses in Shoreditch, no bigger than four to five stories high; offer a reminder of the legacy of a thriving fabrics and furniture industry which blossomed in the seventeenth Century. Both Shoreditch and Spitalfields have industrial pasts linked to the textiles industry, which fell into terminal decline by the twentieth century and was almost non-existent by the end of Wolrd War II. The decline was mirrored in the many three to four storey warehouses that were left to decay.
The general decline was arrested in the 1980s with the emergence of Shoreditch and Hoxton (Hoxton and Shoreditch are used interchandeably to refer to the same area) as a centre for new artists. It is difficult to say what attracted the artists to this area. But it was likely to be a combination of the spaces offered by the old warehouses, the cheap rents, and the location of Shoreditch and Spitalfields close to the City of London; where the money was to buy and fund artistic endeavour.
Not just that but post-war Shoreditch dominated by tens of post-war tower blocks, built amidst the ruins of the terraced housing that lay there before, which was bombed during World War II; had the rough edge which might inspire an artist. Shoreditch hums with the industry of newly arrived immigrants but also of the dangers of the poorer communities which inhabit these areas. Homeless people can be found sat underneath bridges on the main thoroughfares on Friday and Saturday nights; and Shoreditch is apparently home to one of the largest concentrations of striptease joints and a number of prostitutes. So, Shoreditch is a crumbling dirty, dodgy, polluted mess but it also has money; and these two factors provide an intoxicating mix for artists, who can take inspiration from their environment, but also rub shoulders with people who have the kind of money to buy their work.
By the early nineties Hoxton’s reputation as a centre for artists had become well established. As Jess Cartner-Morley puts it ‘Hoxton was invented in 1993. Before that, there was only 'Oxton, a scruffy no man's land of pie and mash and cheap market-stall clothing…’ At that time artists like Damien Hirst and Tracy Emin were taking part in ‘A Fete Worth than Death’ an arts based event in Hoxton. Gradually these artists began to create their own gravity, attracting more and more of their own like. Clubs and bars began to emerge, as did a Hoxton style, ‘the Hoxton fin’ being a trademark haircut. Many designers and artists located around Shoreditch and Spitalfields. Shoreditch has also become a hive of studios for artists, vintage fashion shops, art students and musicians.
At the same time as an artistic community was forming fuelled by money from the City, London was subject to a revolution in street art. According to Ward, writing for Time Out, the street art scene began in the mid-1980s as part of London’s hip-hop scene. Graffiti artists, emulating what was going on Stateside, began to tag their names all over London. According to Ward many of those pioneers ‘went on to paint legal commissions and are at the heart of today’s scene’. That is to say, from the community of artists congregating in East London, a number were inspired by graffiti, and because the East London, with its countless dilapidated warehouses, and building sites, offered such a good canvas; they went on to use the East London as a canvas for their work.
Little seems to have been written about the individual journey’s particular street artists have taken to get to where they are, which help illuminate some of the issues talked about in this section. Cartrain said that Banksy was a huge influence for him commenting that, "I've sent him a few emails showing him my work and he sent me a signed piece of his work in the post."
What created the East London street art scene may also kill it
The East London urban art scene is unlikely to last forever, being the symptom of a delicate juxtaposition of industrial decline and economic forces.
The irony is that the same factors which are responsible for the creation of the East London art scene are likely to destroy it.
Politicians from all parties, spiritual leaders for global capital, tell us of the unstoppable forces of globalisation. They say if Britain is to continue to dip its paw into the cream of the world’s wealth it needs to become a post-industrial service economy; suggesting a rosy future of millions of Asians slaving away co-ordinated by keyboard tapping British suits, feet on desk, leant back on high backed leather chairs, secretary blowing them off.
Art, which is feeble and dependent upon the financial growth of an economy for its survival, will have to shape itself around the needs and demands of capital.
The financial district of the City of London, lying to the south of Shoreditch, has been successfully promoted as a global financial centre, and its mighty power is slowly expanding its way northwards. Plans are afoot for the glass foot soldiers of mammon, fuelled by speculative property investment, to gradually advance northwards, replacing old warehouses with a caravan of Starbucks and Japanese sushi places and a concomitant reduction in dead spaces to portray the art, increased security to capture and ward off street artists, increased property prices and the eventual eviction of the artistic community. Spitalfields has already had big corporate sized chunks taken out of it, with one half of the old Spitalfields Market being sacrificed for corporate interests in the last five years.
So then the very same financial forces, and post-industrial legacy, which have worked to create this micro-environment for street art to thrive, are the same forces which will in time eventually destroy it. Maybe the community will move northwards, maybe it will dissipate, but until that moment lets just enjoy what the community puts out there, for its own financial interests, for their own ego and also, just maybe, for the benefit of the people.
Banksy
Banksy is the street artist par excellence. London’s street art scene is vibrant and diverse. There is some good, cure, kitschy stuff out there, but in terms of creativity and imagination Banksy leads by a city mile. His stuff is invariably shocking, funny, thought provoking and challenging.
Banksy considers himself to be a graffiti artist, which is what he grew up doing in the Bristol area in the late eighties. According to Hattenstone (2003) Banksy, who was expelled from his school, and who spent some time in prison for petty crimes, started graffiti at the age of 14, quickly switching over to stencils, which he uses today, because he didn’t find he had a particular talent for the former. His work today involves a mixture of graffiti and stencils although he has shown a capacity for using a multitude of materials.
Key works in London have included:
•In London Zoo he climbed into the penguin enclosure and painted "We're bored of fish" in six-foot-high letters.
•
•In 2004 he placed a dead rat in a glass-fronted box, and stuck the box on a wall of the Natural History Museum.
•
•‘A designated riot area’ at the bottom of Nelson’s Column.
•
•He placed a painting called Early Man Goes to Market, with a human figure hunting wildlife while pushing a shopping trolley, in the British Museum.
•
His work seems to be driven by an insatiable desire to go on producing. In an interview with Shepherd Fairey he said, ‘Anything that stands in the way of achieving that piece is the enemy, whether it’s your mum, the cops, someone telling you that you sold out, or someone saying, "Let’s just stay in tonight and get pizza." Banksy gives the impression of being a person in the mould of Tiger Woods, Michael Schumacher or Lance Armstrong. Someone with undoubted talent and yet a true workaholic dedicated to his chosen profession.
Its also driven by the buzz of ‘getting away with it’. He said to Hattenstone, ‘The art to it is not getting picked up for it, and that's the biggest buzz at the end of the day because you could stick all my shit in Tate Modern and have an opening with Tony Blair and Kate Moss on roller blades handing out vol-au-vents and it wouldn't be as exciting as it is when you go out and you paint something big where you shouldn't do. The feeling you get when you sit home on the sofa at the end of that, having a fag and thinking there's no way they're going to rumble me, it's amazing... better than sex, better than drugs, the buzz.’
Whilst Banksy has preferred to remain anonymous he does provide a website and does the occasional interview putting his work in context (see the Fairey interview).
Banksy’s anonymity is very important to him. Simon Hattenstone, who interviewed Banksy in 2003, said it was because graffiti was illegal, which makes Banksy a criminal. Banksy has not spoken directly on why he wishes to maintain his anonymity. It is clear that Banksy despises the notion of fame. The irony of course is that ‘Banksy’ the brand is far from being anonymous, given that the artist uses it on most if not all of his work. In using this brand name Banksy helps fulfil the need, which fuels a lot of graffiti artists, of wanting to be recognised, the need of ego.
Banksy is not against using his work to ‘pay the bills’ as he puts it. He has for example designed the cover of a Blur album, although he has pledged never to do a commercial job again, as a means of protecting his anonymity. Nevertheless he continues to produce limited edition pieces, which sell in galleries usually for prices, which give him a bit of spending money after he has paid the bills. Banksy has said, ‘If it’s something you actually believe in, doing something commercial doesn’t turn it to shit just because it’s commercial’ (Fairey, 2008). Banksy has over time passed from urban street artist into international artistic superstar, albeit an anonymous one.
Banksy has a definite concern for the oppressed in society. He often does small stencils of despised rats and ridiculous monkeys with signs saying things to the effect of ‘laugh now but one day we’ll be in charge’. Whilst some seem to read into this that Banksy is trying to ferment a revolutionary zeal in the dispossessed, such that one day they will rise up and slit the throats of the powers that be, so far his concern seems no more and no less than just a genuine human concern for the oppressed. Some of what seems to fuel his work is not so much his hatred of the system but at being at the bottom of it. He said to Hattenstone (2003) ‘Yeah, it's all about retribution really… Just doing a tag is about retribution. If you don't own a train company then you go and paint on one instead. It all comes from that thing at school when you had to have name tags in the back of something - that makes it belong to you. You can own half the city by scribbling your name over it’
Charlie Brooker of the Guardian has criticised Banksy for his depictions of a monkey wearing a sandwich board with 'lying to the police is never wrong' written on it. Certainly such a black and white statement seems out of kilter with more balanced assessments that Banksy has made. Brooker challenges Banksy asking whether Ian Huntley would have been right to have lied to the police?
Brooker has also criticized Banksy for the seemingly meaninglessness of some of this images. Brooker says, ‘Take his political stuff. One featured that Vietnamese girl who had her clothes napalmed off. Ho-hum, a familiar image, you think. I'll just be on my way to my 9 to 5 desk job, mindless drone that I am. Then, with an astonished lurch, you notice sly, subversive genius Banksy has stencilled Mickey Mouse and Ronald McDonald either side of her. Wham! The message hits you like a lead bus: America ... um ... war ... er ... Disney ... and stuff.’ Brooker has seemingly oversimplified Banksy’s message, if indeed Banksy has one, to fuel his own criticisms. It is easy to see that for many the Vietnam painting tells us that the United States likes to represent itself with happy smiling characters, that hide the effects of its nefarious activities responsible for the real life faces of distress seen on the young girl. Something that we should be constantly reminded of. But then that’s a matter of politics not of meaninglessness.
Banksy’s ingenuity comes through in his philosophy on progression, ‘I’m always trying to move on’ he says. In the interview he gave with Shepherd Fairey he explained that he has started reinvesting his money in to new more ambitious projects which have involved putting scaffolding put up against buildings, covering the scaffolding with plastic sheeting and then using the cover of the sheets to do his paintings unnoticed.
Banksy has balls. Outside of London he has painted images in Disney Land; and on the Israeli wall surrounding Palestine. How far is he willing to push it? What about trying something at the headquarters of the BNP, or on army barracks, or at a brothel or strip club employing sex slaves, or playing around with corporate advertising a la Adbusters?
This image shows the Forster - Tuncurry ferry approaching the ramp in Tuncurry, NSW - mid 1950s. The launch guiding the punt is the Monterey built by Alf Jahnsen.
A recent publication written by Chris Borough covering the Forster Ferry Service has been published by the Great Lakes Historical Society, Tuncurry
www.flickr.com/photos/glmrsnsw/27134338901/in/album-72157...
Prior to the construction of a bridge in July 1959, crossing Cape Hawke Harbour at the mouth of Wallis Lake required vehicles to use the punt service that operated between Tuncurry and Forster. Most vehicular punts in NSW operated independently using cables. The Forster-Tuncurry punts, however, were close-coupled to a motor launch as shifting sandbanks had to be negotiated to make the crossing between the two towns.
The first of three punts that were used to provide the service commenced operation in late 1924 and remained in continuous service for nine years. This small punt was replaced in 1933 with a larger punt that was widened by two feet in 1935. The original was retained as a backup until a third and still larger punt was introduced in late 1938. That third punt began operation on Christmas Eve 1938 with the punt that was widened in 1935 kept in reserve. Both remained in service until the opening of the Forster – Tuncurry bridge.
Prior to 1924, regular ferry services operated, but only for passengers. The first commenced operation by July 1890 with an open rowing boat conveying passengers (and a sulky if needed). The demand for a proper ferry service was strong. In 1905 a petition from Forster residents asked the Government to establish an oil-launch ferry service between Tuncurry and Forster, instead of the boat ferry, which was totally inadequate…(SMH Friday 10 November 1905).
By 1907, travellers from Bungwahl could pick up the ferry service provided by an oil launch at the southern edge of Wallis Lake (Charlotte Bay), that would drop them either at Forster or Tuncurry (SMH 26th October 1907). A regular passenger ferry service was also being operated that year by an oil launch running between Forster and Tuncurry, conveying passengers for a 1d return fare (SMH 26th Oct 1907).
Horses, however, still had to be swum across (Maitland Daily Mercury 4th May 1909) . We left our horses and vehicles at Tuncurry and crossed over to Forster in the ferry. During the day the rest of the party employed themselves in swimming the horses across the river and floating the buggies over in boats, and had quite an exciting and arduous time. One of Mr. Bramble's horses was too scared to swim, and was nearly drowned. One of the boats, with a sulky on board, got aground, and took some time to get off.
It was not until February 1924 that Manning Shire Council granted permission for Charlie Blows to provide and operate a combined private passenger and car punt service between Tuncurry and Forster (SMH 22nd Feb 1924). Blows undertook to build and maintain the approaches, as well as provide a vehicular ferry, capable of carrying three and a half to four tons (SMH 22 Feb 1924). Blows’ punt service began operations in November 1924 - Mr. Chas. Blows has installed a new vehicular ferry between Tuncurry and Forster. As a consequence, motor cars are now a common sight at Forster (Dungog Chronicle 18 November 1924.)
Howard (1995) records that Blows had Tuncurry boat-builder, Dave Williams build both a small punt and a launch (commonly, but somewhat misleadingly, termed a “tow” launch) to propel same. No details of the punt and its construction have been located but a newspaper report appears to confirm that it was constructed specifically for the operation. This is a direct road to Newcastle by car, and is considerably shorter than any other road from Forster to Sydney. It will be largely used for through traffic when the vehicle ferry, which has been sanctioned and is now being constructed, is running between Tuncurry and Forster across Wallamba River (SMH 15th April 1924).
With a load capacity of around 4 tons, it is estimated that Blows’ punt was 22 feet in length. It was able to transport one large car or two very small cars, end to end. The launch, originally named the Glen, was fitted with a 7 h.p. Kelvin engine; she was quickly re-named the Kelvin Glen by locals and this became her registered name.
Although the passenger service was subsidised by the Local Government Department, it was an expensive exercise to have a vehicle conveyed on the privately owned punt. Foot passengers were able to travel for free, however, for a one-way trip cars were charged 2/6, lorries 4/-, and horse-drawn vehicles 1/6. To put these fares in context, the average weekly wage in 1930 was £7 per week making a return journey by car of 5/- one fifth of a day’s wages. Any additional trips incurred fares for foot passengers, with one visitor complaining that he was forced to pay 1/- to get the “free” ferry from Tuncurry to take him the extra 150 yards from the terminus at Forster to the local hotel.
Prior to 1930, shipping was generally able to navigate key areas within Cape Hawke Harbour and the punt was usually able to cross readily between the two towns. In 1930, however, the NSW Government decided to remove the sand-pumping dredge “Forster” from the district after some thirty years of continuous service. Despite numerous representations, there was no sand-pumping between 1930 and 1938.
By 1930 there had already been general recognition that the private vehicular ferry service was unduly limited in terms of capacity and cost. In 1931 The Maitland Daily Mercury (23 February) reported: One of the biggest demonstrations of public protest in the history of Cape Hawke was witnessed last Saturday night at the Forster Hall when a most representative gathering assembled to express its disapproval of the manner in which the Stroud and Manning Shire Councils are dilly dallying with the question of the Forster Tuncurry Ferry Service. The meeting had been convened by the Progress Associations of Forster and Tuncurry to voice their dissatisfaction of both Councils, in not carrying into vogue the dictum put forth by the Minister for Local Government in July last, that the vehicular ferry that serves the two towns should be absolutely free and that the existing charges be abolished.
A visitor to Tuncurry recalled his experience (Dungog Chronicle: 9 February 1932) “In the morning we crossed the quarter mile or so of water round the sandbanks to Forster. The punt is a two-car one, and is towed over by C. Blows, who runs the free ferry for foot passengers. It cost 2/6 each way for the car, and thereby hangs a confession. I forgot to pay when going back, and Charlie Blows did not remind me.”
After years of wrangling between the Stroud and Manning Shire Councils and the Transport Commission (formerly the Main Roads Board and by the end of 1932 the Main Roads Department), it was decided to terminate the private ferry service and have a replacement punt provided by Manning Shire Council. A suggestion in 1932 to lengthen Blows’ punt was not followed up and before the year was out it was found that a thirty to forty year old punt that had been operating on the Manning River was available to be relocated. The cost of having the punt transported to Forster and its operation were to be shared by the three statutory bodies. Tenders to provide a launch and operate the new punt service were called and on June 30th 1933 the successful tenderer, Frederick Parsons was announced. Fred’s bid of £375/annum was the lowest. Because the new punt was some ten feet longer than the Blows’ punt (32 ft vs approx. 22 ft), and it could carry three small cars or two large cars and had a load capacity of 6 tons, a more powerful launch was required.
Blows’ contract with the original punt was extended until 17th October 1933 when Parsons finally began operations with his new launch and the council supplied punt (Howard 2009). The modern and powerful launch - the Pacific was built by Frank Avery. As reported (Dungog Chronicle 7 November 1933). The new ferry service which is now in the control of Mr. Fred Parsons has had its baptism; and the little difficulties that might be expected at the outset with the most experienced have been surmounted. Mr. Parsons' new launch has a length of 28 feet, a beam of 8 feet and a depth of 3 feet moulded. All timbers and stringers are of spotted gum, with beech planking. The launch is copper fastened and is fitted with water tight bulk heads according to the regulations of the Navigation Department. It is fitted with an 18h.p. Lister-Diesel engine and is a great credit to the builder, Mr Frank Avery, of Tuncurry. The most pleasing aspect of the new service, of course, is the substantial reduction in the charges for cars and other vehicles, as compared with the former contract. Previously, to convey a car across from Forster to Tuncurry cost 2/6; the new charge is 1/-. The new rate has already been responsible for increased traffic, as many people hesitated to come across and back when it involved a toll of 5/-.
In 1935 the Department of Main Roads and the two Councils involved in providing the service agreed to have the punt widened by 2ft to enable cars to be parked side by side and thus allow four vehicles to be carried at one time. Well respected boat-builder, Henry Miles, was contracted to do the job. As reported in the Dungog Chronicle Tuesday 26 November 1935; There will be general jubilation at the news that the ferry which plies, between Forster and Tuncurry is to be enlarged, says the Taree Times. Under a triple authority (Main Roads Board, Manning and Stroud Shires) it takes time to finalise things like this, but it has been done. The ferry is to be widened to take four cars, two abreast. The work has been entrusted to that well-known and expert shipbuilder, Mr. Harry [Henry] Miles, of Forster, and when he finishes with it there will be no complaints, for Mr. Miles does his work one way — thoroughly. It is intended to split the ferry from end to end and put in another 2ft., which will ensure that the ferry will then accommodate two of the biggest cars abreast, which was not possible in the past. It is expected that the ferry will go on the slip on Thursday next, and be off in two or three weeks. In the meantime traffic will be maintained as usual, Mr. Charlie Blows' punt having been engaged for the purpose.
A year later and a minor crisis: Blow’s old punt that was put into service as a temporary measure while the new punt was being overhauled, sank. The Dungog Chronicle (Tuesday 17 November 1936) reported: - Vehicular traffic between Tuncurry and Forster was held up from about 1 p.m. on Wednesday afternoon until 4 on Thursday afternoon. The new contract for this service is to commence at the beginning of December, and the ferry in general use was put on Mr. Henry Miles' slip on Tuesday to undergo the usual overhaul before commencing on the new contract. The old punt with which Mr. Charlie Blows inaugurated the service [in 1924] was requisitioned and started in the service about 2 on Tuesday afternoon. All went well until about 1 p.m. on Wednesday, while the ferry was tied up on the Tuncurry side, a Chev. lorry, loaded with skimmed milk from the Tuncurry butter factory, boarded the ferry. At the same time the driver of a car wanted to cross and the ferry man asked the man in charge of the lorry to move it over to the side a little more than it was. When this was done one corner of the punt developed a list, which in turn gave the lorry, and its contents, a list, with the result that the corner of the punt went under water and quickly submerged. The lorry was also under water. The services of another lorry were engaged to pull it out. Later in the day the ferry was raised and removed to Mr. Miles' slip, for examination and repairs if necessary . A grainy photograph of the accident scene that appeared in the Sydney Morning Herald (4 November 1936) suggests that the small punt may have needed more than just minor repairs.
By early 1937, Manning Shire Council was well aware of public concerns with the safety of the service (Dungog Chronicle Friday 21 May 1937). Council was advised that in October 1936 the punt had grounded on a sand bank and been carried quite some distance after it was re-floated; the anchor being unable to hold. At the time, the Press had reported that the method of transport was entirely out of date and that it had caused a wave of fear amongst the public.
The Council was well aware that it’s widened 32ft long punt simply couldn't cope with the sheer volume of traffic that was presenting during the annual holiday season and had thus reached its use-by date. As a result, a formal proposal was made to the Department of Main Roads for the purchase of an additional 4-car punt to facilitate the provision of a permanent two punt service; the Department formally declined the proposal on 2 September 1937. (SMH 14 January 1938). Council subsequently decided to try and rent or buy a replacement punt and in October 1937 an advertisement that sought the lease of a punt for three months over the summer season appeared in the press (Newcastle Morning Herald Saturday 23 October 1937). Unable to rent or buy a replacement punt, however, the decision was made to have a replacement built. Initial plans for a new punt were submitted to the DMR on 23rd November 1937 (SMH 14 January 1938).
With the wheels of the bureaucracy slowly turning, matters regarding the punt service went from bad to worse. The punt that had commenced operation in 1933 and was widened by Henry Miles in 1935, sunk spectacularly on 5th January 1938. The report from the Dungog Chronicle of Tuesday 11 January 1938 described the fact that a drowning fatality was avoided, as a miracle! On the punt was Joe Fazio’s bus with twelve passengers aboard, a sedan car with five passengers and a truck. As soon as the punt took off from the wharf at around 8 am the nose of the punt dipped and it seemed likely that the punt would capsize. The passengers in the car climbed onto the roof of the bus and finally all passengers escaped via the ferry to shore. This event created an outcry for the replacement of the existing ferry with a larger and more dependable ferry service.
The public relations debacle appears to have jolted the bureaucrats into action and tenders for the construction of a 40 foot punt were called in 1938 (SMH Friday 4 March 1938). It took, however, until September that year for the Councils to secure the services of Frank Avery to supervise the construction of a new punt using day labour (Dungog Chronicle: Friday 16 September 1938). The new service was launched on 24th December 1938, just in time for the holiday season (Dungog Chronicle Tuesday 24 January 1939).
Although the load limit for the new punt was raised to ten tons in 1939, officially it was still only able to handle four cars – a point made clearly by the NRMA (The Maitland Daily Mercury Friday 10 February 1939): “An N.R.M.A. country inspector who recently travelled over the coastal route from Bulahdelah to Taree by way of Forster and Tuncurry. Commenting on the new punt between Forster and Tuncurry, the Association says that there is little improvement on the old vehicle. The new vessel accommodates four cars and is towed by a motor launch. Thus the journey from one side of the lake to the other takes just as long now as when the old punt was operating.”.
The four car service was propelled by the Pacific until 1st July 1940 when Wylie Gregory won the tender to provide the service. He arranged for Forster boatbuilder, Dave Williams to build a heavy-duty low-line boat - the Britannia - or alternatively spelled Brittania (Howard 1995). The war years, however, soon started to impact on Wylie’s operations. In August 1941 he advised Manning Shire Council that he would terminate his contract in view of decreased traffic owing to petrol rationing. Negotiations followed that resulted in Wylie continuing the operation under changed conditions.
On 1st June 1947 the tender for the vehicle ferry service was won by H.M. Cooke of Forster and it appears that he purchased the Brittania from Gregory, On 15th June 1949 the contract was won by C.A. Blows and Sons. The Brittania was purchased from Cooke, but almost immediately the firm contracted Alf Jahnsen and Leo Royan to build a new launch, the Monterey - named after the local cafe ran by Charlie Blows. In the 1950s the availability of two launches and two punts allowed considerable flexibility for the management of the service. Although the punt that was widened in 1935 was initially only retained as a back-up, with the availability of a second launch, sanity eventually prevailed and the old punt was brought out of mothballs each summer so that a two punt service could be provided during the peak holiday season.
Despite the last punt (built in 1938) being described as only having a capacity to carry four cars, it is commonly believed to have had a capacity to convey six cars. Indeed there are photos in Philip Howard's book showing six cars squeezed onto the punt with vehicles partly standing on the rear ramp with the rear gates open. Graham Nicholson (personal communication) recalls many occasions when six vehicles were squeezed onto the ferry and the front and rear gates "closed" accordingly – possibly not by the book, but effective!
Punt operations ceased with the opening of the Forster-Tuncurry bridge on July 18th 1959. So ended the service once memorably described: "It must be the most antedated, most unreliable and unsafe method of crossing a river anywhere in Australia." (SMH Friday 5 November 1954)
Image Source - Image Source - Steve Bolin Collection
References - Howard, P. (1995). The ferrymen: the history of the Forster-Tuncurry passenger and vehicular ferry service from 1890 to 1959 - by Philip Howard.
More Forster Ferry images are contained in the ALBUM Forster - Tuncurry Ferry
Acknowledgements. Chris Borough and Ron Madden undertook the detailed research that was the basis for this contribution.
All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.
GREAT LAKES MANNING RIVER SHIPPING, NSW - Flickr Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List
It's so exciting to follow this knitting code and see how the stitches makes beautiful patterns. I'm just a beginner at this, so it is not perfect, but I'm hooked now! :D
Dark and foggy during my visit to '101, but it was still great and almost better than a sunny clear day!
"Excitingly and elegantly shaped. More powerful than ever. The new generation of the BMW M5 is a statement of supreme engineering skill and innovative driving intelligence. For hitherto unimagined dimensions of driving dynamics up to the limits. Full of state-of-the-art technologies that make the everyday business routine safer and more comfortable. The innovative all-wheel drive system M xDrive of the powerful all-new BMW M5 with its 600 hp (441 kW) engine turns the driver into the self-assured pilot of a high-performance sports saloon with unbelievable power, precision and agility – pure M driving pleasure on a new level."
Source: BMW Ireland
Photographed at Dublin Weston Airport during second Performance Car Vmax event organized by RunwayClub Ireland. If you live in Ireland and you'd like to visit next event organized by them please keep an eye at official website here: RunwayClub Ireland or follow them on facebook at: RunwayClub Ireland
____________________________________________________
Like my Fanpage
Follow me on Instagram
Hey, fellow SL lovers! We've got some exciting news to share. 🌟 Addams is expanding into the world of The Sims 4, and we couldn't be more thrilled! 😃🎉
Tomorrow, we're launching our Patreon, marking the beginning of an amazing journey in this fantastic game. 🚀 Stay tuned for sneak peeks, exclusive content, and tons of fun as we grow our community in The Sims 4.
Let's embark on this adventure together! 🎮 #AddamsInSims4 #GameChanger #SimmersUnite #NewBeginnings #AddamsGaming #StayTuned
Join in with an exciting, free public art trail that will add colour to the streets, parks and public spaces of Newcastle this summer!
Shaun the Sheep on the Tyne is presented by and raising funds for St Oswald’s Hospice. The charity has partnered with creative producers Wild in Art, Shaun the Sheep creator Aardman and Headline Partners Newcastle City Council to bring you a ewe-nique art adventure that the whole family can enjoy.
Following the success of Great North Snowdogs in 2016 and Elmer’s Great North Parade in 2019, St Oswald’s Hospice’s third art trail celebrates the support shown by their community throughout the pandemic. From now until Wednesday 27th September 2023, Newcastle city centre and surrounding areas will be transformed by the arrival of 45 super-sized sculptures, inspired by the much-loved star of film and television, Shaun the Sheep. Located alongside some of the city’s most iconic landmarks, each Shaun the Sheep sculpture has been uniquely designed by artists from the region and beyond, providing a fun, family-friendly art trail for locals and visitors to follow.
A series of smaller ‘Little Shaun’ sculptures, adopted and painted by schools and youth groups, are also displayed as part of the adventure, at indoor venues across the city.
A trail map and App are available to navigate avid art adventurers across the accessible trail, helping you discover each sculpture and unlock a series of rewards and milestones.
Whilst exciting and inspiring people of all ages to celebrate our beautiful city through creativity, the trail hopes to increase public awareness about hospice care and its importance and impact on our whole community. When the trail ends, the super-sized Shaun sculptures will be auctioned to raise funds for St Oswald’s Hospice.
Shaun the Sheep on the Tyne is the perfect summer holiday activity, free for all and packed full of baa-rilliant adventure. Join the flock now, ewe won’t regret it!
Follow the Flock!
45 Big Shaun sculptures and 70 Little Shaun sculptures inspired by the much-loved star of film and television, Shaun the Sheep have taken over the parks and streets of Newcastle upon Tyne. How many can ewe find?
✦Exciting News for the Upcoming Astrophe Event! ✦
· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·
We’ve been working hard to bring you something special for this round of the Astrophe Event, running from January 5th to January 25th.
Introducing our latest Nail HUDs, designed to give you a variety of expressive, stylish options for your look. Whether you’re drawn to bold and edgy aesthetics or prefer something fun and playful, there’s something here for everyone!
✦ What to Expect: ✦
Our latest collection of Nail HUDs includes designs for:
- Claw & Coffin Nails: Available for Legacy F, eBody, LaraX, and Kupra bodies.
- Short Nails: A separate set designed for Legacy F&M, eBody, LaraX, and Kupra.
Most designs lean into an alternative, grunge, and edgy vibe, perfect for those who love to make a statement. But we’ve also included some cute and funky styles for a lighter, more playful touch—so no matter your mood or outfit, you’ll find a look that fits perfectly!
· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·
✦ Exciting Updates! ✦
We’re thrilled to announce that we’ve updated our Coffin Nails to support the Kupra body! If you’ve already purchased our Coffin Nails in the past, there’s no need to buy again. Simply visit the Black Lotus Mainstore, head to the Redelivery Terminal, and grab the latest 3.1 version to enjoy full compatibility with Kupra.
✦ When & Where? ✦
All these amazing Nail HUDs will be available exclusively at the Astrophe Event, running from January 5th to January 25th.
SURL: maps.secondlife.com/secondlife/Astrophe/128/33/21
Don’t miss your chance to snag these stylish designs and update your collection!
Thank you for your support, and we can’t wait to see you at the event!
www.ravishlondon.com/londonstreetart
Together Shoreditch and Spitalfields in the East of London constitute the most exciting place to be in London. The population is young, dynamic and imaginative; Friday and Saturday nights are a riot with a plethora of bars and clubs many with their own unique flavour. But what makes this area really special is that Shoreditch and Spitalfields comprise what one might call, ‘the square mile of art’; a de factor open air art gallery; with graffiti, posters and paste-ups being displayed on the main streets, down the side roads and in all the nooks and crannies of this post-industrial environ.
From Eine’s huge single letters being painted on shop shutters, to the haunting propaganda posters of Obey, to Cartrain’s political black and white pop-art; and to the one very small bronze coloured plastic circle, with the imprint of a dog shit and a man's foot about to step into it, which I once saw pasted to a wall, there is an incredible diversity.
Being on the streets, the work can be destroyed, taken or painted over at any minute. It is fragile and transient. Furthermore the juxtaposition of different pieces of art is random and unpredictable both in content and its location, which means that each day throws up a new and unique configuration of work within the streets, which you can only experience by travelling through the city.
Street Art Beginnings
The reasons for why East London has seen the flowering of street art are manifold. The post-industrial legacy of Shoreditch’s crumbling low-rise warehouses, not only provides an environment in which the artists and designers can do their work, but East London’s proximity to the City of London provides an economic source of support for the artists and designers; and finally Shoreditch with its building sites, old dilapidated warehouses provides a canvas upon which those artists can display their work and increase their commercial value.
Set against the characterless nature of the steely post-modernity of the city, the autumnal colours of the terraced warehouses in Shoreditch, no bigger than four to five stories high; offer a reminder of the legacy of a thriving fabrics and furniture industry which blossomed in the seventeenth Century. Both Shoreditch and Spitalfields have industrial pasts linked to the textiles industry, which fell into terminal decline by the twentieth century and was almost non-existent by the end of Wolrd War II. The decline was mirrored in the many three to four storey warehouses that were left to decay.
The general decline was arrested in the 1980s with the emergence of Shoreditch and Hoxton (Hoxton and Shoreditch are used interchandeably to refer to the same area) as a centre for new artists. It is difficult to say what attracted the artists to this area. But it was likely to be a combination of the spaces offered by the old warehouses, the cheap rents, and the location of Shoreditch and Spitalfields close to the City of London; where the money was to buy and fund artistic endeavour.
Not just that but post-war Shoreditch dominated by tens of post-war tower blocks, built amidst the ruins of the terraced housing that lay there before, which was bombed during World War II; had the rough edge which might inspire an artist. Shoreditch hums with the industry of newly arrived immigrants but also of the dangers of the poorer communities which inhabit these areas. Homeless people can be found sat underneath bridges on the main thoroughfares on Friday and Saturday nights; and Shoreditch is apparently home to one of the largest concentrations of striptease joints and a number of prostitutes. So, Shoreditch is a crumbling dirty, dodgy, polluted mess but it also has money; and these two factors provide an intoxicating mix for artists, who can take inspiration from their environment, but also rub shoulders with people who have the kind of money to buy their work.
By the early nineties Hoxton’s reputation as a centre for artists had become well established. As Jess Cartner-Morley puts it ‘Hoxton was invented in 1993. Before that, there was only 'Oxton, a scruffy no man's land of pie and mash and cheap market-stall clothing…’ At that time artists like Damien Hirst and Tracy Emin were taking part in ‘A Fete Worth than Death’ an arts based event in Hoxton. Gradually these artists began to create their own gravity, attracting more and more of their own like. Clubs and bars began to emerge, as did a Hoxton style, ‘the Hoxton fin’ being a trademark haircut. Many designers and artists located around Shoreditch and Spitalfields. Shoreditch has also become a hive of studios for artists, vintage fashion shops, art students and musicians.
At the same time as an artistic community was forming fuelled by money from the City, London was subject to a revolution in street art. According to Ward, writing for Time Out, the street art scene began in the mid-1980s as part of London’s hip-hop scene. Graffiti artists, emulating what was going on Stateside, began to tag their names all over London. According to Ward many of those pioneers ‘went on to paint legal commissions and are at the heart of today’s scene’. That is to say, from the community of artists congregating in East London, a number were inspired by graffiti, and because the East London, with its countless dilapidated warehouses, and building sites, offered such a good canvas; they went on to use the East London as a canvas for their work.
Little seems to have been written about the individual journey’s particular street artists have taken to get to where they are, which help illuminate some of the issues talked about in this section. Cartrain said that Banksy was a huge influence for him commenting that, "I've sent him a few emails showing him my work and he sent me a signed piece of his work in the post."
What created the East London street art scene may also kill it
The East London urban art scene is unlikely to last forever, being the symptom of a delicate juxtaposition of industrial decline and economic forces.
The irony is that the same factors which are responsible for the creation of the East London art scene are likely to destroy it.
Politicians from all parties, spiritual leaders for global capital, tell us of the unstoppable forces of globalisation. They say if Britain is to continue to dip its paw into the cream of the world’s wealth it needs to become a post-industrial service economy; suggesting a rosy future of millions of Asians slaving away co-ordinated by keyboard tapping British suits, feet on desk, leant back on high backed leather chairs, secretary blowing them off.
Art, which is feeble and dependent upon the financial growth of an economy for its survival, will have to shape itself around the needs and demands of capital.
The financial district of the City of London, lying to the south of Shoreditch, has been successfully promoted as a global financial centre, and its mighty power is slowly expanding its way northwards. Plans are afoot for the glass foot soldiers of mammon, fuelled by speculative property investment, to gradually advance northwards, replacing old warehouses with a caravan of Starbucks and Japanese sushi places and a concomitant reduction in dead spaces to portray the art, increased security to capture and ward off street artists, increased property prices and the eventual eviction of the artistic community. Spitalfields has already had big corporate sized chunks taken out of it, with one half of the old Spitalfields Market being sacrificed for corporate interests in the last five years.
So then the very same financial forces, and post-industrial legacy, which have worked to create this micro-environment for street art to thrive, are the same forces which will in time eventually destroy it. Maybe the community will move northwards, maybe it will dissipate, but until that moment lets just enjoy what the community puts out there, for its own financial interests, for their own ego and also, just maybe, for the benefit of the people.
Banksy
Banksy is the street artist par excellence. London’s street art scene is vibrant and diverse. There is some good, cure, kitschy stuff out there, but in terms of creativity and imagination Banksy leads by a city mile. His stuff is invariably shocking, funny, thought provoking and challenging.
Banksy considers himself to be a graffiti artist, which is what he grew up doing in the Bristol area in the late eighties. According to Hattenstone (2003) Banksy, who was expelled from his school, and who spent some time in prison for petty crimes, started graffiti at the age of 14, quickly switching over to stencils, which he uses today, because he didn’t find he had a particular talent for the former. His work today involves a mixture of graffiti and stencils although he has shown a capacity for using a multitude of materials.
Key works in London have included:
•In London Zoo he climbed into the penguin enclosure and painted "We're bored of fish" in six-foot-high letters.
•
•In 2004 he placed a dead rat in a glass-fronted box, and stuck the box on a wall of the Natural History Museum.
•
•‘A designated riot area’ at the bottom of Nelson’s Column.
•
•He placed a painting called Early Man Goes to Market, with a human figure hunting wildlife while pushing a shopping trolley, in the British Museum.
•
His work seems to be driven by an insatiable desire to go on producing. In an interview with Shepherd Fairey he said, ‘Anything that stands in the way of achieving that piece is the enemy, whether it’s your mum, the cops, someone telling you that you sold out, or someone saying, "Let’s just stay in tonight and get pizza." Banksy gives the impression of being a person in the mould of Tiger Woods, Michael Schumacher or Lance Armstrong. Someone with undoubted talent and yet a true workaholic dedicated to his chosen profession.
Its also driven by the buzz of ‘getting away with it’. He said to Hattenstone, ‘The art to it is not getting picked up for it, and that's the biggest buzz at the end of the day because you could stick all my shit in Tate Modern and have an opening with Tony Blair and Kate Moss on roller blades handing out vol-au-vents and it wouldn't be as exciting as it is when you go out and you paint something big where you shouldn't do. The feeling you get when you sit home on the sofa at the end of that, having a fag and thinking there's no way they're going to rumble me, it's amazing... better than sex, better than drugs, the buzz.’
Whilst Banksy has preferred to remain anonymous he does provide a website and does the occasional interview putting his work in context (see the Fairey interview).
Banksy’s anonymity is very important to him. Simon Hattenstone, who interviewed Banksy in 2003, said it was because graffiti was illegal, which makes Banksy a criminal. Banksy has not spoken directly on why he wishes to maintain his anonymity. It is clear that Banksy despises the notion of fame. The irony of course is that ‘Banksy’ the brand is far from being anonymous, given that the artist uses it on most if not all of his work. In using this brand name Banksy helps fulfil the need, which fuels a lot of graffiti artists, of wanting to be recognised, the need of ego.
Banksy is not against using his work to ‘pay the bills’ as he puts it. He has for example designed the cover of a Blur album, although he has pledged never to do a commercial job again, as a means of protecting his anonymity. Nevertheless he continues to produce limited edition pieces, which sell in galleries usually for prices, which give him a bit of spending money after he has paid the bills. Banksy has said, ‘If it’s something you actually believe in, doing something commercial doesn’t turn it to shit just because it’s commercial’ (Fairey, 2008). Banksy has over time passed from urban street artist into international artistic superstar, albeit an anonymous one.
Banksy has a definite concern for the oppressed in society. He often does small stencils of despised rats and ridiculous monkeys with signs saying things to the effect of ‘laugh now but one day we’ll be in charge’. Whilst some seem to read into this that Banksy is trying to ferment a revolutionary zeal in the dispossessed, such that one day they will rise up and slit the throats of the powers that be, so far his concern seems no more and no less than just a genuine human concern for the oppressed. Some of what seems to fuel his work is not so much his hatred of the system but at being at the bottom of it. He said to Hattenstone (2003) ‘Yeah, it's all about retribution really… Just doing a tag is about retribution. If you don't own a train company then you go and paint on one instead. It all comes from that thing at school when you had to have name tags in the back of something - that makes it belong to you. You can own half the city by scribbling your name over it’
Charlie Brooker of the Guardian has criticised Banksy for his depictions of a monkey wearing a sandwich board with 'lying to the police is never wrong' written on it. Certainly such a black and white statement seems out of kilter with more balanced assessments that Banksy has made. Brooker challenges Banksy asking whether Ian Huntley would have been right to have lied to the police?
Brooker has also criticized Banksy for the seemingly meaninglessness of some of this images. Brooker says, ‘Take his political stuff. One featured that Vietnamese girl who had her clothes napalmed off. Ho-hum, a familiar image, you think. I'll just be on my way to my 9 to 5 desk job, mindless drone that I am. Then, with an astonished lurch, you notice sly, subversive genius Banksy has stencilled Mickey Mouse and Ronald McDonald either side of her. Wham! The message hits you like a lead bus: America ... um ... war ... er ... Disney ... and stuff.’ Brooker has seemingly oversimplified Banksy’s message, if indeed Banksy has one, to fuel his own criticisms. It is easy to see that for many the Vietnam painting tells us that the United States likes to represent itself with happy smiling characters, that hide the effects of its nefarious activities responsible for the real life faces of distress seen on the young girl. Something that we should be constantly reminded of. But then that’s a matter of politics not of meaninglessness.
Banksy’s ingenuity comes through in his philosophy on progression, ‘I’m always trying to move on’ he says. In the interview he gave with Shepherd Fairey he explained that he has started reinvesting his money in to new more ambitious projects which have involved putting scaffolding put up against buildings, covering the scaffolding with plastic sheeting and then using the cover of the sheets to do his paintings unnoticed.
Banksy has balls. Outside of London he has painted images in Disney Land; and on the Israeli wall surrounding Palestine. How far is he willing to push it? What about trying something at the headquarters of the BNP, or on army barracks, or at a brothel or strip club employing sex slaves, or playing around with corporate advertising a la Adbusters?
32nd Annual Florida Renaissance Festival '23
Feb-March 2023 - Deerfield Beach, Florida U.S.A.
*[left-double-click for a closer-look - jousting competition]
The Joust: Point of Impact - Impacting the Shield
The Field of Dreams - Renfest 2023 - 3/26/23
The Joust Pass: Adrenaline - Gorgeous Horses
Skill - Speed - Action - Shield - Thrills - Excitement
This is my 16th year covering this fun festival filled with color and pageantry and beautiful people. Each year some of the regulars return and sometimes fresh new faces appear to join the eclectic Renaissance Family. Some are vendors or employees, and some customers dress up to fit in with the renaissance festival fun and its 16th century way of life. One big happy family of a few thousand escaping the dull drums of their daily life for a few hours. This year's crop of new faces was lovely. Hope you enjoy the images. I try to capture their joy. Always fun, festive, very colorful and exciting!
Thank you very much for looking. Have a great day! Hazaaa!!
Florida Renaissance Festival Facebook Page:
www.facebook.com/flarenfest?ref=ts
Florida Renaissance Festival Overview Videos:
www.youtube.com/watch?v=1gRRTINyamw (walking tour)
www.youtube.com/watch?v=XBB8hSvt3sE (walking tour)
www.youtube.com/watch?v=9-rc1VzDLxw#t=113.349 (Parade)
www.youtube.com/watch?v=DVEY7ti5vdo (Day's End Pub Sing)
Not very exciting, but some of my cakey friends might be interested! Plus it feels kinda wrong not to show this part before it all gets covered up, after spending so long on it! LOL! ! :-)
The bottom of this weekend's wedding cake, which I have been SO looking forward to for a while now!
This is the bottom double barrel, which I ganached lastnight. It's a 9 inch caramel mud and a chocolate mud underneath all that ganache! It's about 7 1/2 inches high.
Just hope I can do a good job of covering it!
I know it's not a particularly exciting photo, but I really wanted to upload something as I haven't in a while!
Today we had our school Sponsored Walk, but because I'm in Sixth Form (last year ahhhhhhhhhhh), we just got to sit by the path and 'guide' them (it really wasn't that hard). So that was good fun. We sat on a picnic blanket, played cards and ate strawberries. So civilized!
THERE'S STILL TIME to vote for my photo. It's the one of the snails - Scroll down. If you can't find it on that page then click 'next' at the bottom' until you do! Just click vote
THANK YOU X
© JCH 2012
One of the best and most exciting of Matcham’s surviving theatres. Excellent stuccoed façade - busy and festive. Three-storeyed towers with low pyramid roofs and dormer pediments on each face, flanking a two-storeyed centre section with a columned loggia at first floor level, surmounted by a curved gable. Higher curved gable to rear wall of auditorium rising behind, with a small pediment on top.
Splendidly opulent auditorium, fitted by Matcham into the narrow shell of Rennison’s 1893 Pavilion (and the even earlier Marina). Matcham incorporated the Marina’s Belfast roof truss construction into the Gaiety reconstruction, as well as reusing a number of pieces of architectural ironmongery, including the supporting cast iron column at the rear of the stalls. The reorganisation of the volume is masterful, producing an exquisite and well equipped theatre from these old and extremely unpromising beginnings. Having never ‘benefited’ from a destructive modernisation programme the theatre is being methodically restored to its original specification. Victor Glasstone’s sympathetic refurbishment in 1978 started a process of restoration which has continued to an exemplary standard.
The theatre’s stucco façade was restored in 1995 and the words ‘Gaiety Theatre and Opera House’ highlighted in gold leaf. The original front canopy was restored to include leaded lights and four large lanterns mounted on the supporting columns of the canopy (these are very similar to the ones on the Buxton Opera House canopy).
The auditorium has two balconies, set well back from the stage, the lower one running into a range of three boxes either side with half-domed plaster canopies over, projecting beyond the face of the straight slips of the upper balcony. Rectangular proscenium opening set within a segment-headed frame. Painted tympanum with figures of putti. Magnificent ceiling with painted panels of the four seasons. The whole thickly encrusted with richly modelled Baroque plasterwork.
Restoration since the 1980s has included the re-creation of the rich box hangings and fine printed wall papers and more recently the re-introduction of the stalls barrier that once separated the front stalls from the pit. The rare painted act drop by William Hemsley was restored in 1992 and is used on a regular basis. The 16 segment stained glass rosary laylight, centered around the original gas sunburner, forms the central feature of the auditorium ceiling. It was restored in 1992 after the discovery of one of the shattered glass petals in the roof space above the auditorium. Lit from above, and enhanced with simulated gas effects from the sunburner, this feature completes one of the finest auditorium ceilings in the British Isles.
Further restoration works have included the gallery (which was retiered for cinema use in the 1950s) and front of house areas e.g. dress circle bar. The restored stage includes 2 bridges, 2 cuts with sloats, 2 corner traps, 1 grave trap and (uniquely) a fully working Corsican trap - once a common feature of the nineteenth century English wood stage but now everywhere destroyed.
The theatre is now owned by the Manx Government whose commitment to faithful restoration is particularly commendable.
[Theatres Trust]