View allAll Photos Tagged Entitled
Yearbook photo entitled "Seminary Boys," showing women dressed in men's suits and hats at Oxford Seminary, 1907 From the 1907 edition of Phoenix, page 114.
View at DigitalNC: library.digitalnc.org/cdm/ref/collection/yearbooks/id/7528
Digital Collection: North Carolina College and University Yearbooks
Contributing Institution: Granville County Public Library
Usage Statement: Copyright Granville County Public Library. The materials in this collection are made available for use in research, teaching and private study. Images and text may not be used for any commercial purposes without prior permission from the Granville County Public Library.
Our latest piece entitled 'Busy being lazy' came about as we were taking part in a battle on stencil forum Cut n Spray and the theme for the battle was 'lazy'. Since this is a theme that is close to my heart i thought i'd try to muster the necessary effort to take part. The theme could be interpreted however you liked as long as there was a stencil on the final design.
After sitting around thinking/playing Black Ops for a while inspiration finally struck. From there it was a question of motivation and logistics. Thankfully i managed to save myself from terminal apathy and get myself to the hardware shop to buy the necessary bits and pieces. Working with plywood is quite fun although perhaps i should have got something slightly thicker than 4mm as problems started to arise when i was knocking the nails in as some of them would go straight through the wood. After a little trial and error i managed to get all the nails in and then came the thread...
Threading the nails was certainly something of a challenge (especially considering my earlier problems with anchoring the nails properly) but after the appropriate amount of swearing I finally managed to get it all attached properly. Now i just need somewhere good to get it installed and transport it there safely...
Hopefully we'll be in with a chance of winning the competition with 'Busy being lazy' as surely it's a truly inspirational piece? I'll keep you updated as to the outcome...
Cheers
id-iom
From my set entitled “Smokebush”
www.flickr.com/photos/21861018@N00/sets/72157607213776358/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Smoketree or Smoke bush (Cotinus) is a genus of two species of flowering plants in the family Anacardiaceae, closely related to the sumacs (Rhus). They are large shrubs or small trees, native to the warm temperate Northern Hemisphere. The leaves are deciduous, alternate, simple oval shape, 3-13 cm long. The flowers are clustered in a large open terminal panicles 15-30 cm long with a fluffy grayish-buff appearance resembling a cloud of smoke over the plant, from which the name derives. The fruit is a small drupe with a single seed. Often classified in Rhus in the past, they are distinguished by the leaves being simple (not pinnate) and the 'smoke-like' fluffy flower heads.
The American Smoketree (Cotinus obovatus, syn. Rhus cotinoides) is native to the southeastern United States, from Tennessee south to Alabama and west to eastern Texas. It is a larger plant, frequently becoming a small tree up to 10-12 m tall and with a trunk up to 25 cm diameter. The leaves are also larger, 6-13 cm long; it also has varied but very bright fall color, usually brighter than the Eurasian species. The flower heads are usually sparser than in C. coggygria.
The smoketrees, particularly C. coggygria, are popular garden shrubs. Several bronze or purple-leaved cultivars of C. coggygria have been selected, with warm pink inflorescences set against purple-black foliage; the commonest in commerce are 'Notcutt's Variety' and 'Royal Purple'. When brought into cultivation together, the two species will form hybrids; some garden cultivars are of this parentage.
Cultivation is best in dry, infertile soils, which keeps the growth habit more compact and also improves the autumn colour; when planted in fertile soil, they become large, coarse and also tend to be short-lived, succumbing to verticillium wilt disease. Both species can be coppiced in early spring, to produce first-year shoots up to 2 m tall with large handsome leaves, but no "smoke".
Entitled "Piss" (Čůrající postavy). Also known as "Streams." Interactive fountain. These statues were created in 2004 by Czech artist sculptor David Cerny and are said to be writing quotations from Czech literature in the fountain. Visitors may send text messages to them to write on demand. It seems these statues have had too much Czech beer!
P1250253a
Detail of a beautiful painting entitled ‘Christ Blessing, Surrounded by a Donor and His Family’. Attributed to Ludgar tom Ring the Younger, c.1575-80. In the centre piece is Christ depicted alongside an unknown Westphalian family. To the left and right of this are two portraits, one of a man, the other of a woman (not included here). This painting may have been commissioned on the marriage of a member of the family included, with the groom and bride being depicted to the side of the piece.
The portrait of the man: www.flickr.com/photos/20631910@N03/3665176573/in/photostr...
The portrait of the woman: www.flickr.com/photos/20631910@N03/3665224317/
The flowers strewn on the table before Christ represent love, commitment, faith and possibly fertility. The family’s Protestant faith is indicated, particularly with the texts above the figures. The texts in question are from the Gospel of St John and from Psalms which are taken from Martin Luther’s translation of the Bible into Low German.
The painting is included in the European Paintings collection in the Metropolitan Museum of Art, NY. Photography is permitted.
From my set entitled “Black Creek Pioneer Village”
www.flickr.com/photos/21861018@N00/sets/72157611538656614/
In my collection entitled "Places"
www.flickr.com/photos/21861018@N00/collections/7215760074...
In my photostream
www.flickr.com/photos/21861018@N00/
Reproduced from Wikipedia, the free encyclopedia
Black Creek Pioneer Village is an historic site in Toronto, Ontario, Canada, just west of York University and southeast of the Jane and Steeles intersection. It overlooks Black Creek, a tributary of the Humber River.
The village is a recreation of life in 19th-century Ontario and gives an idea how rural Ontario might have looked in the early-to-mid 1800s.
The "pioneer" village consists of over forty historic 19th century buildings, decorated in the style of the 1860s with period furnishings. Besides the Historical Interpreters and Craftspeople housed in the restored buildings, the site also features historical reenactments and visiting artisans. Buildings include period houses, the original Stong Family farm buildings, a water-powered grist mill, a general store, a blacksmith's shop along with over 10 other trades buildings, a hotel, a church, and a one-room schoolhouse. A core of buildings built by the Stong family are on their original sites, while others have been moved in from across Southern Ontario.
The majority of the buildings were moved from their original sites (notably the large Halfway House and Mennonite Meeting House), and some re-built on their current locations.
The village is a regular destination for field trips by schoolchildren from the Greater Toronto Area.
It is operated by the Toronto and Region Conservation Authority.
Miro's Chicago
Also entitled: "The Sun, The Moon and One Star", 1967
Installed: 1981
Joan Miró (1893-1983)
Brunswick Plaza
West of 60 West Washington Street
(between Dearborn and Clark Streets)
Her shape and pose reminiscent of the famous Minoan snake goddess figurine from Crete, Miro’s Chicago is a 39-foot / 12 meter tall stylized female form fashioned from concrete over a metallic armature, ceramic tile, and bronze, on a travertine stone base.
Placed in a small plaza between the Chicago Temple Building and the Cook County Administration Building, the statue is often overlooked in favor of Picasso's sculpture in Daley Center Plaza on the opposite side of the street.
Originally to be installed the same year as Picasso’s work, the plan was abandoned, due to financial issues, by the Brunswick Corporation, which commissioned the piece. It remained a small maquette for some 18 years until a committee, led by Stanley Freehlin, raised over half of the necessary funds from private donors and the City of Chicago contributed matching funds. The finished figure was unveiled on April 20, 1981, by Chicago’s first female mayor, Jane Byrne. The Art Institute of Chicago maintains Miro's plaster "Chicago" maquette from 1963: www.artic.edu/aic/collections/artwork/100666.
www.chicagopublicart.blogspot.ca/2013/09/the-sun-moon-and-one...
www.chicagoartworld.blogspot.ca/2014/01/1981-joan-miro-brunsw...
www.connectingthewindycity.com/2013/08/sun-moon-and-one-s...
THE LOOP:
Chicago's "Loop" is the city's official downtown area. The second largest downtown business district in the United States, the Loop's boundaries are the Chicago River on the west, Michigan Avenue on the east, Wacker Drive on the north and Congress Parkway on the south. The Loop is known for its famous skyscrapers and historic buildings; it has been the site of architectural creativity and experimentation for years.
A large-scale print from the series by photographer Hiroshi Sugimoto entitled 'Henry the VIII and His Six Wives'. This photograph was part of a 2012 exhibit entitled "About Face" at 'Pier 24 Photography', a private museum in San Francisco. Pier 24 is a critically acclaimed, photography collection owned by investment banker Andrew P. Pilara Jr. The collection is housed and displayed in a converted waterfront warehouse located at Pier 24 on the Embarcadero directly beneath the Bay Bridge in San Francisco.
Anne of Cleves (1515–1557) was Queen of England for only six months from January, 1540 to July, 1540 as the fourth wife of King Henry VIII. The marriage was declared never consummated, and she was not crowned queen consort. Following the annulment of their marriage, Anne was given a generous settlement by the King, and thereafter referred to as the King's Beloved Sister. She lived to see the coronation of Queen Mary I, outliving Henry's five other wives.
This image of Anne of Cleves is in fact a photograph of a waxwork made by the legendary Madame Tussaud. Sugimoto placed a black velvet cloth behind the waxwork and used a 3/4 turned and cropped framing of the “figure” akin to the first portrait photographers in the mid-nineteenth century. In so doing, he breathes photographic life into the layers of simulation and equivalence of his historic subject.
Sugimoto was born in Tokyo in 1947 and came to Los Angeles in the 70's to study photography at the Art Center College of Design. He moved to New York in 1974, and began a series of photographs of dioramas at the Museum of Natural History. From 1978, in cinemas across the USA, he photographed Theatres, screen images each made with a single exposure lasting for the duration of a film. He began photographing Seascapes in the 1980s and 1990s. His first book, Sugimoto, appeared in 1988. Recent work includes the series Sanjusangendo, Hall of Thirty-Three Bays (1995) of Buddhist statues, and portraits of the historical figures at Madame Tussaud's Museum (Wax Museums, since 1994).
The French geographer and author André Thevet (1516-1590) was born in Angoulême and died in Paris. In early life he was compelled to enter a Franciscan monastery, where he dedicated himself to his studies, being gifted with a prodigious memory although not much inclined towards religion. Thevet was a protegé of Francis I, who entrusted him with various missions. While in Italy, he became acquainted with the cardinal of Lorraine, who financed his journey to the East in 1549. On his return to France, Thevet published the chronicle of his voyage, entitled "Cosmographie du Levant". In 1555 Thevet left France as chaplain to an expedition intending to found a French colony in Brazil, in order to protect the emigrants from Normandy involved with extracting an expensive red pigment from the wood of a rare tree that grows in the area. Thevet stayed on an island at the entrance to Rio de Janeiro Bay, and returned to France sick, ten weeks afterwards. In 1557, he published "Les Singularitez de la France antarctique", with his observations on the New World. This work made Thevet famous, and was translated into English and Italian. Among the novelties in Thevet’s work are the first descriptions of the pineapple, cashew nuts, the toucan bird and the tapir. He is also accredited with introducing the cultivation of tobacco to Europe. In 1560, Thevet was named Cosmographer to the King and Chaplain to Catherine de Medici. He served successively four kings of France, while at the same time building a rare collection of Greek and Roman coins, and curiosities of nature from Mexico and Brazil. From 1566, Thevet worked on a universal multi-volume geographical encyclopedia, "Cosmographie universelle", which was published in 1575. His other monumental work, the "isolario" titled "Le Grand Insulaire et Pilotage", was left unfinished, and its contents remain scattered to this day. Last, Thevet published the "Vrais portraits et vies des hommes illustres", in which he presents, in the manner of Plutarch, two hundred and twenty-four illustrious historical personalities from the places he had visited, with the corresponding illustrations.
Thevet sailed to the East from Venice. His first port of call was Crete; he makes scathing comments on Orthodox priests, writes on the mythical inhabitants the Telchines, and mentions the earthquakes to which the island is prone. Of the Aegean islands, he provides information on Chios and Lesbos. He also describes the Dardanelles and Callipolis. Thevet stayed in Constantinople for two years, probably entrusted with an obscure diplomatic mission. Notable are his chapters on the Byzantine hippodrome, lions, tigers, elephants and camels. Thevet also visited Chalcedon and the Bosporus. He voyaged to the Holy Land, visiting "en route" Rhodes, continental Greece (?), Egypt and Syria. From Cyprus he sailed to Sicily and subsequently to Marseilles.
Thevet’s personality was controversial already in his own time. Contemporary research has shown that the text of the "Cosmographie du Levant" was in fact composed by François de Belleforest (1530-1583), a scribe in his entourage. The friendship between the two men turned to mutual hatred. The chronicle was successful, mainly thanks to its twenty-five wood engravings with the curiosities (antiquities, rare flora and fauna) described in the text. However, the information it provides as a whole is a digest of ancient sources rather than a result of first-hand observation.
As Thevet scholar Frank Lestringant has demonstrated, the chronicle of this voyage incorporates descriptions by Strabo, Pliny, Solinus, Pomponius Melas, Diodorus Siculus, Herodotus, passages from the Gospels and the Epistles, as well as texts by contemporary erudite men such as the professor of Greek and Latin L. C. Rhodiginus, the humanists G. Budé and Erasmus, the lexicographer A. Calepino and the physician J. Vadianus. Additional data were “borrowed” from travellers such as La Broderie, P. Gilles, P. Belon, and the geographer S. Münster.
Written by Ioli Vingopoulou
Fransız asıllı coğrafyacı ve yazar André Thevet (1516-1590) Angoulême şehrinde doğdu ve Paris'te öldü. Küçük yaşta bir fransiskan manastırına girmek zorunda kaldığında dinle uğraşmaktan çok kendini okuma ve araştırmaya adar. Tanrı vergisi olarak müthiş bir bellek yeteneğine sahipti. Kral I. François'nın himayesinde, çeşitli görevlerle yükümlü olarak İtalya'ya seyahat eder ve burada 1549'da Doğu'ya yapacağı seyahatin masraflarını karşılayacak olan Lorraine kardinali ile tanışır. Bu seyahatin vakayinamesini Fransa'ya döndükten sonra Cosmographie du Levant başlığı altında yayınlar. 1555 yılında, Brezilya'da yörenin kırmızı renkte nadir bir odunundan elde edilen boyanın çıkarılmasında çalışan Normadiyalıların himayesi için kurulması amaçlanan fransız kolonisinin papazı olarak Brezilya'ya gider. Rio de Janeiro körfezinin girişindeki bir adada kalır, ancak on hafta sonra hasta halde Fransa'ya döner. 1557 yılında Yeni Dünya üzerindeki gözlemlerini içeren Les Singularitez de la France antarctique adlı kitabı yayınlanır. Bu kitap Thevet'yi ünlü yapıp ingilizce ve italyancaya çevrilir. Yapıtının yenilikçi unsurları arasında ananas, kaju fıstığı, tukan kuşu, tapir hakkında verdiği bilgiler yer alıyor. Ayrıca tütün ekiminin Avrupa'ya getirilmesi de Thevet sayesinde olmuştur. 1560 yılında Kral Kozmografı ünvanını alır ve kraliçe Catherine de Medici'nin papazı görevine atanır. Sırayla, dört Fransa kralına hizmet eder. Aynı zamanda eski Yunan ve Roma sikkelerinden nadir bir koleksiyon yapıp Meksika ile Brezilya'nın doğa hazinesinden alışılmamış ve garip şeyler toplar. 1566 yılından itibaren Cosmographie universelle adlı çok çiltlik bir dünya coğrafya ansiklopedisinin yazılışında çalışır, eser 1575'de yayınlanır. Thevet'nin öteki anıtsal eseri olan "Büyük Insularium" ise (Le Grand Insulaire et Pilotage) tamamlanmamış olarak bugüne dek dağınık durumda bulunmaktadır. En son yayınladığı Vrais portraits et vies des hommes illustres kitabında, Plutarkhos'un yaptığı gibi, ziyaret etmiş olduğu yörelerden iki yüz yirmi dört (224) tane önemli tarihsel kişiliğin yaşamını -resimler eşliğinde- sergiler.
Doğu yolculuğuna Venedik'ten başlayıp ilk durağı Girit olur. Yazılarında buradaki hristiyan ortodoks papazlar hakkında yıldırımlar savurur, Girit'in efsanevi sakinleri Telkhines'ler hakkında yazar ve adayı vuran depremlerden sözeder. Ege adalarından Sakız ve Midilli hakkında bilgiler verir; Çanakkale Boğazını ve Gelibolu'yu (Kallipoli) tarif eder ve büyük olasılıkla, açıklanmamış bir diplomatik görevle yükümlü olarak iki yıla yakın bir süre için İstanbul'da kalır. Yazdıkları arasında Bizans hipodromu, aslanlar, kaplanlar, fil ve develer hakkında söylediği şeyler ayrı bir ilgi uyandırıyor. Thevet, Kadıköy ve Boğaz'ı da gezer. Kutsal Yerlere gitmek üzere İstanbul'dan vapura biner, Rodos, Rumeli'yi, Mısır ve Suriye'yi ziyaret eder; daha sonra ise Kıbrıs'tan geçip Sicilya'ya ve son olarak Marsilya'ya varır.
Thevet'nin kişiliği kendi çağından beri tartışma konusu oldu. Bugünkü araştırmacılar Doğu Kozmografyası (Cosmographie du Levant) adlı yapıtının aslında maietinde bulunan yazmanlardan François de Belleforest (1530-1583) tarafından yazılmış olduğunu kanıtlamış durumda. Başlangıçtaki dostlukları nefrete dönüşmüş ancak vakayiname, özellikle 25 adet tahta gravürü ile büyük başarı kazanmıştı. Arkeoloji, botanoloji ve zooloji konuları üzerinde, garip ve ilginç şeyler tarif etmeleri sayesinde başarı kazanan bu tahta gravürlere eşlik eden bilgiler deneyimli gözleme dayanmak yerine antik Yunan ve Latin yazarlardan yapılan alıntılardan meydana gelmiştir.
Yolculuğun vakayinamesi, Thevet'nin eserini inceleyen Fr. Lestringand'ın kanıtlarla gösterdiği gibi, Strabon, Plinius, Solinus, Pomponio Mela, Diodorus Siculus ve Herodotos'un yazılarından; İnciller ve Havarilere mektuplardan; ayrıca, yunanca ve latince profesörü L. C. Rhodiginus gibi kendi çağdaşı aydınların, G. Budé ve Erasmus gibi hümanistlerin, sözlükçü A. Calepino ve doktor J. Vadianus'un yazılarından alınmış parçalardır. Hatta bunlara ek olarak La Broderie, P. Gilles, P. Belon gibi gezginler ve coğrafyacı S. Münster'den bilgiler de "ödünç" almıştır.
Yazan: İoli Vingopoulou
This Thermal King Glass Asshole Motorist has ZERO FUCKS to give about the law or pedestrian Right-Of-Way.
I wonder if he'll feel the same way about the ticket?
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
August 11, 2011
The Daily Show’s John Stewart comments on Fox News' Megyn Kelly’s return from
maternity leave with a more liberal perspective on mandated benefits and entitlement programs.
An exhibition entitled “Brazil – In the Footsteps of Innovation and Creativity”, co-organized by WIPO and Brazil, was held on the sidelines of the WIPO Assemblies, which met in Geneva from October 3 to 11, 2016.
The exhibition showcased some of Brazil’s well-known geographical indications, including alcoholic drinks, coffee and lace. It also featured notable Brazilian innovations and designs in the field of aviation (Embraer jets), as well as precision engineering, handicraft and clothing.
Delegates to the WIPO Assemblies were also treated to a musical performance of “Capoeira” – an Afro-Brazilian mix of martial art and dance that was recognized as an intangible cultural heritage by UNESCO in 2014.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Religious freaks abound around here. Racist, Homophobic, LOUD, obnoxious, righteous, horrifying entitled attitudes... and one of my neighbors PAINTED on their door a white cross. She also stands in her doorway and screams at people, slapping her hands against the doorframe, shouting "SHALOMM!!! SHALOMM!!" I have no idea, but it's frickin creepy and a total assault on the senses. You can hear chanting and screaming and HOWL LA LOO YAAAH!!'s all night long from large groups crammed into small apartments and sporting bibles like weaponry.
Statue entitled "Captain on the Helm" by sculptor Michael Martino located on the waterfront just south of Navy Pier in Chicago, Illinois.
Entitled ‘Memories ever.’, the verse printed on the front of this postcard reads, ‘We send this loving message / To you across the sea, / And hope you’re safe / and free from harm, / Wherever you may be’. A childish hand has penned the following message on the reverse: ‘To my Dear Da / From his little Christie wishing him soon home / Best love x x x x x x / I am going to love him a big bit when he comes home (Christy)’. The information printed on the back states, ‘All British Production / Series No 496-2’.
A new campaign highlighting robbery was launched in Bedfordshire earlier this week. Entitled ‘Stay Safe: Help put ‘Robin’ Robber’ Behind Bars…Bedfordshire Police wants to know who is committing robbery where you live…’ it is designed to reduce crime, detect crime and de-assure offenders.
Life size cut outs of ‘Robin Robber’ seen ‘behind bars’, or in this case park railings, have been put up in areas of Luton and Bedford that are popular with the public to act as a deterrent to would-be offenders who are thinking about committing crime.
Jo Hobbs, Media Relations Manager said: “We are trying something new with this campaign and using psychological warfare to de-assure criminals, but also show the public we are making a dent and reducing crime. The signs inform the public that 461 ‘robbers’ have been arrested already this year. “. The campaign also educates the public to what is defined as robbery.
A robbery is when a person uses or threatens to use force to steal. It is more serious than theft and you can be guilty of robbery even if you are just part of a group that robbed someone. Robbery carries a maximum sentence of life imprisonment. Threatening someone in order to take possessions from them is not bullying, but robbery and convictions for this offence carry a custodial sentence.
There are 10 signs in total; which have been placed in Luton and Bedford. Robin’ Robber is also being promoted on-line via the force website and all social media channels. For more information on the campaign, click here.
At Bedfordshire Police our aim is "fighting crime, protecting the public.",
We cover 477 square miles, serve a population of around 550,000 and employ in the region of 1,260 Police Officers, 950 police staff and 120 Police Community Support Officers (PCSOs). For more details about the force, visit our website www.bedfordshire.police.uk
Title / Titre :
Poems, Chiefly in the Scottish Dialect, a poem entitled “Scotch Drink” /
Poems, Chiefly in the Scottish Dialect, poème intitulé « Scotch Drink ».
Description :
The first edition of Robert Burns’ Poems, Chiefly in the Scottish Dialect was published in Kilmarnock, Scotland in 1786. Only about 600 copies were printed. The finely-bound copy now held by Library and Archives Canada was a gift from the British Government on the occasion of Canada’s centennial in 1967. Its green leather binding with gold-tooled decorations and silk endpapers was created in the 19th century by the well-known British bookbinder Robert Riviere. /
La première édition de Poems, Chiefly in the Scottish Dialect, de Robert Burns, a été publiée à Kilmarnock, en Écosse, en 1786. Seulement 600 exemplaires environ ont été imprimés. L’exemplaire finement relié que possède maintenant Bibliothèque et Archives Canada était un cadeau du gouvernement anglais à l’occasion de centenaire du Canada, en 1967. Sa reliure en cuir vert comportant des décorations or et des pages de garde en soie a été créée au 19e siècle par le célèbre relieur anglais Robert Riviere.
Creator(s) / Créateur(s) : Robert Burns
Date(s) : 1786
Reference No. / Numéro de référence : OCLC 4752176
bac-lac.on.worldcat.org/oclc/4752176
Location / Lieu : Kilmarnock, Scotland / Kilmarnock, Écosse
Credit / Mention de source :
Robert Burns. Library and Archives Canada, Kilmarnock : Printed by J. Wilson, 1786 /
Robert Burns. Bibliothèque et Archives Canada, Kilmarnock : Printed by J. Wilson, 1786
From my set entitled “The Flight Crew”
www.flickr.com/photos/21861018@N00/sets/72157607477197733/
In my collection entitled “Uncle Bill Watson”
www.flickr.com/photos/21861018@N00/collections/7215760783...
In my photostream
www.flickr.com/photos/21861018@N00/
Hi, All:
I’m back for a day or two. While I was down, I started work on pulling my Uncle Bill’s story together. I have so much stuff. I’ve scanned almost thirty of his letters home. I’ve also scanned letters from my grandmother to Bill, miscellaneous documents, a moving account of Bill’s memorial service, a letter from the chaplain who buried him in Chester and letters to my grandparents from the parents of Bill’s flight crew. The boys died when the Wellington bomber in which they were training ditched into the Irish sea during a training mission.
In January, I will be going to Archives Canada in Ottawa to pull the files on the whole flight crew, as well as the second world war records pertaining to Bill’s friend, Cam Devine, my father, Herb Barber, and Karen’s father, George Pepper. I will also pull the first world war files for my uncles, John and Art Barber, and my great uncle, Wilbert MacDonald. It’ll take a few days of research to go through all the files. I pulled the records for Bill and his crew once before…in early 2003. At that time I photocopied quite a few records, but there are more I should have obtained.
This set of pictures were taken at #1Y Depot in Halifax, just before each of the boys shipped overseas at various times early in 1944. They still hadn’t met each other at this point, and would not meet until they crewed up in May, 1944. These images are photocopies of originals which are in Ottawa. I will try to have the originals duplicated in high quality when I go to the archives.
You’ll see the boys’ formal photos in the flight crew link given above. What a difference. Those formal photos were taken while the boys were at home…feeling relaxed and proud.
Over the next month or so, I will post the letters and documents. I think you will find them an interesting account of life in the early 1940s. Bill did a lot of things in a matter of eight or nine months.
I hope you are transported by his story as I was.
My Uncle Bill Watson was born on March 3, 1922 in Grand Valley, Ontario. His mother was Lily Selma Watson, and his father was William Henry Watson. Before enlisting, he worked as a pharmacist’s apprentice in Mount Dennis, Ontario. He attended a Lorne Scots training program at Niagara-on-the-Lake from July to September, 1941
Bill attended #4 Wireless School in Guelph, Ontario, after which he entered service at No. 1 Manning Depot at the CNE grounds in Toronto. Upon leaving basic training, Bill attended #6 Initial Training School at the former normal school in St. James Square, Toronto. He received his officer’s commission after attending #4 Air Observation School in London Ontario (Crumlin)
Bill was chosen to become a navigator which attests to his high marks at Initial Training School. From January 3-16, 1944, Bill was posted at #1Y Depot in Halifax, and he attended #2 Air Gunner Training School in Lachine Quebec from January 16, 1944 to February 11, 1944.
Bill embarked from Halifax on March 5, 1994, and arrived at Greenoch, Scotland on March 14, 1944. From March 15, 1944 to April 18, 1944, Bill was stationed at #3 Personnel Receiving Centre in Bournemouth, Dorset where he awaited advanced postings. From April 18, 1944 to May 24, 1944, he was located at 9 Observer Aircraft Flying Unit, Llandwrog, Wales.
From May 24, 1944 until his death on July 23, 1944, Bill was part of #83 Operational Training Unit at Peplow, Shropshire. He was killed on a night training mission, when his Wellington bomber ditched in the Irish Sea, and he was buried at Blacon Cemetery, Chester on August 11, 1944
Officially entitled 'In Memoriam', this 4-meters-long work was painted by artist Andrew White in 2011-2012. It captures the moment during the last supper when Jesus breaks the bread. The way that the light illuminates the apostles' faces is very striking, and I like how Jesus' face is depicted a second time staring out of the darkness. The work hangs in a side chapel of the Catholic church of the Immaculate Conception in Mayfair.
This statue entitled Montana stands seventeen-feet-high and was intended to be the personification of liberty. Sculptor Edward J. Van Landeghem was its creator. It was placed atop the capitol during construction in the December of 1900.
The stunning Montana State Capitol in Helena was constructed at a cost of $540,000 from 1899 to 1902 using the designs of Council Bluffs, Iowa architects Charles Emlen Bell and John Hackett Kent. In 1909-12 additions were placed on the east and west sides of the building under the supervision of architects Frank M. Andrews of New York and John G. Link and Charles S. Haire of Montana.
Hello, My name is John Lewis Jensen, and I've been making high-end Art Knives since 1994.
This project, entitled “ALCHEMY”, is one of those projects I started many years ago (2004), but which ended up on the back burner until 2012, when I re-commenced it.
This project encompasses almost everything I’ve learned over 20+ years. It covers jewelry, sculpture, metalwork, knifemaking and machining. Specifically, techniques used are forging, machining, drilling, milling, inlays, cold connections, sanding, filing, precision measurements, trouble shooting, blade grinding, finishing, heat treating, tempering, blade sharpening, polishing, masking, etching, nitre-bluing, multi-color anodizing, stone setting, gold leafing, word work, laser engraving, etc. Materials used, include Titanium, Damascus Steel, Timascus, Fossil Ivory, Carbon Fiber, Abalone, & Super Conductor.
The 1st several dozen photos were actually posted on my old website back in May of 2005, and which I believe was the 1st knifemaking WIP ever posted on a website. Part of this project was also published in “Blades Guide to Knife Making”, Vol. 1.
Knifemaking is still a very underground art, so I set out to create the “Ultimate Behind the Scenes Look”, in hopes that by sharing the creation of one of my pieces, it helps to elevate the overall craft. I have left NOTHING out! The results are a 400+ hour, completely hand-made Art Knife, documented by over 1100 step-by-step, sequential photos, and over 20 videos, each with a full descriptive caption. I hope you enjoy!
A few simple things I ask for in return:
1.Please, do NOT flat out copy my work. If you are influenced, that’s fine, but make it your own, and please give credit where credit is due.
2.Even if my work is not your cup of tea, please be respectful.
3.If you really get something out of this, please consider making a PayPal donation to: john@jensenknives.com
Questions and comments are certainly welcome. Enjoy, and please share this project with anyone that you think might be interested in seeing it.
Finally, don’t forget to visit my website, and various social media pages…
Website: www.jensenknives.com
Facebook: www.facebook.com/JensenArtKnives
Flickr: www.flickr.com/photos/jensenstuff/sets
Pinterest: www.pinterest.com/jensenknives
Instagram: instagram.com/jensen_knives
YouTube: www.youtube.com/user/JensenKnives
Behance: www.behance.net/johnlewisjensen
Tumbler: jensenknives.tumblr.com
Deviant Art: jensenknives.deviantart.com
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
PETER CUNNINGHAM recently returned from China where he is teaching Chinese photographers and completing his STILL FILM entitled Cultural Evolution. This might seem a long journey from his first paid job as a photographer in 1973, when, for $25 he made Bruce Springsteen's first pictures at Columbia Records and later did the same for Madonna. Peter learned to be a professional photographer creating images for famous performers in music and theater, he did this for 15 years (portfolio) until the birth of MTV made the field less interesting.
At the same time he learned to remain a passionate amateur from photographer Adger Cowens who taught about seeing not objects in one's camera, but perceiving objects as the light that is bouncing off them, mixing it with your feelings and history and mythology, and and responding from your gut. Peter also learned from Henri Cartier-Bresson who he was privildged to assist in 1975. The two traveled every day for a month to New Jersey to document what HCB considered the prototypical American state. My job was to talk to everyone so Henri could concentrate on seeing. The New York Times gave Henri it's lead op-ed space on the day Bill Moyers aired the show.
Also in 1980, Peter began studies with Bernie Glassman at the Zen Community of New York. His first public exhibitiion, "THIS IS IT? was held in the cafe sponsored by ZCNY; that little cafe evolved into The Greyston Bakery famous for cakes and cookies and for revivifying people with difficult histories. Peter's travels and friendships among Zen practitioners and teachers in Japan, Europe, The Middle East, and The United States have been a great blessing and influence on his life and work. His trip to Japan with Bernie and Peter Matthiessen to visit the ancestors of Bernie's teacher, Maezumi Roshi, resulted in the publicaton of "Nine-Headed Dragon River"; Peter has helped document the migration of Zen Buddhist practice from Japan to the West. After Maezumi Roshi's death in 1995 the practice, while retaining it's traditional form in many places, also evolved into new American/European forms. Bernie Glassman took his students into the streets or to sit meditation in Auschwitz-Birkenau and has now created The Peacemaker Community; Genpo Roshi started his Big Mind form of teaching, and throughout the West; many of the best teachers of the next genereation are women, a development that would have been inconceivable in Japan.
'In about 1980 cable tv was being launched and I was asked by an ad agency to create a series of 20 posters of people (my friends) which were displayed on the NYC subways in all 5 boroughs. I took the opportunity to take make a second more personal portrait of my models posed next to the purposeful commercial image on the postere. This series became the Black&White portion of Peter's first major exhibition in 1982 at Harkness House curated by Liz Thompson and Kathy DeShaw.
The other half of this 1982 exhibition framed color prints in combinations, and thus began the long evolution of the theatrically-scaled triptych medium Peter calls "StillFilm". Peter has exhibited still films around the world; in 2005 he showed the Still Films in Krakow, London, Paris, and Berlin. ..... the web version he calls "StillTV".
In 1989 when the Berlin Wall fell, Peter, based in New York City,began creating a Still Film he calls BLINDERS. I wondered what would replace the authoritarian structures that had ruled in the East, what systems are in place in the West that keep people well behaved and going to work day after day."
Peter continued this general theme in Berlin in 1994 with his still film WÄNDE WENDE (Walls Change) Previewing the still film's debut at The Knitting Factory, The New Yorker says about Cunningham, "These visual poems are decidedly more ambitious than his celebrity work; in the past they've consisted of essays on nature and consumerism. He shot his latest still film in Berlin, and it addresses, in a stunningly colorful fashion, how the walls that hem us in are not necessarily made of concrete."
Peter's current work in China, Cultural Revolution is based on a similar idea, that images have a kind of persuasive power was once wielded by guns. Peter imagines presenting these three shows together in their home cities: New York, Berlin, and Beijing:
U.S. Border Patrol Chief Mark Morgan and U.S. Border Patrol Deputy Chief Carla Provost are sworn-in as they prepare to testify before the Senate Committee on Homeland Security & Governmental Affairs in a hearing entitled “Initial Observations of the New Leadership at the U.S. Border Patrol” in the Dirksen Senate Building in Washington, D.C., November 30, 2016. U.S. Customs and Border Protection Photo by Glenn Fawcett
Postcard photograph entitled old Gillingham (Kent), High Street, Old Brompton c.1865 looking north-east, showing range of shops on eastern side of road, including right to left, George Sutton, chemist’s shop, Edward Hammerton, draper and silk mercer’s shop, John Saxton, baker and confectioner’s shop, Thomas Woolley, stationer and newsagent’s shop, William Gilbert Telford, outfitter’s shop, Charles Burfield, grocer’s shop, two unidentified shops, Anchor & Hope Public House, showing junction with Wood Street and range of buildings beyond, nearest is The Crown Public House. Street scene shows carriageway, street lamp, hand cart and bystanders.
Alix Dobkin came to the Hayward Main Library on June 15, 2010, to talk about the first volume of her autobiography entitled My Red Blood.
My Red Blood describes the beginnings of her career in the late 1950s, when Philadelphia was a hotbed of do-it-yourself culture that magnetized folk music on the East Coast. She was a teenaged, guitar-totin’, card-carrying comrade grounding herself in mushrooming crowds of progressive Jews, self-taught musicians and other local subversives. She met and sang with all the names one associates with the Folk Music movement in America.
Her story opens much earlier in post-war New York City where, growing up in a Communist family, she watches Jackie Robinson steal home, rubs elbows with radical left celebrities like Paul Robeson, and comes of age under the watchful eye of the FBI. Dobkin herself joins the Party at the height of the McCarthy witch hunts and offers readers a first-hand glimpse of daily life as a young person living under government surveillance. During this time she also matures as a devotee of folk music, having fallen under the spell of renowned performers such as Leadbelly and Pete Seeger.
Over the last 25 years Dobkin has traveled to hundreds of women’s communities in this country and many others. She has had the privilege and pleasure to gather elements of women’s culture to create a body of stories, songs, observations, and opinions, to share. These songs honor and reflect the unique feminist style, substance, issues and values. In addition to seven recordings, Dobkin has one songbook, many years worth of columns and articles, a shelf full of awards to my name; and was voted “All Time Favorite Performer” by Hot Wire magazine, and she has been known to some as “Head Lesbian!” Spin magazine called her a “womyn’s music legend”; the FBI reported that she was a “trouble maker.”
Todos os clientes têm direito a um parecer ... e todos os Designers têm o dever de corrigir esse parecer
All clients are entitled to an opinion......and all designers are required to correct that opinion
From my set entitled “Pulmonaria”
en.wikipedia.org/wiki/Pulmonaria
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Pulmonaria
The lungworts are the genus Pulmonaria of flowering plants in the family Boraginaceae, native to Europe and western Asia, with one species (P. mollissima) east to central Asia. According to various estimates there may be between 10 and 18 Pulmonaria species found in the wild, but the taxonomy of this genus is very confusing.
The scientific name Pulmonaria is derived from Latin pulmo (the lung). In the times of sympathetic magic, the spotted oval leaves of P. officinalis were thought to symbolize diseased, ulcerated lungs, and so were used to treat pulmonary infections. The common name in many languages also refers to lungs, as in English "lungwort" and German "Lungenkraut". In some East European languages, the common name is derived from a word for honey, e.g. Russian "medunitza" and Polish "miodunka".
English colloquial names include Lungwort, Soldiers and Sailors, Spotted dog, Joseph and Mary, Jerusalem Cowslip, Bethlehem Sage.
Lungworts are perennial herbs that form clumps or rosettes. They are covered in hairs of varied length and stiffness, and sometimes also bear glands. The underground parts consist of a slowly creeping rhizome with adventitious roots. Flowering stems are unbranched, rough, covered with bristly hairs, usually not exceeding 25–30cm, with a few exceptions (P. mollis, P. vallarsae). The stems are usually upright, or slightly spreading.
The leaves are arranged in rosettes. The blades are usually large, from narrowly lanceolate to oval, with the base ranging from heart shaped to very gradually narrowing, and can have a sharply pointed or blunt tip. Leaf margin is always entire, but in some species and forms can be rather wavy. Basal leaves are carried on stalks that can be short or longer than the leave blade in various species. Stem leaves are smaller and often narrower, and are unstalked or clasping the stem. All leaves are covered with hairs that are usually bristly, or occasionally soft. The leaves are often prominently spotted in black and blue, or sometimes in pale green, or unspotted.
The inflorescence is a terminal scorpioid cyme, with bracts. Lungwort flowers are heterostylous, with two distinct forms of flower within each species; those with short stamens and long styles ("pin" flowers) and those with long stamens and short styles ("thrum" flowers), with the former usually being larger and more showy. The calyx is hairy, 5-lobed, tubular or funnel-shaped, enlarging as the fruit ripens. The corolla is funnel-shaped and consists of a long, cylindrical tube and a limb with five shallow lobes. Within the corolla throat, five tufts of hairs alternate with the stamens to form a ring. The colour of corolla varies from purple, violet or blue to shades of pink and red, or sometimes white. The colour of the flower in bud is often pink, which then changes as the flower matures. The stamens and style are included within the corolla and not protruding.
The nutlets are smooth, egg-shaped, brownish, up to 4.5 mm long and 3 mm wide, each containing a single seed. Up to four nutlets per flower are produced, ripening mostly in summer.
Pulmonaria species are used as food plants by the larvae of some Lepidoptera species including Coleophora pulmonariella which feeds exclusively on P. saccharata.
ORIGINAL ACEO entitled, "19th CENTURY FISH PEOPLE PORTRAITS No.10" (2008) by award winning American artist/animator Dean A. Kendrick. The piece is a 2.5" x 3.5" ink marker drawing/watercolor painting on heavy weight watercolor paper that is intentionally stained with a coffee wash to give it an older, worn look as if it was found in the leaky attic of an under-kept Victorian mansion.
Who are the Fish People? Where did they come from? Are they a forgotten, de-evolutionary race that flourished in the 19th century United States?
ACEO stands for "Art Cards, Editions and Originals". These popular, collectible cards are exclusively 2.5" x 3.5" in size.
These are the pieces from my first solo show, entitled “The Ghost of the You Haunted Me..." held at Rotofugi Gallery in Chicago, IL on Sept 7, 2012.
This body of work is the culmination of many of the elements found in my custom toy work within my Forest of Sorrows narrative and I have strived to create a cohesive storyline that ties together many of the concepts and themes seen over the past couple of years.
In this story, when people pass onto the next life, those with unfinished business are taken to the Silva Dolorosa (The Forest of Sorrows) to begin a life anew, where the choices and decisions they make will determine how their lives turn out.
At the end of days as one’s life ebbs away, the Flederkanichen creatures arrive to shepherd these souls, manifested as a seed, and carry them to the Silva Dolorosa. Upon arriving, they drop the soul seeds down into the depths of the forest where the Saplings catch them, plant them in their heads waiting for them to bloom again, at which point they will plant them on the forest floor in the perfect place, so that the souls can begin their new lives.
On one particular day, with one particular soul seed dropped by the Flederkanichen, a big gust of wind blew the seed out of the hand of the Sapling assigned to it and it hit the ground, breaking the cardinal rule of the forest. It was at this moment that Locket, the geist girl was reborn in this limbo, confused and bewildered as to where she was. Frightened, she runs deep into the forest to discover who she was in her previous life, and what she was to become in the next.
Concurrently, at the moment at which Locket was born, the last guardian of the forest, the Hollow Knight, was awakened from deep slumber, tasked with ensuring the sanctity of the Silva and all of its denizens. He sets off on a quest to find Locket, only to encounter yet another new visitor to the forest - the ferocious and monstrous Blackwülf, who seems to be racing the Hollow Knight in a quest to reach Locket first.
This is the story of death, understanding, rebirth and redemption. I hope that the pieces I have created for this show will help to give an insight into this story that I have been telling.
Photos taken by Kirby Kerr.
Please contact rotofugi.com for availability.
A light / text installation entitled "For 7 World Trade" by Jenny Holzer and James Carpenter
from Urban Convalescence by James Merrill
Out for a walk, after a week in bed,
I find them tearing up part of my block
And, chilled through, dazed and lonely, join the dozen
In meek attitudes, watching a huge crane
Fumble luxuriously in the filth of years.
Her jaws dribble rubble. An old man
Laughs and curses in her brain,
Bringing to mind the close of The White Goddess.
As usual in New York, everything is torn down
Before you have had time to care for it.
Head bowed, at the shrine of noise, let me try to recall
What building stood here. Was there a building at all?
I have lived here on the same street for a decade.
Wait. Yes. Vaguely a presence rises
Some five floors high, of shabby stone
—Or am I confusing it with another one
In another part of town, or of the world?—
And over its lintel into focus vaguely
Misted with blood (my eyes are shut)
A single garland sways, stone fruit, stone leaves,
Which years of grit had etched until it thrust
Roots down, even into the poor soil of my seeing.
When did the garland become part of me?
I ask myself, amused almost,
Then shiver once from head to toe,
Transfixed by a particular cheap engraving of garlands
Bought for a few francs long ago,
All calligraphic tendril and cross-hatched rondure,
Ten years ago, and crumpled up to stanch
Boughs dripping, whose white gestures filled a cab,
And thought of neither then nor since.
Also, to clasp them, the small, red-nailed hand
Of no one I can place. Wait. No. Her name, her features
Lie toppled underneath that year's fashions.
The words she must have spoken, setting her face
To fluttering like a veil, I cannot hear now.
Let alone understand.
So that I am already on the stair,
As it were, of where I lived,
When the whole structure shudders at my tread
And soundlessly collapses, filling
The air with motes of stone.
Onto the still erect building next door
Are pressed levels and hues—
Pocked rose, streaked greens, brown whites.
Who drained the pousse-café?
Wires and pipes, snapped off at the roots, quiver.
Well, that is what life does. I stare
A moment longer, so. And presently
The massive volume of the world.
Closes again.
Upon that book I swear
To abide by what it teaches:
Gospels of ugliness and waste,
Of towering voids, of soiled gusts,
Of a shrieking to be faced
Full into, eyes astream with cold—
With cold?
All right then. With self-knowledge.
Indoors at last, the pages of Time are apt
To open, and the illustrated mayor of New York,
Given a glimpse of how and where I work,
To note yet one more house that can be scrapped.
Unwillingly I picture
My walls weathering in the general view.
It is not even as though the new
Buildings did very much for architecture.
Suppose they did. The sickness of our time requires
That these as well be blasted in their prime.
You would think the simple fact of having lasted
Threatened our cities like mysterious fires.
There are certain phrases which to use in a poem
Is like rubbing silver with quicksilver. Bright
But facile, the glamour deadens overnight.
For instance, how “the sickness of our time”
Enhances, then debases, what I feel.
At my desk I swallow in a glass of water
No longer cordial, scarcely wet, a pill
They had told me not to take until much later.
With the result that back into my imagination
The city glides, like cities seen from the air,
Mere smoke and sparkle to the passenger
Having in mind another destination
Which now is not that honey-slow descent
Of the Champs-Elysées, her hand in his,
But the dull need to make some kind of house
Out of the life lived, out of the love spent.
This image, part of a series entitled "Qajar" by Iranian photographer Shadi Ghadirian, depicts conscious choices made by women in Iran and elsewhere; an act of rebellion, of subtlety, of changes foreseen. The photo is shocking not only for its anachronistic props, but for the sheer brazenness of Ghadirian's subject: defiant in her gangsta posturing and holding a ridiculously large ghetto-blaster.
Ghadirian's humorous pastiches set up encounters between different times and cultures: The European-influenced backdrop of a 19th century Qajar-era Persian photographer is juxtaposed with contemporary studio props....."forbidden" or restricted objects like the boom box the subject is holding. Made at a time when such activities as playing or listening to music in public were taboo in Iran, this photograph suggests tensions between tradition and modernity....restriction and freedom.... public and private.
Shadi Ghadirian was born in 1974 in Tehran, Iran. She is a photographer who continues to live and work in Iran. Her work is intimately linked to her identity as a Muslim woman living in Iran. Nonetheless, her art also deals with issues relevant to women living in other parts of the world.
This photograph was seen on display at The Cantor Arts Center on the campus of Stanford University in Palo Alto, California. The exhibit is entitled "She Who Tells a Story: Women Photographers from Iran and the Arab World".
When it comes to your town, tell your liberal friends there's another free ride in front of the grocercy store they are entitled to enjoy.
From my set entitled “Escarpment” (under development)
www.flickr.com/photos/21861018@N00/sets/72157608204080206/
In my collection entitled “Halton”
www.flickr.com/photos/21861018@N00/collections/7215760820...
In my photostream
www.flickr.com/photos/21861018@N00/
Reproduced from Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Niagara_Escarpment
The Niagara Escarpment is a long escarpment, or cuesta, in the United States and Canada that runs westward from New York State, through Ontario, Michigan, Wisconsin and Illinois. It is composed of the Lockport geological formation of Silurian age, and is similar to the Onondaga geological formation, which runs parallel to it and just to the south, through the western portion of New York and southern Ontario. The escarpment is most famous as the cliff over which the Niagara River plunges to form Niagara Falls, for which it is named.
The Niagara Escarpment is the most prominent of several escarpments formed in the bedrock of the Great Lakes. It is traceable from its easternmost point in New York State, starting well east of the Genesee River Valley near Rochester, creating one large and two small waterfalls on the Genesee River in that city, thence running westwards to the Niagara River forming a deep gorge north of Niagara Falls, which itself cascades over the escarpment. In Southern Ontario it stretches along the Niagara Peninsula hugging close to the Lake Ontario shore near the cities of St. Catharines and Hamilton and Milton where it takes a sharp turn north toward Georgian Bay. It then follows the Georgian Bay shore northwestwards to form the spine of the Bruce Peninsula, Manitoulin, St. Joseph Island and other islands located in northern Lake Huron where it turns westerwards into the Upper Peninsula of northern Michigan, south of Sault Ste. Marie. It then extends southwards into Wisconsin following the Door Peninsula and then more inland from the western coast of Lake Michigan and Milwaukee ending northwest of Chicago near the Wisconsin-Illinois border.
In February 1990, the Niagara Escarpment was designated a World Biosphere Reserve by UNESCO, making it one of 12 in Canada. Development and land use adjacent to the escarpment is regulated and the biosphere protected by the Niagara Escarpment Commission, an agency of the Ontario government.
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
Engraving entitled, ‘Henry perceiving Norris pick up Anne Boleyn’s handkerchief at the jousts’. By the nineteenth century illustrator George Cruikshank. Part of my collection of nineteenth century depictions of Anne Boleyn.
This Christmas bauble, entitled "Royal Star" depicting a six pointed star in blue with gold detailing, or corresponding gold with blue detailing was hand beaded with sequins and pins by me. I have a Christmas tradition. I bead one Christmas bauble for a select group of friends every year.
"Royal Star" is going to the adult daughter of my friend who wears dangling Christmas themed earrings. My friend's daughter has an autistic son who likes vibrant colours, and it helps bring her some Christmas cheer too! Her Christmas baubles always feature images that have contrasts of colour in them. Past baubles have featured such things as a night sky with stars on one side and a daytime sky with the sun on the other, or a sailing ship sailing one way and a different ship in different livery on the other (I wish I'd photographed this last one as it was very complex and took nearly 10 hours per side).
Each bauble is 25 centimetres in diameter and contain hundreds of sequins, varying in number depending upon the complexity of the image and the type of sequins I use. Most sequins in this bauble are 5mm in diameter, except the white background ones which are 8mm and the centrepiece of the star which is 15mm. Depending upon the colour of the sequin, I will use either a gold or a silver pin to attach it to the bauble. The white, blue and black sequins all use silver pins, The gold sequins are affixed with gold pins.
Each bauble takes approximately 6 hours per side, althought as this is a fairly simple pattern working from the central pin outwards, it only took 4 hours per side. Even though this is a lesser period of time, this number of hours is why my select group of friends only get one each year!
It is however, a labour of love which I do to pass the time throughout the year.
Mural entitled "Rod Incredible and Chan Man Save Detroit" by Tylon J. Sawyer aka @tylon.j.sawyer for Blkout Walls 2021, seen at 2881 East Grand Boulevard in Detroit, Michigan.
From two drone photos by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
This photograph, by Lee Friedlander is entitled ' Father Duffy. Times Square, New York City 1974' and was photographed on display at Andy Pilara's 'Pier 24 Photography gallery' in San Francisco.
Lee Friedlander (1934- ) is one of America's greatest photographers. Working primarily with Leica hand-held 35 mm cameras and black-and-white film, Friedlander's style focused on the "social landscape". His photographs used detached images of urban life, store-front reflections, structures framed by fences, and posters and signs all combining to capture the look of modern life.
Friedlander's series on American monuments points out how romantic memorials to World War I doughboys have been comically undercut by the clutter of cities rising around them. This 1974 photograph of the Times Square monument to Father Francis Patrick Duffy (1871-1932) in New York City shows a heroic bronze statue of the Irish-American chaplain who served in the trenches of the Western Front. All around are raucous billboards and gigantic neon signs hawking Coca-Cola and cheap theater tickets that threaten to drown out the sculpture's old-fashioned patriotic message. The photo is a tribute to the chaotic, hurly-burly, Whitmanesque mash-up of the American city.
Miro's Chicago (detail)
Also entitled: "The Sun, The Moon and One Star", 1967
Installed: 1981
Joan Miró (1893-1983)
Brunswick Plaza
West of 60 West Washington Street
(between Dearborn and Clark Streets)
Her shape and pose reminiscent of the famous Minoan snake goddess figurine from Crete, Miro’s Chicago is a 39-foot / 12 meter tall stylized female form fashioned from concrete over a metallic armature, ceramic tile, and bronze, on a travertine stone base.
Placed in a small plaza between the Chicago Temple Building and the Cook County Administration Building, the statue is often overlooked in favor of Picasso's sculpture in Daley Center Plaza on the opposite side of the street.
Originally to be installed the same year as Picasso’s work, the plan was abandoned, due to financial issues, by the Brunswick Corporation, which commissioned the piece. It remained a small maquette for some 18 years until a committee, led by Stanley Freehlin, raised over half of the necessary funds from private donors and the City of Chicago contributed matching funds. The finished figure was unveiled on April 20, 1981, by Chicago’s first female mayor, Jane Byrne. The Art Institute of Chicago maintains Miro's plaster "Chicago" maquette from 1963: www.artic.edu/aic/collections/artwork/100666.
www.chicagopublicart.blogspot.ca/2013/09/the-sun-moon-and-one...
www.chicagoartworld.blogspot.ca/2014/01/1981-joan-miro-brunsw...
www.connectingthewindycity.com/2013/08/sun-moon-and-one-s...
THE LOOP:
Chicago's "Loop" is the city's official downtown area. The second largest downtown business district in the United States, the Loop's boundaries are the Chicago River on the west, Michigan Avenue on the east, Wacker Drive on the north and Congress Parkway on the south. The Loop is known for its famous skyscrapers and historic buildings; it has been the site of architectural creativity and experimentation for years.
Nandi is the name for the bull which serves as the mount (Sanskrit: Vahana) of the god Shiva and as the gatekeeper of Shiva and Parvati. In Hindu Religion, he is the chief guru of eighteen masters (18 Siddhar ) including Patanjali and Thirumular. Temples venerating Shiva display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.
The application of the name Nandi to the bull (Sanskrit: vṛṣabha) is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha". The name Nandi was earlier widely used instead for an anthropomorphic deity who was one of Shiva’s two door-keepers, the other being Mahākāla. The doorways of pre-tenth-century North Indian temples are frequently flanked by images of Mahākāla and Nandi, and it is in this role of Shiva’s watchman that Nandi figures in Kālidāsa’s poem the Kumārasambhava.
ETYMOLOGY
The word “Nandi” is derived from the ancient Indian Language of Sanskrit. The Sanskrit word 'Nandi' in English translates as Happy, Joyous or Happy Person.
BIRTH OF NANDI
There was a sage named Shilada who underwent severe penance to have a boon — a child with immortality. Lord Indra pleased of the austerities of Shilada appeared in front of him to offer a boon. After hearing the request of Shilada and his desire to have an immortal child, Lord Indra suggested he pray to Lord Shiva: nobody else could provide such a boon. Sage Shilada continued his penance for 1,000 years. He was totally immovable for many years, so the termites settled on his body and slowly started to build up their nest. Finally, his whole body was covered up by them. The insects started to eat his flesh and imbibed his blood. At last, only bones remained.
Lord Shiva appeared in front of him and provided the boon for the child. Moreover, Lord Shiva provided Sage Shilada his old form with a single touch. Sage Shilada performed Yagna and a child appeared from the sacrificial fire. His body was clad in armour made out of diamonds. The celestial dancers and singers performed on this auspicious occasion and the deities showered flowers on the child. The boy was named ’Nandi’ — who brings joy. Shilada brought the child home. Immediately the boy lost his divine appearance to an ordinary child. The child completely forgot all about his birth. Sage Shilada was worried about the sudden change. He devoted his time for Nandi's upbringing his education etc. By the age of seven, the boy was well versed in Veda and all sacred texts.
One day the deities Mitra and Varuna visited Sage Shilada. At the first sight of the boy, they commented: Though the boy had all auspicious signs, he would have a very short life. He would not live after the age of eight. Sage Shilada was mortified at this remark. Nandi could not bear his father's sorrow; he began to pray to Lord Shiva. Lord Shiva appeared before him and blessed him. Lord Shiva adorned the boy with a necklace and made him immortal. Lord Shiva blessed the child and declared that he would be worshiped along with Him and become his vahana (vehicle). Immediately the boy got all the divine powers and transformed into half bull-half human. He and Shilada went to Lord Shiva's abode to live.
IN HINDUISM
Bulls appear on the Indus Valley seals, including the 'Pasupati Seal', which depicts a seated figure and, according to some scholars, is similar to Shiva. However, most scholars agree that the horned bull on the Indus Valley seals is not identical to Nandi.
DESCRIPTIONS ON NANDI IN HINDU RELIGIOUS TEXTS INCLUDE:
- Some Puranas describe Nandi or Nandikeshvara as bull face with a human body that resembles that of Shiva in proportion and aspect, although with four hands — two hands holding the Parasu (the axe) and Mruga (the antelope) and the other two hands joined together in the Anjali (obeisance). Brahma Vaivarta Purana mentions Krishna himself to have taken the form of a bull as no one else in the Universe can bear Shiva.
- Vehicle of Shiva: The bull Nandi is Shiva's primary vehicle and is the principal gana (follower) of Shiva.
- Gate keeper of Shiva's abode: The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of many temples dedicated to Shiva. It also explains why the word "nandi" in the Tamil, Kannada and Telugu languages is used as a metaphor for a person blocking the way.[citation needed] In Sanskrit, a bull is called vrisha, which has another connotation — that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva.
- Chief in Shiva's army: Some Puranas mention that Nandi lead the Shiva Ganas, Shiva's attendants.
- A Guru of Saivism: In addition to being his mount, Nandi is Shiva's foremost disciple. In the Natha/Siddhar tradition, Nandi is one of the primal gurus. He was the guru to Siddhar Thirumulanathar, Patanjalinathar and others.
- From the yogic perspective, Nandi/Nandhi/Nandikeshvara is the mind dedicated to Lord Siva, the Absolute. In other words, to understand and absorb Light, the 'experience and the wisdom' is Nandi which is the Guru within.
- Spiritually, Nandi represents an individual jiva (soul) and the message that the jiva should always be focused on the Atman (Paramatman).
LEGENDS
According to some puranas, Nandi was born to sage Shilada who got him by the grace of Shiva.
It was Nandi who cursed Ravana (the demon King of Lanka) that his kingdom would be burnt by a monkey (Vanara). And later Hanuman burnt Lanka when he went in search of Sita, who was kept prisoner by Ravana in Ashok Vatika.
In one puranic story, it is stated that once Siva and Parvathi were playing a game of dice. For any game there has to be an umpire, who has to declare who is the winner. Siva and Parvathi agreed to have Nandi (the divine bull) as the umpire. Nandi is a favorite of Siva, as he is Siva's vehicle. Although Siva lost the game, Nandi declared him the winner. It is stated that Parvathi was indignant over Nandi's partiality for Siva and cursed him that he should die from an incurable disease. Thereupon Nandi fell at the feet of Parvathi and pleaded for forgiveness. "Mother forgive me. Should I not show at least this amount of gratitude to one who is my master? Is it not humiliating for me to declare that my master has lost the game? To uphold his honor I no doubt uttered a lie. But am I to be punished with such severity for so small an offence?" Nandi prayed for forgiveness in this manner. Parvathi forgave Nandi and taught him the means to atone for his lapse. She told him. "The Chaturdasi day in the month of Bhadrapada is the day when my son's birthday is celebrated. On that day you have to offer to my son what pleases you most (green grass)". This means that one atones for one's sins when one offers to the Lord what is most pleasing and enjoyable to him. For Nandi the most enjoyable and relishing food is green grass. As directed by Parvathi Nandi worshipped Ganapathi by offering green grass. Nandi was then relieved of his dreaded disease. His health improved and by the grace of Parvathi he was redeemed.
When the positive forces, the devas, and the negative forces, the asuras, joined together on a rare occasion to churn the ocean with a mountain to obtain the nectar of immortality they utilized Vasuki, the serpent, as the rope. The devas pulled from one end and the asuras from the other. Lots of precious herbs and gems were produced during the Churning and one of them was a poison (halāhala) which became human karma. This "poison" was so dangerous that none of the devas or asuras wanted to go near it. It was extremely sticky and coming into contact with this poison, i.e., human karma, would drag the divinity down to the realms of human suffering and ego. As everyone else ran away, Lord Siva, followed by Nandi, came forward to help as he was the only one who could counteract this deadly poison. Siva took the poison into his hand and drank it, the descent of the poison was in turn stopped at His throat, by His divine consort. Siva is therefore also known as Nīlakaṇṭha (the blue-throated one) and Viṣakaṇṭha (the poison-throated one). Nandi saw some of the poison spill out of Siva's mouth and immediately drank if off the ground. The devas and asuras watching were shocked and wondered aloud what would happen to Nandi. Lord Siva calmed their fears saying, "Nandi has surrendered into me so completely that he has all my powers and my protection".
LARGEST NANDIS IN INDIA
1. Lepakshi, Andhra Pradesh
2. Brahadishwara Temple, Tamil Nadu
4. Bull Temple, Bangalore, Karnataka
5. Rameswaram, Tamil Nadu
6. Hoysaleswara Temple, Halebidu, Karnataka
7. Shanthaleswara Temple, Halebidu, Karnataka
8. Vadakkunnathan Temple, Thrissur, Kerala
9. Virupaksha Temple, Hampi, Karnataka
10. Nandi Temple, Western Group of Temples, Khajuraho,
Madhya Pradesh
11. Kedareshvara Temple at Balligavi (Karnataka)
12. Doddabasaveshvara temple, Kurugodu Bellary dist
MISCELLANEOUS
The white color of the bull symbolizes purity and justice.
Women visit images of Nandi, bringing floral offerings, and touch the stone. Their prayers are for fertility. Additionally, it is also considered a custom among some to whisper the fact of their visit, to that shrine, while requesting the faithful attendant to inform his master of the same.
WIKIPEDIA
Private press book entitled 'The Shepheardes Calender, Conteyning Twelve Aeglogues, Proportionable To The Twelve Monethes' by Edmund Spenser. Printed by the Kelmscott Press, 1896.
Printed in Golden type in red and black and with twelve wood-engraved plates by Arthur J. Gaskin. With illuminated initial letters in black and white with stylized foliate ornamentation.
The text shows Morris's use of a small leaf ornament to mark stanzas. These stanzas are often printed as single papargraphs allowing Morris to achieve his favoured solid dark block of type.
CAGM.1991.1016.996.X54
www.recyclart.org/2016/07/eggcubism-exhibition-geiger-fou...
The Hermann Geiger Cultural Foundation is pleased to host the first solo show in Italy of Dutch artist Enno de Kroon. The exhibition, entitled «Eggcubism. The two-and-a-half dimensional art», features a rich selection of works produced in the space of around twelve years and coming from thirteen European collections. De Kroon, who lives and works in Rotterdam, makes sculpture paintings from a poor material that would otherwise be sent for pulping, i.e. egg trays. «Eggcubism» is the original technique invented and exported throughout the world by De Kroon himself, which is reminiscent of cubism and takes it to an almost three-dimensional level.
The works on show are a selection of De Kroon’s best works, ranging from small portraits and large-size, complex works obtained by assembling dozens of trays in multi-layered designs to series linked by a common theme. Subjects are extremely varied: from the sailors, prostitutes, and atmospheres of a port city like Rotterdam to friendly tables, from schoolchildren to landscapes and still lives—all themes in keeping with the artist’s biography and sensitivity.
To fully view these «two-and-a-half-dimensional» works, the observer needs to change constantly their viewpoints, which forces them towards an interactive, personal and dynamic experience. The constantly changing perspectives produce different, ever-changing images and perceptions. This is due to the undulating surface of the egg tray, which hides or unveils different areas of the painting, depending on the viewing angle.
The exhibition is centered around a theme that reflects the Geiger Foundation’s interest in art made with recycled materials. The aim is to raise public awareness of environmental issues, including the waste of resources, and show that it is possible to create art from items that society often treats as mere rubbish. This project included the exhibitions «Sayaka Ganz. Dances of Nature», «Brian Dettmer. A Decade of Book Sculpture» and «Jean Tinguely. The Philosophers», which displayed works made respectively with plastic tools and objects, obsolete telephone directories, encyclopedias and carved volumes, as well as discarded mechanic materials.
The exhibition «Eggcubism. The two-and-a-half dimensional art» is open to the public daily from 6 p.m. to 11 p.m. with free admission. It features a series of explanatory panels and includes a documentary video produced in-house about Enno de Kroon and his inventive painting technique on such an unusual surface. The show is accompanied by a catalog produced by the Geiger Foundation, which will also host a workshop held by De Kroon himself and aimed at teachers who wish to promote this particular type of art in their schools.
Eggcubism. The two-and-a-half dimensional art
9 July – 18 September 2016
Hermann Geiger Cultural Foundation – Piazza Guerrazzi 32, Cecina (Livorno)
Daily from 6 p.m. to 11 p.m. Free admission
From my set entitled “Buttercup”
www.flickr.com/photos/21861018@N00/sets/72157607214043026/
www.flickr.com/photos/21861018@N00/sets/72157607217763461/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Ranunculus
Ranunculus is a large genus of about 400 species of plants in the Ranunculaceae. It includes the buttercups, spearworts, water crowfoots and the lesser celandine (but not the greater celandine of the poppy family Papaveraceae).
They are mostly herbaceous perennials with bright yellow or white flowers (if white, still with a yellow centre); some are annuals or biennials. A few have orange or red flowers and occasionally, as in R. auricomus, petals may be absent. The petals are often highly lustrous, especially in yellow species. Buttercups usually flower in April or May but flowers may be found throughout the summer especially where the plants are growing as opportunistic colonisers, as in the case of garden weeds.
The Water crowfoots (Ranunculus subgenus Batrachium), which grow in still or running water, are sometimes treated in a separate genus Batrachium. They have two different leaf types, thread-like leaves underwater and broader floating leaves although for some species, such as R. aquatilis, a third, intermediate leaf form occurs.
Ranunculus species are used as food plants by the larvae of some Lepidoptera species including Hebrew Character and Small Angle Shades. Some species are popular ornamental flowers in horticulture, with many cultivars selected for large and brightly coloured flowers.
The name Ranunculus derives from the Latin words rana (frog) and ulus (little). This probably refers to many species being found near water, like frogs.
In the interior of the Pacific Northwest of the United States the buttercup is called "Coyote’s eyes" — iceyéeyenm sílu in Nez Perce and spilyaynmí áčaš in Sahaptin. In the legend Coyote was tossing his eyes up in the air and catching them again when Eagle snatched them. Unable to see, Coyote made eyes from the buttercup.
All Ranunculus species are poisonous when eaten fresh by cattle, horses, and other livestock, but their acrid taste and the blistering of the mouth caused by their poison means they are usually left uneaten. Poisoning can occur where buttercups are abundant in overgrazed fields where little other edible plant growth is left, and the animals eat them out of desperation. Symptoms include bloody diarrhea, excessive salivation, colic, and severe blistering of the mucous membranes and gastrointestinal tract. When Ranunculus plants are handled, naturally occurring ranunculin is broken down to form protoanemonin, which is known to cause contact dermatitis in humans and care should therefore be exercised in excessive handling of the plants[1]. The toxins are degraded by drying, so hay containing dried buttercups is safe
The term sardonic (sardanios), "bitter or scornful laughter", is often cited as deriving from the name of the Sardinian plant Ranunculus sardous, known as either σαρδάνη (sardanē) or σαρδόνιον (sardonion). When eaten, it would cause the eater's face to contort in a look resembling scorn (generally followed by death). It might also be related to σαίρω (sairō) "I grin"