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Mural entitled "Ice Queen" by Caledonia Dance Curry aka @swoonhq located on the wall of Zheng’s Cleaners at 24th & Hampshire in San Francisco, California.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
Safdarjang's Tomb was built in 1753-54 by nawab 'Shuja-ud- Daulah' as a tribute to his father's memory 'Mirza Abul Mansur Khan', entitled 'Safdarjng'. He was the Governor of the province of Awadh under the reign of Muhammad Shah (1719-48) the Mughal Ruler, and later his Prime minister.
The monument is entered through an ornamental painted gateway on the east. This double storeyed gateway has several apartments, a court yard and a mosque. The enclosure wall with channels over them to carry water to different pavilions has a series of recessed arches on the interior and octagonal towers on the four corners. It has multi chambered pavilions namely Moti Mahal, Badshah-Pasand and Jangli Mahal on the north, south and west respectively.
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.
An entitled actor throws his sandwich across the greenroom during an interview with a journalist from the LEGOwood Reporter. It's just another day of high powered wheelin' and dealin' at Hieroglyph Studios!
Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.
From my toilet serie entitled "Toiletology".
Model: Isabelle
Toiletology is a 5 month artistic pseudo-documentary taking places into many Montreal bars and restaurants. While toilets are the most common places they're also the most private area, with their part of mysteries. The basic was to shoot boys and girls in different toilets, doing something that could happen in toilets. Sponsored by the AEECUM, it resulted in a calendar and a web exhibit.
Most time, existing light was the only lighting. It explain the lack of sharpness since I had to shoot mostly around 1/60 - 1/100.
Not selected for the calendar.
This exhibition, entitled 'Nah Poeh Meng' (Along The Continuous Path) is permanently displayed at the Poeh Cultural Center and Museum in Pojoaque, New Mexico. Pojoaque Pueblo is one of the six Tewa-speaking Rio Grande Pueblos. The museum is devoted to the arts and culture of the Puebloan peoples, especially the Tewas in the northern part of the state.
The Nah Poeh Meng display is divided into six rooms with each room based upon both a temporal and seasonal theme. This room depicts the Spring season and is described as follows....
"In the Spring of our lives, we have left our cave shelters
and the ground is soft enough for us to build pit houses,
such as the one the woman is emerging from. Our poeh
travels along that of avanyu, the water serpent. We
welcome the return of avanyu who nourishes our fields by
its meanderings. We acknowledge the importance of
securing fertility in all parts of our lives as part of the
requirements for perpetuation of ourselves and our
communities. Thus, we care for life in all things."
The figurative sculptures are the work of Pueblo artist Roxanne Swentzell and the painted murals are by Marcellus Medina.
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.
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 “Mandevilla”
www.flickr.com/photos/21861018@N00/sets/72157607213952426/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Mandevilla
Mandevilla, sometimes also called Dipladenia,[1] is a genus of plants. It consists of about 100 species, mostly tropical and subtropical flowering vines belonging to the family Apocynaceae, the Periwinkle family.
Mandevilla is native to Central and South America and many Mandevillas come originally from the Organ Mountains forests near Rio de Janeiro in Brazil. The genus was named after Henry Mandeville (1773-1861), a British diplomat and gardener.[1]
Mandevillas develop spectacular flowers in warm climates. The flowers come in a variety of colours, including white, pink, yellow, and red. As climbers, Mandevillas can be trained against a wall or trellis to provide a leafy green and often flowering picture of beauty. They have a tendency to attract insects like mealybugs and scales.
While Mandevilla scabra is sometimes as an additive to the psychedelic drink Ayahuasca, there is no evidence that it is psychoactive in its own right.[2] It is, however, considered to be toxic.[3]
St Mary The Virgin
Church of England
Nativity
This window entitled 'Nativity', was designed by John Piper and made by David Wasley. It was given to Iffley Church in 1995 by Myfanwy Piper in memory of her husband.
The idea was taken from an Elizabethan wall painting in Shulbrede Priory in Sussex.
The Latin words put into the mouths of the birds are:
COCK - Christus natus est (Christ is born),
GOOSE - Quando? Quando? (When? When?),
CROW - In hac nocte (On this night),
OWL - Ubi? Ubi? (Where? where?),
LAMB - Bethlehem! Bethlehem!
The sounds of the Latin words resemble the noises made by the animals and birds. Underneath is a line from Christopher Smart: "Let man and beast appear before him and magnify his name together."
The window has a dual motif. There are the birds and the lamb proclaiming the birth of Christ, and there is the Tree of Life round which they are grouped. The idea that on the night of Christ's Nativity birds and animals gained the power of speech was a widespread medieval legend. The Tree of Life is referred to in the Book of Genesis but also in the Book of Revelation: "On either side of the river there stood a Tree of Life which yielded twelve crops of fruit, one for each month of the year. The leaves of the trees serve for the healing of the nations, and every accursed thing shall disappear."
Alternatively it may be seen as a window of the Creation. It has an immediate appeal through the passionate intensity of its colours, the slight touch of humour and the joy it expresses in the natural world.
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.
Committee Chairman Senator Ron Johnson asks questions of U.S. Border Patrol Chief Mark Morgan and U.S. Border Patrol Deputy Chief Carla Provost as they 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
Photo Entitled: Bus Outtatime. Second of Two time lapse photos from that evening. It was taken at Kennedy Plaza for NEIT Photography Class.
Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.
Description: 'Photograph (Cinematograph Film) entitled 'With Captain Scott [Royal Navy] to the South Pole (British Antarctic Expedition)'. Steam Yacht 'Terra Nova' with dogs and men standing on ice near by', by Herbert Ponting (1870-1935).
Date: c.1911
Our Catalogue Reference: COPY 1/562/115
This image shows a single frame from the very short (3-4 frame) sections of nitrate film stock accessioned at The National Archives from Herbert Ponting's footage of the Antarctic. For preservation reasons copies were made of of the original nitrate negatives and these were used to produce modern black and white Kodak prints of the clips which we have scanned for the web. The quality of the resultant images is variable.
Feel free to share it within the spirit of the Commons.
For high quality reproductions of any item from our collection please contact our image library.
This Christmas bauble, entitled "Holly" depicting a sprig of holly with red berries 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.
"Holly" is going to a friend of mine, who like me, is an ex-pat from Britain and we both miss things like holly at Christmas time. His Christmas baubles always feature things from home like snowflakes and winter scenes. This year there was an injection of red for his tree.
He and his wife are expecting in April, and the sex of the child is a surprise, so they received a miniature bauble beaded in netural yellow sequins with gold stars (photos will be uploaded later) for the baby.
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, the shaded red ones in the berries, and the irridescent green highlights in the leaves which are 8mm. 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, green and black sequins all use silver pins, The red sequins are affixed with gold pins.
Each bauble takes approximately 6 hours per side, and this 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.
St Laurence Reading.Reading Abbey Exhibition, preparatory work for joint exhibition with artist Keith Lawrence entitled "Journeying"
For the past six weeks I've been working at some new artworks based on Reading Abbey and the town's historic churches. The exhibition will be held in the middle of Reading near the site of its ancient Abbey ruins at Abbey Baptist Church whose foundations were laid in 1642 close to the Holy Brook. These illustrations/prints are still in their early stages. One tends to start a few things to see how certain ideas will work together. I hope to show a selection of about ten of these in September, it's great to look at buildings I've been familiar with one way or another throughout my adult life. I'm not idealising them in any way; I want to show Reading as the busy modern place it is a shopping Mecca, whose medieval past is somehow forgotten, and yet the towers of St Laurence, Mary Minster and the classical portico of St Mary's Castle Street remind one that this was not always the case. Over the past few weeks I've been drawing various people on their way to work on foot, bike or car to fit the theme of Journeying. Gradually the compositions are coming together. At this stage I'm blocking in colour so they appear rather jagged brash and angular in some ways. So far I've started about fourteen works. I have taken hundreds of photographs to aid me, and have studied some of the history in Reading Museum.
From top left St Giles (Church Street), St Laurence (Friar Street), St Laurence, Tower, Reading Abbey and Prison and St Mary Castle Street. Early colour map layouts for prints uncorrected.
I hope to cover some of the following themes in this series:-Reading Gaol/ Abbey Ruins/Contemporary Reading/Trades ancient modern cloth to computers/shopping People walking, cars on bikes/The Holy Brook/ The Kennet/ Ancient paths streets.
The massive Cluniac Abbey of Reading was founded by William of Malmesbury in 1121, many of the town's churches date back to this early period, however with the dissolution of the monestaries and the great upheavals of the C16 and C17 left Reading's ecclesiastical buildings forever changed. Unlike Oxford, Reading had no historic university (until 1892), and its town's history was shaped by trade and its important location on the road between London and Bath and the rivers Kennet and Thames.
Reading's prosperity has meant that its town churches were all heavily restored in the nineteenth century, St Laurence (also recently re-ordered), St Mary Minster (Butts) , Greyfriars and St Giles all have medieval origins and some remains. St Mary Castle Street (Episcopalian) 1798 was by its fine facade with six giant Corinthian columns and pediment is impressive. Its cupola was lost during last century. The portico is by H&N Briant. The church largely dates from 1840-42.
Original poster entitled “Share Your Car the Easy Way,” promoting the Office of Civilian Defense program Share The Ride Club. The club promoted the conservation of resources such as gasoline and rubber by limiting driving and carpooling to save travel waster of materials during World War II. This poster advertises for the public to come to the state capitol building six days a week to join a Civilian Defense Share The Ride Club. Poster features a magazine cut-out of people in a red convertible. The poster was original tacked up on display somewhere during the war [1940s] [Poster has two cardboard pieces stapled to the back of the poster as hangers used during WWII].
From North Carolina WWII Home Front Posters, WWII 11, WWII Papers, Military Collection, State Archives of North Carolina, Raleigh, N.C.
This Christmas bauble, entitled "Holly" depicting a sprig of holly with red berries 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.
"Holly" is going to a friend of mine, who like me, is an ex-pat from Britain and we both miss things like holly at Christmas time. His Christmas baubles always feature things from home like snowflakes and winter scenes. This year there was an injection of red for his tree.
He and his wife are expecting in April, and the sex of the child is a surprise, so they received a miniature bauble beaded in netural yellow sequins with gold stars (photos will be uploaded later) for the baby.
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, the shaded red ones in the berries, and the irridescent green highlights in the leaves which are 8mm. 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, green and black sequins all use silver pins, The red sequins are affixed with gold pins.
Each bauble takes approximately 6 hours per side, and this 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.
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.
Entitled the 'Out of Nothing' series, due to myself and my model wanting to do a collaborated project literally out of nothing, or for as free as we could possibly get it.
Model - Stacey Bournes
Skirt - Charity Shop
Remaining outfit - Models Own
My second visual journal entry entitled "Technique." We were supposed to analyze our best technique. But to be honest, I did step away a little bit from that idea. I did more of an analysis on where I got my style and technique from. So, I wrote down my favorite mediums and why I think I choose them. I wrote down my biggest inspirations and included some photos. Then I started to make it more personal. I began to ask "What makes me do what I do?" I began to think about the characters I create and their stories. After looking at all of that, I came to the conclusion that I feel that the things I draw come from something more than just a "technique." I know it sounds corny, but my best technique would be using my heart. I mean that with all honesty. It sounds cliche, but that is the conclusion I came up with. I take powerful emotion and portray it in whichever way I see fit. And I call that using my heart. But it goes even deeper than that. Why do I draw? Because it gives me pure joy and happiness and fulfillment. Again, I call that using my heart.
I just have to give credit to the photos I used.
Rightmost photo: Edward Elric sketches by artist Burge Bug
Bottom right: Painting by Ayami Kojima
Other two photos: I do not know the artists, but I found them on Pinterest :)
8 1/2" X 11"
Sharpie Marker on white paper
This is the most extant silver collection from Ancient Rome outside of Italy. One of the key pieces is this fabulous bowl entitled the Minerva (or Athena) Bowl. Like the rest of the collection, it dates to the early 1st Century AD. The collection gets its name from the location in Germany where it was excavated.
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.
entitled "caged bird", released 8/5
A different take on Maya Angelou's title of her famous autobiography, I Know Why The Caged Bird Sings. This caged bird, wearing headphones, is singing because it's listening to some incredible tunes.
Buy it here: www.orangemoonapparel.com/store/oma.cgi/oma.orangemoonapp...
Through this photographic portfolio entitled “LIQUID SUBURBS” we want to focus on the theme of suburbs understood as both physical spaces and metaphorical dimensions. In the peripheries, in modern times, we have associated in negative terms what Bauman defines as “forced individualism”, as the liberation from any possible social bond and consequent solitary management of “risk”, uncertainty and the fears that derive from it. In a “liquid” society, life, particularly in the suburbs, seems to settle down and flatten itself in an eternal arid present of future prospects, similar to quicksand, amidst increasingly heavy and immobilizing doubts and perplexities, anchored to certainties linked to a past that is not it exists more and instead persists with nostalgia in the memories of flexible men, weakening them transformative capacity of reality. To adapt to continuous change and the structural risks of the second modernity, man has preferred to abandon the thought of introspection by adopting a mentality of “survival” that feeds on a “fast” thought typical of machines. A thought that does not allow for any deep reflection of one's own experiences, which does not provide the possibility of authentically taking care of one's self and which is shown through the construction, reflected by the architecture of the suburbs (as highlighted in the portfolio), of a “patchwork” Composed of many small and fragile fragments, often devoid of ties and connections, which are unable to give meaning and significance to the existential path of the individual as well as of the family nucleus and consequently of the non-community itself.
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.
^Instagram gimickry^
About a week ago I wrote a pretty long response to a post on Facebook about college, student entitlement, and loans. By the end I'd realized that, mostly, I'd written it myself to sort out my own feelings on the issue and put words down on the screen. This Flickr post is gonna be something like that, a piece that's really for my own benefit that I throw out on the Internet for people to look at, mostly because I'll never write it just for my own benefit, but also to force myself to stick with what I commit to, to occupy a day in my Project 365, and to update the three or four people who ever actually look at the stuff I post. :)
I've been reading Zack Arias's blog for about a month now. If you've never looked through it, go do that now (zackarias.com/blog) before you waste your time reading through my inane babbling. It's one of the most well-thought out blogs I've ever read, and I've learned a ton. There's a lot to think about.
Going through the entries one by one, I found a couple in particular that resonated. First was a critique I watched of several photographers' portfolios. Second was a recommendation to the book Visionmongers by David DuChemin. The former made me realize why my work has never gotten many hits on the interwebs. I realized that my work was really no different from all the stuff that Arias so readily tore apart. It's all over the place, and it's inconsistent. I realized a need for direction in my work if I want to be able to market myself as a vocational photographer. The latter prompted me to immediately go buy a used copy at a semilocal bookstore. It is the perfect complement to the critique. The one made me realize the flaw of my creative nondirection. Visionmongers turned around and offered a solution.
In his book, DuChemin describes considerations in deciding what one will do in his photography career. It came at perfect timing, and this morning I sat down to make some decisions. If I want to focus my Project 365, I have to choose a niche and a specific aesthetic I want to go after. Up to this point it has been about trying things. Now I need to take my learning and apply it to a particular end, or I'll never move towards a consistent portfolio that might actually earn me work.
Wildlife and landscape: I love this aesthetic. When I see it well done I want to buy it all and hang it everywhere at home. Yet while I admire those who can make it happen (see Bronco and Ball of Light on Flickr, they're incredible), it's not for me. Everyone I've ever seen in that field who has made it is now either teaching or selling stock. On one hand the end result of getting really good is to not shoot and make money telling other people how be good shooters so they can end up successfully end up in the same way the same as their instructor, namely teaching. On the other hand, those still working are spending all their time traveling around, trying to sell their work at shows and not shooting. Great work, bad business. I'm not going there.
Weddings: No.
Portraiture: I'm not really that great of a people person, and I almost never see anything in this field that looks new or different (exception: Peter Hurley is awesome). It's been done a million times, and there's no niche appeal. It seems like every photographer does it at some point, especially the cheap ones. There's no way I could distinguish myself or feel good about myself.
Photojournalism: I. Love. National. Geographic. It's the best magazine there is. For a while, I thought I'd want to pursue that sort of photography, but the more I shoot, the less I think it would work for me. My favorite way to shoot is in a controlled environment where I have the time to set up my lights and stylize. I can't do that in photojournalism. I have to give up virtually any control I have over the image and hope to heck I'm in the right place at the right time. I like photography instead of video because its a still and patient medium. Photojournalism is the opposite.
Fashion and advertising: I've wanted to do this for a while now. They are my favorite styles to look at, almost always. Karl Taylor is awesome. So is whoever gets to shoot those awesome pictures of iPhones and Macs and stuff Apple puts out. I'm so jealous. I'd give my camera for a chance to pick their brains about business. Alas, I hate fashion and consumerism. I'd never be able to connect with models or their agents or the big clothing brands. I'd also be afraid of hating myself if I had to advertise and help sell slick products by big corporations. I hate big corporations. I hate them for how they ignore the environment, for their greed, for their stupidly expensive plastic crap they make us think we need. I don't want to participate. Helping sell cheap crap to unwary consumers for the benefit of unwholesome and greedy corporations is no good. I'll wake up some day and realize that I haven't contributed to, but detracted from society. I should love my work, not hate it.
Okay, so I've spent the last half hour being all negative about the stuff I won't do. Now I should decide what I want to do from what's left over. I've come up with two options.
First, I could see myself as a food photographer. From what I see, there's a lot of demand for food photography. There aren't as many of us in that market. Oh sure, they're there, but not so many as in other areas. I love good food. My teachers like to joke about the size of my lunches. I have a connection with the market, and I know I'd love shooting it, especially if I can bring something new to the table .
Second, there's a pretty untapped market right now for Parkour. It's getting really big all over the world, including the U.S., yet there are few institutions or businesses catering to that demographic. Sure, there are a few gyms popping up (if you live in Seattle, check out Parkour Visions), and clothing brands are making pretty rubbish efforts at making specialized shoes and merchandise. The only real photographers I've seen that market for Parkour anywhere are Visive Productions and Ampisound, both based in Britain. I get that the market has a pretty DIY approach to the whole thing in general, because of course everyone makes their own videos and stuff for YouTube, some of which are really good. Yet there are publications and websites that aren't gonna trust all their media output to amateurs. I'm sure its about the same amongst skateboarders; people put out their videos to the Internet, but if a magazine's doing a story, those files won't cut it. I could step in there. It's because of Parkour that I ever started training. There's room to make it even more a part of my career. Editorial Parkour photography. That's a niche, right? :)
So, then, here are my goals going forward in Project 365:
I'm gonna set up a tabletop white seamless in my bedroom and start shooting food. I'll probably buy some props, too, and use food from PCC. I'd rather spend my money on edibles and nice cutlery than replacing my semifunctional Sigma 18-50. If that's what it takes to actually build some sort of portfolio, I'll gladly spend some money on it. We'll see what I can put out with just my one strobe and some patience. There are a few things I want to try with this experiment. Primarily, since I like advertising and fashion's contemporary lighting and feel, I want to see what might happen if I try to bring that sort of high-gloss look to food. Not that I will necessarily be able to do it with just one light, but I'll try. Because I love the square format, I'll work with that. I like framing stuff straight on, too, so my shots will be from overhead down. If I can make it happen, there might also be some black and white. I've never seen black and white food photography, probably for a reason.
I'll also try to set up a few shoots with my Parkour friends, and maybe with Parkour Visions if that works out. Tyson Cecka, one of the leaders there, has brought up doing some work at the gym. Maybe I'll take him up on that, but only after I've practiced with the editorial style for a while. I'm not really comfortable with it yet and I need practice. A brolly would be nice too. Maybe when I feel frivolous enough to throw fifty bucks at a modifier. I'm so cheap. #whatev.
Also, I need more criticism. If people really want to help me, they'll stop spewing stuff like "great capture" and "nice image" on stuff I post. Not that it happens super often, but when it does, not good. :P I'd rather hear that everything I do sucks so I'll know where to improve than have my family and friends always telling me how good it all is. I've seen the work that real talented people put out. It's a lot better than mine.
Now, if you've gotten this far, lemme just say thanks for reading and wish you a good day. I appreciate it. Now, head over to zackarias.com/blog. I guarantee it'll be much more interesting. :D
Mural entitled "Balance of Similarities" by POI DAWG aka @poi_dawg for Paint Memphis, seen at 2476 Broad Avenue in Memphis, Tennessee.
Drone photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee
Originally i entitled this, Mediæval Student Trap, because of the spring-loaded trapdoor in the ground ready to catch escapees!
I took this photograph at #xmlsummerschool in i think 2013, the only time i’ve been able to get to it.
Mural entitled "Ánimo Sin Fronteras." Subject is Melchor Flores, painted by artist Miles "EL Mac" MacGregor. Corner of E. Mills Ave. and N. Stanton St., El Paso, TX. Fujifilm Instax 300 camera. Desaturated to B&W. Light streak at upper left is real, photographing into the sun.
This piece, entitled "A Dream in Canada", is from page 5 of Anna Jameson's sketch book, donated to the library by the Bain family in 2000.
Title: Sketchbook
Creator: Anna Brownell Jameson, 1794-1860
Date: 1837
Identifier: jameson-album-023-p5-cropped
Format: Picture
Rights: Public domain
Courtesy: Toronto Public Library.
More information: View more images by Anna Jameson
Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.
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.
Mural entitled "Parallel Dawn" by Chris Soria aka @chrissoria and Danielle McDonald aka @dmarie8 seen at the corner of 5th Avenue North and Dr. Martin Luther King, Jr. Street in St Petersburg, Florida.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
Die Werke von Willem de Rooij kreisen um Fragen nach Repräsentation und Bedeutung. Seit den frühen 1990er-Jahren arbeitet der niederländische Künstler in unterschiedlichen Medien wie Installation, Fotografie und Film. Für seine Ausstellung „Entitled“ im MMK 2 des MMK Museum für Moderne Kunst Frankfurt am Main hat er Werke und Werkgruppen aus frühen Schaffensphasen bis zur Gegenwart erstmals zu einer neuen, den gesamten Museumsraum umfassenden Installation vereint.
„Willem de Rooij ist mit wichtigen Werken aus seiner Kooperation mit Jeroen de Rijke in der Sammlung des MMK vertreten. Wir freuen uns, mit dieser Ausstellung das Œuvre von de Rooij noch intensiver und umfassender beleuchten zu können“, sagt Prof. Dr. Susanne Gaensheimer, Direktorin des MMK.
De Rooij studierte an der Gerrit Rietveld Akademie und an der Rijksakademie in Amsterdam. Seit 2006 lehrt er als Professor für Bildende Künste an der Städelschule in Frankfurt am Main. Von 1995 bis 2006 arbeitete er zusammen mit Jeroen de Rijke (1970–2006).
Bei dieser Ausstellung stehen sowohl die einzelnen Arbeiten des Künstlers im Mittelpunkt als auch ihre Anordnung in einer umfassenden Installation, die speziell für die Räume des
MMK 2 entwickelt wurde. „In der Anordnung der Werke zu einer Gesamtinstallation sieht Willem de Rooij einen wichtigen Teil seiner Arbeit als Künstler. Der Raum – ob privat, öffentlich, institutionell oder sozial – ist dabei zentral. Der Raum zwischen den einzelnen Werken und die Aussichten auf den städtischen Umraum schaffen eine Beziehung zwischen dem Werk und dem Betrachter, zwischen dem Museum und der Stadt.“, sagt Klaus Görner, Kurator der Ausstellung.
Durch die bewusste Einbindung von Zwischenräumen und Fensteröffnungen stellt die Installation im MMK 2 Verbindungen zwischen dem Innenraum und der äußeren Umgebung her. Die Präsentation ist dabei nicht als Parcours oder Abfolge aufgebaut, sondern als ein Gefüge verschiedener Zonen, die sich gegenseitig durchdringen und über Blickachsen miteinander verknüpft sind. Dadurch deckt die Installation Referenzen innerhalb de Rooijs Œuvre auf.
Pressemitteilung MMK
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 “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.
I started making a list in my diary entitled âThings I Have Been Silent About.â Under it I wrote: âFalling in Love in Tehran. Going to Parties in Tehran. Watching the Marx Brothers in Tehran. Reading Lolita in Tehran.â I wrote about repressive laws and executions, about public and political abominations. Eventually I drifted into writing about private betrayals, implicating myself and those close to me in ways I had never imagined.
--From [Things I Have Been Silent About](http://www.amazon.com/Things-Ive-Been-Silent-About/dp/1400063612)
[Azar Nafisi](http://azarnafisi.com/), author of the beloved international bestseller [Reading Lolita in Tehran](http://www.amazon.com/Reading-Lolita-Tehran-Memoir-Books/dp/081297106X), now gives us a stunning personal story of growing up in Iran, memories of her life lived in thrall to a powerful and complex mother, against the background of a countryâs political revolution. A girlâs pain over family secrets; a young womanâs discovery of the power of sensuality in literature; the price a family pays for freedom in a country beset by political upheavalâthese and other threads are woven together in this beautiful memoir, as a gifted storyteller once again transforms the way we see the world and âreminds us of why we read in the first placeâ (Newsday).
I met with and photographed [Azar Nafisi](http://azarnafisi.com/) for The Times in London she is a fantastic upbeat person....... very personable..... totally fascinating........... Im sure her new book......... [Things I Have Been Silent About](http://www.amazon.com/Things-Ive-Been-Silent-About/dp/1400063612) is well worth reading........ although I myself do not yet have a copy.
I was thinking of [Azar Nafisi](http://azarnafisi.com/) today as I was listening to reports about the jailing of another Iranian American woman........ [Roxana Saberi](http://freeroxana.net/) who has been arrested while reporting from Iran........ I have listened to her reporting many times both on the BBC and NPR ......... I felt sick when I heard she had been jailed for on trumped up charges of spying and sentenced to 8 years...... I feel the new Obama administration's attempts to engage Iran are not wrong and anyway could hardly be less successful than President Bush's attempts at manipulation through isolation............. but I did feel slightly sick that the totally unjustified incarceration of this brave individual reporter by this awful theocracy......... just might just be brushed under the carpet to allow dialogue with the oppressive ayatollahs.
Lets try and engage with Iran but lets not forget [Roxana Saberi](http://freeroxana.net/).
Cheers Jez XXXXXXXXXXXXXXX
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.
Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.
Woodcut entitled John Tabor's Ride, an illustration in John Ross Browne's 'Etchings of a whaling cruise: with notes of a sojourn on the island of Zanzibar; and a brief history of the whale fishery, in its past and present condition' (1846).
The full LUNA record for this item is here: images.is.ed.ac.uk/luna/servlet/detail/UoEgal~5~5~66948~1...
© The University of Edinburgh Library
This is a rare paleontology book, entitled "Fossils of Korea". It was published in 1987 in Pyongyang by the North Koreans. I obtained a reproduction of the trilobites chapter by borrowing a copy from the Library of Congress (Washington D.C.). Last time I checked, eight American libraries reported owning this book.
Kim Tok-Song [Kim Deog-Sun]. 1987. Trilobita. pp. 8-65, 168-176, pls. 8-26 in: Fossils of Korea 1. Pyongyang, North Korea. Science Encyclopedia Publishing House. 193 pp. 96 pls. [in Korean]
North Korean paleontology literature is difficult to obtain. Only a couple fossil books like this are available. Cited articles about North Korean trilobites are in journals that apparently don't exist in non-North Korean libraries.
North Korea is the # 1 loser country in the world. This book well illustrates that - there's fake information in the trilobites chapter! How pathetic does one have to be in order to falsify info. about fossil trilobites?
The example plate (plate 12 in the book) ostensibly shows Cambrian trilobites from North Korea.
Figures 1-3: Ghwaiella yemjenriensis
Figure 4: Ghwaiella cf. Ghwaiella yemjenriensis
Figure 5: Dinesus chonjuriensis
Figures 6-7: Dinesus madokensis
Figure 8: Solenoparia sp.
Figures 9, 12, 14, 16: Solenoparia triangulata
Figures 10, 15: Solenoparia sobukensis
Figures 11, 13, 19: Solenoparia nodosa tersa
Figure 17: Anomocarella(?) blackwelderi
Figure 18: Poshania cf. Poshania transversa
Figures 20, 21, 25, 26: Crepicephalina ghwairiensis
Figure 22: Crepicephalina dekchonriensis
Figures 23, 27: Olenoides asiaticus
Figure 24: Duamsannella hwanhaiensis
Figure 28: Anomocarella chinensis
The two Olenoides asiaticus figures in the plate are said to come from near Pyongyang, the capital of North Korea. In reality, these two illustrations are copied from a 1930s Japanese reference on Korean trilobites - the specimens are actually from Yongwol in South Korea. Demonstrably false locality information is also present on plate 11 in the book. It is unknown whether any of the photographed trilobites are actually from North Korea.
False fossil information and illustrations are present elsewhere in the paleontological literature, but thankfully are rare. Other examples include Vishwa Jit Gupta's work on Himalayan fossils, Mustafa Iman's work on fossil algae in Africa and the Middle East, and some of Edward Petuch's work on Cenozoic fossil seashells.
It's up to everyone to shine spotlights on scientific dishonesty.
An image from the exhibit entitled : Everything in Place
It focuses on the preparatory materials kept "at hand"—sketches, diagrams, discoveries, studies, and ephemera—both inspiring and documenting the creative process.
Artists included in the exhibition: Deborah Boardman, Judy Chicago, Virginia Eifert, Fatherless (Corey Hagberg, Jarrod Hennis, Javier Jimenez, David Menard, Greg Lang), James Garrett Faulkner, Susan Frankel, Winifred Godfrey, Shoshana Hoffman, Kate Ingold, Jessie Pixely Lacey, Julius Moessel, John Warner Norton, Olivia Petrides, James Purdy, Milton Rivera, Francois Robert, Flora Schofield, Diane Simpson, Eleanor Spiess-Ferris, Frank Trankina, Rudolph Weisenborn, Rebecca Wolfram, Mary Agnes Yerkes, Betsy Youngquist, R. Scott Long, archaeological sketch maps and journals by W. B. Nickerson and Gwyneth Gillette, and species identification drawings by Don Luce.
15 December 2022 - Leinster House
PRESS RELEASE & REPORT
The Joint Committee on Gender Equality has today, Thursday December 15th, published its final report entitled Unfinished Democracy: Achieving Gender Equality.
This report is based on the work carried out by the Oireachtas Committee over 2022.
Chaired by Ivana Bacik TD, the cross-party Committee held a range of hearings to consider the comprehensive recommendations produced by the Citizens’ Assembly on Gender Equality.
The Committee took the view that the 45 Assembly recommendations should be seen as a blueprint for achieving a gender equal Ireland, and so the focus of its deliberations was on how best to secure their implementation.
In particular, the Committee has developed a precise wording of the text for amending Articles 40.1 and 41 of the Constitution, and it calls on the Government to hold the necessary referendum in 2023.
The proposed changes to Article 40.1 would reflect the Assembly’s wish to see constitutional recognition for the principle of gender equality; and for principles of equality and non-discrimination.
The proposed changes to Article 41 would remove the sexist language currently in the text referring exclusively to women and mothers as having a ‘life’ and ‘duties’ within the home.
Instead, the proposed changes would insert gender-neutral language to ensure that the role of care is recognised, valued and supported by the State.
The proposed changes would also ensure a more inclusive definition of ‘family’ beyond the family based upon marriage.
Apart from constitutional change, the report also sets out comprehensive recommendations on a range of other gender equality measures; on childcare, care and social protection; on measures to address Domestic, Sexual and Gender Based Violence (DSGBV); on the role that education can play in challenging gendered norms and stereotypes; on the impact of pay and workplace conditions on gender equality; on how to achieve gender equality in leadership, politics and public life; and on how the gender equality principle can be protected through law and policy.
Speaking at the launch of the report, Committee Cathaoirleach Deputy Ivana Bacik expressed thanks to all who had engaged with the work of the Committee, saying:
“The aim of this report is to provide an action plan for change towards a truly gender equal Ireland, with meaningful timelines for implementation.
“We acknowledge that the implementation of some Assembly recommendations is already underway, and we now call on the Government to ensure the timely implementation of all of our recommended actions.
“In particular, we want to see a referendum held in 2023 to give effect to Assembly recommendations 1-3 on constitutional change; and we call on the Government to begin the preparatory work necessary for the holding of such a referendum.”
“We look forward to the implementation of our recommendations, and to the achievement of a truly gender equal society. As the Assembly has stated, ‘gender equality is a matter of human rights, justice, and fairness. It must underpin all of our interactions as a society."
“Until gender equality is achieved, our democracy will remain unfinished.”
Some of the key recommendations for government action in the report:
• Hold a constitutional referendum in 2023 to give effect to the Citizens’ Assembly recommendations on constitutional change, on the basis of the wording proposed by the Committee.
• Commission a 'cost of care' review that calculates the financial cost of unpaid care and examines the societal value of unpaid care.
• Move from a model of privatised care provision towards a publicly funded, accessible and regulated model of quality, affordable early years education and childcare.
• Ensure that the State takes over full responsibility for the remuneration of employees in the early years and childcare sector.
• Develop and establish a National Planning Unit for Care, to foster better linkages and co-ordination on care policies across all relevant Government Departments.
• Establish a Statutory Child Maintenance Agency to keep child maintenance out of the courts where possible.
• Ensure that action on the Third National Strategy on DSGBV begins immediately, pending the establishment of the new Statutory National Agency.
• Reinstate the Irish Sentencing Information System and ensure improved data systems within the criminal justice system to provide visibility on sentencing levels in DSGBV cases.
• Mandate the Electoral Commission to review A national gender quota strategy every five years.
• Initiate a process towards the introduction of a universal pension system.
• Institute a more generalised pilot Universal Basic Income (UBI) scheme based on the ‘participation income’ approach.
Read the report and its recommendations in full here.
The exhibition of National Széchényi Library entitled The Buda workshop of the CORVINA LIBRARY will be open from November 6, 2018 until February 9, 2019.
The Corvina Library
The Corvina Library was King Matthias Hunyadi’s royal library founded on the Italian model. The size of the library is not known exactly; it may have contained approximately 2,000 volumes. At that time this was a significant collection, and only the Vatican Library was bigger than the library of King Matthias. The approximately 220 surviving corvinas are currently kept in libraries in Hungary and across Europe and North America. It was due to the high-level reception of Renaissance and Humanism that this unique decorative royal library could be created in late medieval Hungary. On the pages of the codices, the most important readings of humanists, boosting the spiritual and ethical revival of antiquity, as well as an array of visual forms to accompany them arrived in Hungary.
The Buda workshop
The exhibition aims at exploring a so far hidden, less emphasized aspect of King Matthias Hunyadi’s library. Rarely is it discussed that, in addition to ordering splendid Italian codices, similarly precious and decorative manuscripts were made in the royal court as well. The aim of the exhibition is to explore and present this systematic and grandiose endeavor, serving the formation of a royal library in the court of Buda.
Achievements
The high level of the operation of the workshop is indicated by the fact that it was found out about unique codices, which have so far been considered to be unanimously Italian-made pieces, that they actually have the origin of Buda. One such example is the corvina including the history of Hungary by Pietro Ranzano, so far thought to have been made in Naples by researchers. We can present in a much more sophisticated manner how and to what extent creators of the Royal Library had relied on the collections of a former generation of scholar high priests including Iohannes Vitéz, György Handó and Ianus Pannonius. Periodization also became more precise; now we can clearly see that the library was systematically and uniformly developed only in the last years of King Matthias’ reign. It was at that time that the library turned into how we know it today, and the codices had been provided with a uniform binding. A more sophisticated knowledge has been acquired about the structure and inner operation of the workshop, the interaction of illuminators and styles, and its development. It has been manifested that style imitation was a key element in the working method of the workshop.
Decorative codices of high priests
The Buda workshop had not only fulfilled commissions for the Royal Library; following the king’s example were high-ranking priests who also placed their orders with the workshop. Our exhibition will present several of the codices made for them. Three decorative codices once owned by Domonkos Kálmáncsehi, Grand Provost of Székesfehérvár will also be displayed: in addition to one of the most beautiful codices of the Hungarian past, the breviary kept in Budapest, visitors will be presented the high priest’s prayer book kept in Paris, as well as the breviary and missal kept in New York. These latter two codices have not been on display at any exhibition held in Hungary as far as researchers’ memory can recall.
Almost all the corvinas kept in Hungary together
Visitors of the exhibition will have the unparalleled opportunity to look at almost all the corvinas, nearly fifty codices, kept in Hungary together.
Sensational pieces
The uniquely beautiful breviary of György Szatmári, Bishop of Pécs and one of the major patrons of late medieval Hungary, will arrive from Paris, just like the Cassianus corvina, eponymous top piece of the most beautiful style circle of the Buda workshop. During King Matthias’ reign, the presence of Greek codices in a royal library was considered to be rare even in Italy. Buda was a pioneer in this regard, too. Three unique items will arrive from the Greek codices of the Corvina Library: from Leipzig, the corvina, which was the only one to preserve the work of Purple-born Constantine VII (905‒959), Emperor of the Byzantine Empire on court ceremonial; and the so-called Mynas codex from Paris, which had been bound together – probably from Greek fragments found in the Royal Library – in Buda at the very beginning of the 16th century. Presented will be, as a real sensation, the most recently identified corvina, which had also been written in Greek, featuring works by Theologian St. Gregory. As a philological specialty, the Plutarch translation by Ianus Pannonius, known to have been well versed in Greek, will arrive from Leipzig. Milan-based Francesco da Castello was the most prominent illuminator of the Buda workshop. Visitors generally have the opportunity to look at his works made in Hungary only, but this will be the first time when the master’s productions made in Hungary and Italy will meet; two Graduals, painted at least partly by him, will arrive from Turin. Also displayed will be the so-called “Vatican Missal”, a special relic of style mixing and style imitation, characteristic of the Buda workshop.
Bibliotheca Corvina Virtualis: renewed corvina website
On the occasion of the exhibition, the renewed corvina website, Bibliotheca Corvina Virtualis will also be presented. The website will display all the corvina codices kept in Hungary in digital format.
Four brothers Billy, 17, Charlie 15, Rafferty 13, and Laurie 12 make up The Entitled Sons. The band name is a cheeky reference to how they felt some TV viewers would describe their upbringing after seeing them on their mum, Sarah Beeny's, latest TV show.
Debuting their first song "Break" on the TV show in the local pub near Bruton, it was only a few days later that they found themselves in the iTunes top 10, ahead of the likes of Ed Sheeran, Elton John, Dua Lipa and Years & Years.