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Cleo is a strange girl.
Happy at home, happy at school.
So what's her beef?
And why the graffiti?
A play concerned with fairness, class, education and social mobility.
The CSIS Energy and National Security Program released its report entitled Realizing the Potential of U.S. Unconventional Natural Gas. The report reflects a year-long effort to capture the latest understanding of the unconventional gas development picture and lays out themes and findings to facilitate a path forward. The event provided an overview of the findings from the project while allowing for a discussion of U.S. energy policy priorities for the coming year, key aspects of the unconventional gas revolution, and where the story goes from here.
Opening Panel:
U.S. Energy Policy: Priorities for the 113th Congress
Senator Ron Wyden (D-Oregon)
Chairman, Senate Energy and Natural Resources Committee
with
Senator Lisa Murkowski (R-Alaska)
Ranking member, Senate Energy and Natural Resources Committee
moderated by
Dr. John J. Hamre
President & CEO, and The Pritzker Chair, CSIS
Presentation: Findings from the Project
Sarah O. Ladislaw
Co-Director and Senior Fellow, CSIS Energy and National Security Program
Panel 2: Where the Gas Story Takes the U.S.: Key Aspects of the Unconventional Revolution
Clay Bretches
Vice President, Exploration and Production (E&P) Business Services and Minerals, Anadarko
Mike Hosford
General Manager – Unconventional Resources, GE Oil & Gas
Fred Krupp
President, Environmental Defense Fund
moderated by
David L. Pumphrey
Co-Director and Senior Fellow, CSIS Energy and National Security Program
Closing Remarks
Joseph W. Craver III,
President, Health and Engineering Sector, SAIC
Federal Vases
This pair of bronze vases, which artist Horatio Stone entitled “Ecce Homo” and “Freedom,” have been variously referred to as “Philosophy” and “Invention,” or more simply as the Federal Vases. They are part of a group of three; the third, larger vase, entitled “Republic,” is located at the Pomona College Montgomery Art Gallery in Claremont, California. Collectively, they suggest that American democracy draws its strength from a moral foundation coupled with native ingenuity.
•Artist: Horatio Stone
•Date: 1871
•Material: Bronze
•Dimensions: 34½" tall, 15" diameter
•Location: East Front Vestibule, U.S. Capitol Rotunda
Stone apparently conceived this unusual sculptural ensemble around 1868, specifically for display at the U.S. Capitol to reinforce the concept of American stability and unity in the wake of the Civil War. These vases, each 34½ inches tall and 15 inches in diameter, convey their message through a procession of low-relief figures, inscriptions and recognizable details, such as the telegraph machine and views of the Capitol dome, before and after the Capitol extension.
The vase referred to as Philosophy depicts the evolution of ethical thought and celebrates Greek philosophers as well as the artistic contributions of poets, musicians and sculptors to cultural development. The figures are identified in the inscription: “I. PROMETEUS/II. ORPHEUS/II. HOMER/IV. ARISTIDES/V. ANAXAGORAS/VI. PHIDIAS/VII. SOCRATES/VII. ECCE HOMO.” The frieze begins with the mythological figure of Prometheus and the vulture, signifying remorse for stealing the celestial fire; Orpheus with his lyre; and the epic poet Homer. Athenian statesman Aristedes, known as “the Just,” is followed by Anaxagoras, who brought philosophy to Athens, and the great Athenian sculptor Phidias, who adorned the Parthenon. Socrates, who embodies Truth, and an ecce homo depiction of Jesus complete the progression.
In the Invention vase, Freedom is personified by a male figure wearing a liberty cap, a motif that is repeated throughout the relief. The narrative begins as he receives the lamp full of the sacred oil of knowledge from Minerva, the goddess of Wisdom. Freedom then embarks on his metaphorical journey, in which he receives symbolic gifts from three leading American inventors: Benjamin Franklin, who presents him with a key, referencing the discovery of electricity; Robert Fulton, who offers his design for the steamboat; and Samuel F. B. Morse, who demonstrates the electric telegraph. The inscription on the vase reads “I. A SCIENCE/II. FREEDOM/III. FREEDOM/IV. FRANKLIN/V. FREEDOM/VI. FULTON/VII. FREEDOM/VIII. MORSE.”
The third, larger and more elaborate vase, Republic, depicts George Washington along with President Abraham Lincoln, Civil War Admiral David G. Farragut, Chief Justice John Marshall and newly elected President Ulysses S. Grant, surrounded by allegorical figures symbolizing Peace, Prosperity and Progress.
History
Apparently, as revealed in a letter that Horatio Stone wrote to his friend and legal counsel, Robert J. Stevens, the artist first developed these figural processions to adorn the walls of the east and west Capitol porticoes. Because the completed Capitol extension did not provide the proper architectural opportunity, Stone transferred his concept to free-standing vases, recasting the traditional bacchanal imagery found on Etruscan and Greek vases into a commemorative historical narrative. The amount of $10,000 was included for the vases in the 1870 congressional appropriation bill, but Stone did not sign a contract for the work. He completed the sculptures and had them cast in bronze by the Robert Wood Foundry in Philadelphia in 1871; however, by that time the money had reverted to the treasury. Confronted with a lien on the vases, Stone sought the help of his patron, the engineer John Chipman Hoadley, who covered his foundry debt and brought the vases to Washington, D.C., where they were placed on temporary public view. According to the National Republican of December 16, 1871, Ecce Homo and Freedom were displayed “in the east corner of the new hall of the House of Representatives.” After Stone’s sudden death in 1875, ownership of the vases reverted to Hoadley. Hoadley himself died in 1886, and in 1887 a public subscription raised funds to present all three vases to the Boston Art Club, which sold them in 1939 to a California collector.
In 2015 the vases were offered for exhibit in the U.S. Capitol by their owners, Daniel and Mathew Wolf, in honor of their sister, the Honorable Diane R. Wolf. With the approval of the Joint Committee on the Library, the vases were accepted and placed on display atop specially designed sandstone pedestals in the east front vestibule of the Rotunda.
The Sculptor
Horatio Stone was born in Jackson, New York, in 1808. Stone’s attempts at woodcarving as a young boy showed his early interest in sculpture, but he left home as young man to study medicine. In the mid- to late 1840s, he closed his practice and moved to Washington, D.C., to focus on sculpture. He became interested in the decoration of the Capitol as a founder and president of the Washington Art Association, which evolved into the National Art Association. In 1858, the Association petitioned Congress for the formation of an art commission to oversee the acquisition of art for the Capitol; the commission existed for only one year. Stone maintained studios in Washington, including, for a time, a room in the Capitol, and worked on his sculpture in Italy. He sculpted three statues for the Capitol: John Hancock (1861), Alexander Hamilton (1868) and Edward Dickinson Baker (1876). He died in Carrara, Italy, in 1875.
A transcription of the plaque on the base, edited and formatted for clarity:
The Federal Vases
Philosophy, 1871, by Horatio Stone
Tinted postcard photograph entitled Trinity Church, Old Brompton, Kent comprising view of Holy Trinity parish church looking south-west from inside corner formed by Mansion Row and The Sally Port, showing in foreground junction of Mansion Row, The Sally Port, Garden Street and Military Road (later Maxwell Road), telegraph pole, in middle ground church wall and bollards, street lamp and tree, in middle ground church wall and in distance church and trees. Street scene shows onlookers including sappers in walking out dress facing camera, carriageway, wooden fence alongside Mansion Row and Military Road and iron railings alongside The Sally Port.
One of several different postcards taken from the same exposure.
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.
Entitled ‘The Enemy’ and based upon the charcoal sketch originally exhibited at The Future Tense group launch show in 2010, the work was developed in collaboration with world-renowned print studio, Thumbprint Editions. Thumbprint is best known for creating etchings and woodcuts with such artists as Damien Hirst, Anish Kapoor and Tracey Emin, including her most recent release ‘The Kiss’.
Measuring a generous 100 x 70 cm and limited to a signed edition of 50 + 3 artist proofs, the print uses a traditional Polymer Gravure etching process to fully capture the unique tonal variation typically found in charcoal works on paper. This complex, highly technical process produces prints of unrivalled quality, whilst also creating an attractive embossed frame within the paper due to the extreme pressures on the plate during the printing process.
The Enemy will be available from www.thefuturetense.net from midday GMT on Thursday June 16th.
Part of a sculpture installation entitled "Borders" in Grant Park along Michigan Avenue in Chicago, Illinois. The figures are by Steinunn Thórarinsdóttir who fabricated them from cast iron and aluminum. The display was sponsored by the Chicago Park District, the Icelandic Ministry of Culrure, and others.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Tenuous Link: two figures on a bench.
From my set entitled “Sedum”
www.flickr.com/photos/organize/?start_tab=one_set72157607...
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sedum is the large stonecrop genus of the Crassulaceae, representing about 400 species of leaf succulents, found throughout the northern hemisphere, varying from annual groundcovers to shrubs. The plants have water-storing leaves and a typical form of blossom with five petals, seldom four or six. There are typically twice as many stamens as petals.
Well known European Sedums are Sedum acre, Sedum album, Sedum dasyphyllum, Sedum reflexum (also known as Sedum rupestre) and Sedum hispanicum.
Many sedums are extensively cultivated as garden plants, due to their interesting and attractive appearance and hardiness. The various species differ in their requirements; some are cold-hardy but do not tolerate heat, some require heat but do not tolerate cold. They are preferred to grass for green roofs, popular in Germany and some other countries.
Sedum species are used as food plants by the larvae of some Lepidoptera species including Grey Chi. In particular, Sedum spathifolium is the host plant of the endangered San Bruno elfin butterfly of San Mateo County, California.
Sedum reflexum, known as "prickmadam," "stone orpine," or "crooked yellow stonecrop," is occasionally used as a salad leaf or herb in Europe (incl. the United Kingdom) [1]. It has a slightly astringent sour taste.
Sedum acre ("biting stonecrop") on the other hand contains high quantities of piperidine alkaloids (namely (+)-sedridine, (-)-sedamine, sedinone and isopelletierine) which give it a sharp, peppery and acrid taste and make it somewhat toxic. Depending on the amount consumed, irritations of the mucous membranes, cramps and paralysis, including respiratory paralysis may ensue. In ancient Greece, biting stonecrop was used to treat epilepsy and skin diseases, as well as to cause abortions.
Sedum can be used to provide a roof covering in green roofs.
Dunmanway continues to promote its most famous son Sam Maguire with yet another wonderful project entitled ‘The Sam Maguire Passport’. It was officially launched on Sunday, 26th May, at St Patrick’s Cathedral, Dublin, by the President of the GAA John Horan, who said: ‘We pride ourselves in the GAA on being a community organisation. The Rev Cliff Jeffers is so keen and so driven. He is doing something that is a big benefit to the community and to the GAA… This is a GAA story and he is giving new life to it. But it will also bring benefit to the community. It will put Dunmanway on the map.’
Over 500 samples of the Sam Maguire Passport were distributed to those who attended a special service ‘in celebration of the inclusivity in the Gaelic Athletic Association’. Former President of Ireland Mary McAleese, Tom Ryan and Edel Maguire were among those who read at the service.
Dunmanway Community Tourism Initiative, consisting of the Reverend Cliff Jeffers, film–maker Brendan Hayes, Margaret Hennessey, Aine O’Brien of Dunmanway Library, and UCC marketing intern Máiread O’Donovan, together with students from Cork Institute of Technology, collaborated to develop three different types of passport for under–12s, under–18s and seniors.
The passport challenges the holder to follow in Sam Maguire’s steps by visiting the different locations in Dunmanway he frequented including his home and school. They will collect stamps along the way as a reward for a number of challenges which will help them to fulfil the criteria of the passport’s purpose.
On completion the passport holder will be entitled to attend one of the four celebrations planned over the summer where they will get their own personal All–Ireland winning experience with the trophy replica presented to them by one of a number of different former GAA presidents, including Sean Kelly MEP. Mr Kelly was GAA President in 2002 when he officially unveiled the Sam Maguire statue in Dunmanway.
The project is yet another collaboration between the Reverend Cliff Jeffers, Rector of the Fanlobbus Union of Parishes, and Brendan Hayes. Last year, Brendan worked on www.visitdunmanway.ie and the Sam Maguire Community Bells documentary, which is now the audio visual component of the Sam Maguire Visitor Experience.
The Reverend Cliff Jeffers said: 'In life Sam was Protestant by creed and Nationalist by conviction and this project encourages unity and reconciliation among the people and the community from all traditions in his hometown
'The Sam Maguire Passport Trail can be undertaken at any time, with external story boards at each location providing the information for the answers to be discovered and spare ‘visa stamps’ at St Mary’s Church and Dunmanway Swimming Pool. Opening times are given in the passport, with the majority of the locations giving priority to being open for July and August when Sam’s story can be comprehensively discovered. Special opening times can be arranged for groups who wish to visit at any time of year.'
The Sam Maguire Passport is best experienced by visiting Sam Maguire’s hometown of Dunmanway in West Cork. The Sam Maguire Passport also can be completed with an online version of the passport and going on a virtual tour of the locations on our website www.visitdunmanway.ie
Dunmanway town looks forward to welcoming everyone in their quest to follow Sam’s steps using the Sam Maguire Passport.
This Christmas bauble, entitled "Tudor Rose in Pink" depicting a stylised rose in the Tudor style 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.
"Tudor Rose in Pink" is going to a friend of mine who is of mixed English and Scottish lineage, so her baubles always have either an English or Scotish theme. She is very fond of flowers also, so her baubles will always have a floral motif. Past baubles have featured such things as a rose in the style of Charles Rennie Mackintosh and a Scottish thistle.
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. 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, and black sequins all use silver pins, The gold and pink 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 “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.
School of Pharmacy, Hajvery University organized one day seminar entitled, "Area to be focused in Pharmacy Practice" in Pakistan on 4th February 2016, Thursday, at 11.00 am.
Dr. Zaheer-ud-din-Babar, Head of Pharmacy Practice, School of Pharmacy, Faculty of Medical and Health Sciences, University of Auckland, New Zealand, visited Hajvery University. He is an International speaker, and recipient of prestigious “Research Excellence Award” from University of Auckland in 2012.
Dr. Babar has active research linkages with the leading universities in Australia, Europe, and in the Asia Pacific Region. He has also acted as a consultant for World Health Organization (WHO), Health Action International, and International Union against Tuberculosis and Lung Disease, International Pharmaceutical Federation (FIP), and for the Pharmaceutical Management Agency of New Zealand. He is a reviewer of top tier health-policy journals and of funding bodies including Australian National Health and Medical Research Council. Dr Babar is the founding editor of the Journal of Pharmaceutical Policy and Practice (www.joppp.org).
The seminar presented by Dr. Zaheer-ud-din-Babar was informative for students and for faculty as well. He has given some excellent solutions for current problems of Pharmacy practices. He has raised the need of community Pharmacist, i.e. processing of prescription, care of patient, monitoring of drug utilization, extemporaneous preparation, and health promotion. With this addition, many native health care problems will automatically be resolved. At the end, there was the closing ceremony. Dr. Lubna Shakir, Mr. Talib Hussain, and students of different batches shared their comments about these worthwhile lectures. The Rector of Hajvery University, Dr. Khalid Pervaiz gave a thank note and positive feedback for the lectures. Prof. Dr. Khalid Pervaiz represented souvenir to Dr. Zaheer-ud-din-Babar. Dr. Babar also thanked and appreciated the management, faculty, and students, and thanked Hajvery University for inviting him. The session ended with a group photo.
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.
New Deal mural entitled "Old Town in Alaska" was painted in 1943 by Austin Mecklem and Marianne Appel (husband and wife) at their home in NY state. It was shipped via railway on Oct 19, 1943 and arrived in Wrangell AK early December 1943. A telegram dated October 20, 1944 stated that Mr. Arnold Prusi installed the mural the previous week.
It is one of only 2 New Deal era murals in an Alaska post office.
Historic plaque:
www.flickr.com/photos/auvet/28686816957/in/dateposted-pub...
Formerly entitled "Juxtaposition... jux positioned on the ground."
View of the soon-to-be-razed landmark, The Parliament House Hotel, 420, 20th Street South, Birmingham, AL as seen from the circular driveway entrance.
Built in 1964 by investors which included actress Doris Day, University of Alabama at Birmingham, purchased the now-dilapidated 11-story, 223-room hotel in 2006 for $3.7 million property to expand their facilities.
President Nixon gave a speech there. Other luminaries whom stayed there include Bob Hope and his wife, whom stayed in the Presidential Suite, former New York Jets Quarterback Joe Namath, famed University of Alabama Head Coach Paul "Bear" Bryant and others.
An article from the Evening Post, 11 Jan 1938 entitled 'Real Air Force' reveals some facts behind why the hangars at Ohakea and Whenuapai are made from concrete.
"How great a difference from the Air Force of a year ago will be achieved when the present section of the programme is realised is indicated by the scale of the hangars to be constructed at the new North Island base at Ohakea, on the Sanson-Bulls highway, near the Rangitikei River, and 24 miles from Feilding.
The twin hangars for which tenders are being called will be the largest in the Southern Hemisphere, though not, of course, as large as those erected for European air forces. Each hangar will have a ground area of 220 feet in width and 190 feet in depth, with a door opening 25 feet high, closed by sliding doors, so that together they will be able to accommodate a considerable number of modem bombing machines of wide wing spread.
The roof design is unusual, for in place of one or other of the forms of standard construction adopted in the Royal Air Force stations in Great Britain, the roof span members will be ten great arches of reinforced concrete, the feet of which will sweep down far outside the walls proper.
The design has been adopted to meet the difficulty in obtaining heavy structural steel at the present time, for the sections required for so great a span are not rolled in Australia, and England would not have been able to'fulfil the order for over a year, and as the contract period is of fifteen months from the commencement of work the simultaneous programme of expansion would have been seriously delayed. Even were the delay acceptable, the cost of such sections would be considerably greater than the reinforced concrete arches decided upon."
Photo: Thomas Doherty a Steel Construction Worker.
manawatuheritage.pncc.govt.nz/item/fe939893-5f12-4717-923...
The sculpture entitled Thumbs Up is a focal point of his the home studio of Lewis Van DerCar in Wesley Chapel. The sculpture honors the eleven athletes who lost their lives in 1972 Munich Olympic Games. Bobby Ebie Van Dercar explained that his grandfather Lewis was touched and wanted to symbolically memorialize the tragedy. The Thumbs-Up statue is surrounded by numerous works of modern artist Van Dercar, who died in 1988. Photo courtesy of Ernest Wise, from Images of America: Wesley Chapel, by Madonna Jervis Wise. (e2750)
From my set entitled “Boats and Ships”
www.flickr.com/photos/21861018@N00/3206986832/in/set-7215...
In my collection entitled “Transportation”
www.flickr.com/photos/21861018@N00/collections/7215761271...
In my photostream
www.flickr.com/photos/21861018@N00/
Imagekind link:
Reproduced from Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/North_Rhine-Westphalia
North Rhine-Westphalia (German: Nordrhein-Westfalen, usually shortened to NRW, official short form NW) is the westernmost and - in terms of population and economic output - the largest Federal State of Germany. North Rhine-Westphalia has over 18 million inhabitants, contributes about 22% of Germany's gross domestic product and comprises a land area of 34,083 km (13,158 square miles). North Rhine-Westphalia is situated in the Western part of Germany and shares borders with Belgium and the Netherlands. It has borders with the German states of Lower Saxony to the North and Northeast, Rhineland-Palatinate to the Southwest and Hesse to the Southeast.
The capital city is Düsseldorf, and the largest city is Cologne (Köln). Other major cities are Dortmund, Essen, Duisburg, Oberhausen, Aachen, Bielefeld, Bonn, Bochum, Bottrop, Bergisch Gladbach, Mönchengladbach, Mülheim, Münster, Gelsenkirchen, Krefeld, Hagen, Hamm, Herne, Iserlohn, Leverkusen, Neuss, Paderborn, Recklinghausen, Remscheid, Siegen, Solingen, Witten and Wuppertal.
The state is centred on the sprawling Rhine-Ruhr urbanised region, which contains the cities of Düsseldorf, Bonn and Cologne as well as the Ruhr Area industrial complex. The Ruhr area consists of, among others, the cities of Dortmund, Essen, Duisburg, Bochum, Gelsenkirchen and Oberhausen.
The state's area covers a maximum distance of 291 km from north to south, and 266 km from east to west.
The total length of the state's borders is 1,645 km. The following countries and states have a border with North Rhine-Westphalia:
Belgium (99 km)
The Netherlands (387 km)
Lower Saxony (583 km)
Hessen (269 km)
Rhineland Palatinate (307 km)
For many people North Rhine-Westphalia is synonymous with industrial areas and agglomerating cities. But the largest part of the state is used for agriculture (almost 52%), forests cover 25%. The southern parts of the Teutoburg Forest are located in the northeast. In the southwest, Nordrhein-Westafalen shares in a small part of the Eifel, located on the borders with Belgium and Rheinland-Pfalz. The southeast is occupied by the sparsely populated regions of Sauerland and Siegerland. The northwestern areas of the state are part of the Northern European Lowlands.
The most important rivers that run at least partially through North Rhine-Westphalia include: Rhine, Ruhr, Ems, Lippe and Weser. The Pader, which runs only through the city of Paderborn, is considered the shortest river in Germany.
The state of North Rhine-Westphalia was established by the British military administration on 25 October 1946. Originally it consisted of Westphalia and the northern parts of the Rhine Province, both formerly belonging to Prussia. In 1947 the former state of Lippe was merged with North Rhine-Westphalia, hence leading to the present borders of the state.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
This summer Kunsthal Rotterdam dedicates an exhibition to the internationally renowned contemporary artist Antony Gormley, the first one devoted to the sculptor in the Netherlands. The exhibition marks the purchase of the art work entitled Another Time II, which will be permanently positioned at the park side of the Kunsthal. During the exhibition, the sculpture is part of a spectacular installation entitled Event Horizon, which will be spread over fifteen buildings, silhouetted against the skyline of Rotterdam. In the monumental daylight hall of the building by Dutch architect Rem Koolhaas, Gormley stages two of his prominent installations, Allotment II (1996) and Critical Mass II (1995), together weighing as much as 100 tons, which have been transported to the Kunsthal by special flatbed trailers.
Original poster entitled “Uncle Sam Calls You,” promoting a week-long meeting from September 15-21 of an unspecified year with a local Office of Civilian Defense block leader for local civilians to be involved in local Civilian Defense wartime services. The female block leader would explain how households could participate in community wartime programs such as child care, home nursing, salvage of materials, and the WACCS. The poster was created by B. E. Moore. This poster was believed to have been used in Wake County, NC, during World War II [1940s].
From North Carolina WWII Home Front Posters, WWII 11, WWII Papers, Military Collection, State Archives of North Carolina, Raleigh, N.C.
Original poster entitled “Air Raid Wardens,” used to denote a group of local Office of Civilian Defense air raid wardens for Pasquotank County, NC, used in an Office of Civilian Defense parade held in Elizabeth City, NC, on July 4, 1942, during World War II. Participating in the parade were: J. K. Wilson, who served as the chief air raid warden for Pasquotank County; and J. H. LeRoy, who served as the commander of the Pasquotank County Civilian Defense [July 1942] [Poster sent with a description note from the Elizabeth City OCD that was removed during processing].
From North Carolina WWII Home Front Posters, WWII 11, WWII Papers, Military Collection, State Archives of North Carolina, Raleigh, N.C.
i'll suspend the gravitas for a photo or two today....So i went to a colleague's housewarming party on saturday evening....these people are weird...funny but weird. I figured...if you're going to put a photo of this on flickr, i've got to keep it in context!
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.
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.
Safe and Fair programme, through a partnership with World Vision Foundation of Thailand, trained women migrant construction workers on a site in Pathum Thani province to help them understand labour rights and their entitlements.
6 February 2023. © ILO/Pichit Phromkade.
More information about Safe and Fair programme:
www.ilo.org/asia/projects/WCMS_632458/lang--en/index.htm.
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US.
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.
The exhibition, entitled Montezuma’s Breakfast, was part of an ensemble that included the installation space, a catalogue, an artist’s book, an invitation card, and artwork titles; Nonas intended them to form a seamless but mysterious whole that would “create small, ongoing intrusions into the expectations of the audience.”
Nonas, Richard. Montezuma's Breakfast. New York: SZ Press, 1977.
See MCAD Library's catalog record for this book.
Edvard Munch did four drawings entitled the scream from pastels this is the modern day scream of a cild having never seen of knowing of the picures re-creating the central theme with in innocence of childhood and no knowledge of mental health. Also known as the cry.
A sculpture entitled 'The Darkest Time of Night Before the Sun Rises' by John O'Connor, part of an exhibition of sculptures in Inner Temple Gardens.
“The family is ordained of God. Marriage between man and woman is essential to His eternal plan. Children are entitled to birth within the bonds of matrimony, and to be reared by a father and a mother who honor marital vows with complete fidelity. Happiness in family life is most likely to be achieved when founded upon the teachings of the Lord Jesus Christ. Successful marriages and families are established and maintained on principles of faith, prayer, repentance, forgiveness,respect, love, compassion, work, and wholesome recreational activities. By divine design, fathers are to preside over their families in love and righteousness and are responsible to provide the necessities of life and protection for their families.
Source: Gospel Principles by the Mormons
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
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 have entitled this 'The Ignorance of Venus', as an homage to the painting Venus at Her Toilette. In my photo, Venus is reposed with her husband on the left taking her image, whilst the maid watches on. Venus is blissfully unaware of what is occurring around her, and the interaction of the other two parties.
This project was part of an assignment to take photos to give an historic 'feel' to the result.
Hello Everyone -
I think to say this will be my last Image of 2011.
It has been an memorable year for me. I have lost loved ones, found love, been knocked down, got up again, learnt new things about myself I never knew, and yet I'm still here journeying through life itself in good and positive light (or so i keep telling myself!).
I would like to say at this very moment to everyone who has commented on my photos a big Thank You and for those' who added any of my photos as a favourite. Your encouragement has been greatly appreciated, and although I'm hardly on flickr, I have made a new year resolution to make use of it more often!
So to end 2011 let me say to everyone, Have a Brilliant New Year :)
Looking forward to 2012 on Flickr with you all!
Kindest Regards
Rukhsana
aka Rukz_dslr
This photographic portfolio entitled "THE MAASAI" is the result of a period of one month lived with them from Kenya to Tanzania. Earth, fire, sun, blood: red is the color of the Maasai. Red is the earth, “Osinyai”, of the rough path that, a two hour drive from Nairobi, plunges into the Kenyan highlands crossed by arid rivers, in this ignored corner of the bush. A dozen low and narrow huts made of branches covered with a mixture of earth and dung, which the women build and rebuild that do everything, housing, food and milking the cattle. Tattered children dressed in variegated fabrics, old cloths draped in colorful fabrics, sparkling pearl necklaces and bracelets.
In the land of the Maasai, nothing is the same as before: the extension of the outskirts of the capital, first of all, has made these nomads withdraw, fleeing from civilization and refusing to mix with other ethnic groups. They bought their land which these shepherds, indifferent to land ownership and reluctant to agriculture, abandoned. The state created huge animal reserves, which further expropriated them of their territories. Gradually they withdrew to Tanzania, where today they emigrate in large numbers, there were also those years of terrible drought, which saw their herds wither.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
An artwork entitled When the Animals Speak has been created by Elizabeth Grajales and put up in the station in 1998. The pieces are on the end walls of the express platform and over the stairways. The south-end mosaic features a 9'x14' mural of a lion with a bird on his back facing his mate. The north-end panel features a 15'x13' mosaic of a bear looking toward a deer and her young.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
Safe and Fair programme, through a partnership with World Vision Foundation of Thailand, trained women migrant construction workers on a site in Pathum Thani province to help them understand labour rights and their entitlements.
6 February 2023. © ILO/Pichit Phromkade.
More information about Safe and Fair programme:
www.ilo.org/asia/projects/WCMS_632458/lang--en/index.htm.
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US.
This sculpture is entitled "Mammoth". It is one of two sculptures by Cleveland artist Viktor Schreckengost , that were at the entrances of the old Pachyderm Building at Cleveland Metroparks Zoo in Cleveland,Ohio. The other sculpture entitled "Mastodon" was located at the other entrance of the building. Both sculptures were part of the Pachyderm Building since 1957. They were removed in 2008 during the construction of the new African Elephant Exhibit which opened in 2011. Both sculptures are being restored and the zoo plans to exhibit them in the future. The old Pachyderm Building once housed Elephants, Hippos, Tapirs, Warthogs, and many years ago Rhinoceros and Giraffes.
This is a page from my AS Art and Design coursework, entitled "A Day at the Seaside". The idea behind my theme was memories we have, particularly from childhood, of going on day trips to the seaside or beach. On this sheet, I thought about the food we eat on these holidays, from picnics to traditional fish and chips served in newspaper. On the top left, there is an image of fish and chips which was created with chalk pastel. Under that is a starfish print. I made several of these prints and then ripped them up to collage together. For me, this made my print work more colourful and interesting to the eye. On the top right is a piece of photoshop work in which I scanned my own pieces in and put them together to make a new image. In the middle of the page is a watercolour painting of my brother with an ice cream. I thought that this piece could use more tone after painting, so I used chalk pastel over it. I further developed this idea of ice-cream with clay work. I used strings of clay to create the effect of ice-cream and then used a cross-hatching technique to make the cone look more realistic. On the bottom left is a mixed-media study of a picnic on the beach. I painted the children and picnic using acrylics first. I then put coffee on the page and painted over it to give the effect of a sandy beach. However, I was not completely satisfied with the result and in further work experimented with different materials to better give the illusion of sand. Beside that is mixed media work of chips in a bag. The paper was made using newspaper which I painted and the chips were created with paper maché and ModRoc. This was painted using acrylics. On the bottom right is my first felt work of a melting ice-cream cone. Ice-cream on this page was important because it is what I most associate with trips to the seaside. Thinking of the different sauces added to ice-cream, I made a patterned background of red and pink stripes. I then sewed into them with thread.
Earlier, in a previous post entitled "How Yahoo Killed Flickr and Lost the Internet," I'd shared an article about how fuckd up flickr is, and how they got that way.
If you've not read it, I encourage you to do so.
Even if you just happen to catch the evening news on the boob tube (may the Almighty have mercy upon your pitiful soul), you've bound to have heard the recent news of former Yahoo CEO Carol Bartz' ouster by the Board of Directors, and the recent resignation of recently appointed (January 4th, 2012) Yahoo CEO Scott Thompson when it was discovered that he had falsified his resume, by claiming he had earned a Computer Science degree.
In fact, Mr. Thompson's degree from Stonehill College was in Accounting, only. At the time of his graduation, Stonehill did not offer Computer Science as a major. Stonehill College is a private, accredited, historically Roman Catholic college in Easton, MA.
Five current Yahoo board members, including director Roy Bostock and Patti Hart, will step down immediately and not end their terms at this year's annual shareholders meeting as originally planned, according to Yahoo!.
Postcard photograph entitled Garrison Church, Chatham comprising view of west end and south side of Chatham Garrison Church, Maxwell Road, Brompton looking north-east from southern end of Maxwell Road, showing in foreground tree and in middle ground church.
The Garrison Church,Maxwell Road,Brompton dates from 1854 and cost £4,500 to build.
In 1851 it became evident that the existing Chapel was not adequate for the large garrison,which used it as a Chapel and School,and the needs of the Royal Engineers establishment (now the RSME) for model rooms and other instructional rooms were not fully met.
It was also expected that the Sapper and Miner depot (now Royal Engineers) would move from Woolwich to chatham.
Therefore on 17th October 1851 the war office suggested that the Chapel in Brompton Barracks should be used as a model room and that a new Chapel was to be sited as close as possible to the infantry Barracks (now Kitchener).
On 27th April 1854 The Times reported:
"Ground has been cleared near Fort Amherst Guard, Chatham, for a new garrison church, which will also be used, it is understood, for the regimental schools. The present garrison church in Brompton is expected to be converted into model rooms for the Royal Sappers and Miners and other purposes, for which several of the barrack-rooms are at present used by that corps. This arrangement will afford a great deal of additional room in the Brompton Barracks, and also place those rooms in the Chatham Barracks occupied as schoolrooms at the disposal of the barrack-master for the accommodation of troops."
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.
Federal Vases
This pair of bronze vases, which artist Horatio Stone entitled “Ecce Homo” and “Freedom,” have been variously referred to as “Philosophy” and “Invention,” or more simply as the Federal Vases. They are part of a group of three; the third, larger vase, entitled “Republic,” is located at the Pomona College Montgomery Art Gallery in Claremont, California. Collectively, they suggest that American democracy draws its strength from a moral foundation coupled with native ingenuity.
•Artist: Horatio Stone
•Date: 1871
•Material: Bronze
•Dimensions: 34½" tall, 15" diameter
•Location: East Front Vestibule, U.S. Capitol Rotunda
Stone apparently conceived this unusual sculptural ensemble around 1868, specifically for display at the U.S. Capitol to reinforce the concept of American stability and unity in the wake of the Civil War. These vases, each 34½ inches tall and 15 inches in diameter, convey their message through a procession of low-relief figures, inscriptions and recognizable details, such as the telegraph machine and views of the Capitol dome, before and after the Capitol extension.
The vase referred to as Philosophy depicts the evolution of ethical thought and celebrates Greek philosophers as well as the artistic contributions of poets, musicians and sculptors to cultural development. The figures are identified in the inscription: “I. PROMETEUS/II. ORPHEUS/II. HOMER/IV. ARISTIDES/V. ANAXAGORAS/VI. PHIDIAS/VII. SOCRATES/VII. ECCE HOMO.” The frieze begins with the mythological figure of Prometheus and the vulture, signifying remorse for stealing the celestial fire; Orpheus with his lyre; and the epic poet Homer. Athenian statesman Aristedes, known as “the Just,” is followed by Anaxagoras, who brought philosophy to Athens, and the great Athenian sculptor Phidias, who adorned the Parthenon. Socrates, who embodies Truth, and an ecce homo depiction of Jesus complete the progression.
In the Invention vase, Freedom is personified by a male figure wearing a liberty cap, a motif that is repeated throughout the relief. The narrative begins as he receives the lamp full of the sacred oil of knowledge from Minerva, the goddess of Wisdom. Freedom then embarks on his metaphorical journey, in which he receives symbolic gifts from three leading American inventors: Benjamin Franklin, who presents him with a key, referencing the discovery of electricity; Robert Fulton, who offers his design for the steamboat; and Samuel F. B. Morse, who demonstrates the electric telegraph. The inscription on the vase reads “I. A SCIENCE/II. FREEDOM/III. FREEDOM/IV. FRANKLIN/V. FREEDOM/VI. FULTON/VII. FREEDOM/VIII. MORSE.”
The third, larger and more elaborate vase, Republic, depicts George Washington along with President Abraham Lincoln, Civil War Admiral David G. Farragut, Chief Justice John Marshall and newly elected President Ulysses S. Grant, surrounded by allegorical figures symbolizing Peace, Prosperity and Progress.
History
Apparently, as revealed in a letter that Horatio Stone wrote to his friend and legal counsel, Robert J. Stevens, the artist first developed these figural processions to adorn the walls of the east and west Capitol porticoes. Because the completed Capitol extension did not provide the proper architectural opportunity, Stone transferred his concept to free-standing vases, recasting the traditional bacchanal imagery found on Etruscan and Greek vases into a commemorative historical narrative. The amount of $10,000 was included for the vases in the 1870 congressional appropriation bill, but Stone did not sign a contract for the work. He completed the sculptures and had them cast in bronze by the Robert Wood Foundry in Philadelphia in 1871; however, by that time the money had reverted to the treasury. Confronted with a lien on the vases, Stone sought the help of his patron, the engineer John Chipman Hoadley, who covered his foundry debt and brought the vases to Washington, D.C., where they were placed on temporary public view. According to the National Republican of December 16, 1871, Ecce Homo and Freedom were displayed “in the east corner of the new hall of the House of Representatives.” After Stone’s sudden death in 1875, ownership of the vases reverted to Hoadley. Hoadley himself died in 1886, and in 1887 a public subscription raised funds to present all three vases to the Boston Art Club, which sold them in 1939 to a California collector.
In 2015 the vases were offered for exhibit in the U.S. Capitol by their owners, Daniel and Mathew Wolf, in honor of their sister, the Honorable Diane R. Wolf. With the approval of the Joint Committee on the Library, the vases were accepted and placed on display atop specially designed sandstone pedestals in the east front vestibule of the Rotunda.
The Sculptor
Horatio Stone was born in Jackson, New York, in 1808. Stone’s attempts at woodcarving as a young boy showed his early interest in sculpture, but he left home as young man to study medicine. In the mid- to late 1840s, he closed his practice and moved to Washington, D.C., to focus on sculpture. He became interested in the decoration of the Capitol as a founder and president of the Washington Art Association, which evolved into the National Art Association. In 1858, the Association petitioned Congress for the formation of an art commission to oversee the acquisition of art for the Capitol; the commission existed for only one year. Stone maintained studios in Washington, including, for a time, a room in the Capitol, and worked on his sculpture in Italy. He sculpted three statues for the Capitol: John Hancock (1861), Alexander Hamilton (1868) and Edward Dickinson Baker (1876). He died in Carrara, Italy, in 1875.
A transcription of the plaque on the base, edited and formatted for clarity:
The Federal Vases
Invention, 1871, by Horatio Stone