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An exhibition on contemporary design in Slovenia entitled "Silent Revolutions" was held at WIPO from October 7 to 26, 2015. The exhibition was inaugurated during the WIPO Assemblies, held in Geneva from October 5 to 14, 2015.
WIPO co-organized the exhibition with the Permanent Mission of the Republic of Slovenia to the UN Office in Geneva, the Slovenian IP Office (SIPO), and the Slovenian Museum of Architecture and Design.
In this photo: Household appliances HomeCHEF, SensoCARE and IQcook by Gorenje Design Studio, for Gorenje, 2012 and Alpina Racing Elite CS and CL Cross Country Ski Boots by Jure Miklavc, Jan Jagodič, Robert Križnar, for Alpina (2008).
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
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.
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)
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
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.
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.
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 “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.
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
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!
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.
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.
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.
I got this popup book entitled ''Disney Frozen: A Pop-Up Adventure'' by Matthew Reinhart. I got it a couple of weeks ago from 20th Century Music Company on Main Street in Disneyland. It had just been released last month (October 2016). It came wrapped in clear plastic, with a paper insert in the back. It tells the story of Frozen in pop-up drawings depicting actual scenes from the movie. There are six double page pop-ups, with some of them transforming into two separate scenes by means of pull tabs. There are also many smaller pop-ups tucked inside of side panels next to the main pop-ups. It costs $40.
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
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 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.
Social Development Minister Nelson McCausland has urged carers to make the call and check whether they are receiving all the benefits they are entitled to.
The Minister is pictured with pictured with Helen Ferguson, Carers NI, and carer Cormac Hamill.
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.
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.
ORIGINAL ACEO entitled, "19th CENTURY FISH PEOPLE PORTRAITS No.4" (2008) by award winning American artist/animator Dean A. Kendrick. The piece is a 2.5" x 3.5" ink marker drawing/watercolor painting on heavy weight watercolor paper that is intentionally stained with a coffee wash to give it an older, worn look as if it was found in the leaky attic of an under-kept Victorian mansion.
Who are the Fish People? Where did they come from? Are they a forgotten, de-evolutionary race that flourished in the 19th century United States?
ACEO stands for "Art Cards, Editions and Originals". These popular, collectible cards are exclusively 2.5" x 3.5" in size.
From my set entitled “Yew”
www.flickr.com/photos/organize/?start_tab=one_set72157607...
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
Links:
www.google.com/url?sa=t&source=web&ct=res&cd=...
www.pendernursery.com/Catalog/Detail/taxusxmediahicksii.html
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.
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!.
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.
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
Entitled 'Ice Blue and Spring Green Chandelier' when it was installed in 1999, it was enlarged and modified by its creator, Dale Chihuly in 2002 and hangs at the museum's Cromwell Road entrance.
The exhibition entitled Picture/Readings, is a collection of works from 1978, which reflect that era's captivation with photography as forthright, conceptual ideology, and feminist consciousness. Hence the Picture/Readings presage the iconic photo/text works for which Kruger would become known.
Kruger, Barbara. Picture/Readings. [s.l.: s.n.], 1978.
See MCAD Library's catalog record for this book.
This bronze statue entitled 'man with pigeons' has been moved around Eldon Square throughout the years, now resting opposite Boots and John Lewis (framed here by the temporary Christmas decorations of the Snow Cave and 'Eldon Bear').
The artist André Wallace was comissioned to create the statue to commemorate public/private partnership in Eldon Square shopping centre, it was only his second public commission. Wallace generally works with nautical themes, and his work stresses the importance of the individual (see The River God, another of André Wallace's statues which features in this photostream).
'Man with pigeons' does sadly wink at a northern stereotype (flat-capped working-class pigeon fancier?), but at the same time it might be argued that this image is intrinsic to Tyneside heritage and so is more of a celebration of a bygone identity.
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 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 official British press photograph entitled “A British Gun Higher than the Housetops on the Western Front”. No date or location is, not surprisingly, given in the photograph’s caption text. However, much can still be described now. The artillery piece is the BL (Breech Loading) 6in. Mark VII naval gun fitted to a carriage for use on land rather than on ships or static coast gun mounts. The usage of naval guns as field pieces was not at all uncommon and all major sides in World War One did so as a means to rapidly deploy large caliber guns into combat. The gun itself was first used by British naval ships beginning in 1901. It had a 46 inch long barrel and fired a 100lb. shell to a maximum range of 7.8 miles (when used as a field gun). It was one of the first British naval guns to use bagged propellant instead of brass shells. There was no recoil mechanism which meant the recoil forces were spent by the backwards motion of the entire gun. This meant that gunners typically were not anywhere close to the gun when it fired and it also meant that the gun had to be moved back into position after each shot which meant a low rate of fire. The tremendous recoil forces were so strong that the gun’s aiming mechanism had to be removed before firing else it become damaged and rendered useless. To limit the backwards motion, scotches were emplaced behind the wheels which allowed the gun and carriage to ride up the scotches and bleed off the recoil forces and then roll back into, more or less, the same position. This gun crew also has smaller scotches to put in front of the wheels to stop any unwanted forward motion after firing. The British first deployed the Mk. VII in 1915 though this particular gun uses one of the later carriages which featured cleated wheels (the original Scott’s Carriage had smooth wheels) to improve traction. The Mk. VII was so heavy at 25 tons that it was impossible for horses to move the gun and so this gun was usually towed by a Holt 75 or Holt 120 tractor. Because of its excellent range, the Mk. VII was typically tasked with conducting counter-battery fire missions against enemy artillery positions. It was also used for reducing enemy defensive emplacements and for barbed wire clearing prior to attacks. The Mk. VII would continue to see service into the 1950s as part of Britain’s coastal defense network. Only one Mk. VII field gun survives today and can be seen at The Front Museum in Lappohja, Finland.
To the left of ‘Men reading', we have the ‘Fight with Cudgels’ coupled with an enigmatic and sinister piece entitled ‘Atropos or The Fates’. Again, these two large works form a pair, being similar in treatment, and identical in size, and having been placed side by side originally in Quinta del Sordo (The house of the deaf man). The landscape in ‘The Fates’, or ‘Destiny,’ would seem to continue that of the other as the horizon line dissects both pictures and we observe monumental figures towering over their 'natural' habitat. Both paintings seem to relate back to previous prints in the ‘Los Caprichos’ set.
Plate 62 echoes the ‘Fight with Cudgels’ The caption reads : "who would have thought it" and this is clarified by the adage : "See, here is a terrible quarrel as to which of the two is more of a witch. Who would have thought that the screechy one and the grizzly one would tear each other’s hair in this way? Friendship is the daughter of virtue; villains may be accomplices but not friends".
There is an aspect of 'live by fire, die by fire' in this etching. As the two witches struggle with each other, the "grizzly one" is being molested from below by her own death, which takes the form of a bear, whilst the screechy one is being attacked by a leaping cat. Whether either of these demons actually exist is a matter of irrelevance. Goya is talking about the futility of vanity and petty opposition, when death is constantly beside us as an unseen reality. The wrath of these monsters is being aroused by the actions of the combatants. The demons of bloodshed and death are easily aroused but not so easily placated. The seedbed of human folly and vanity is fecund ground, and through war the death-drive achieves satiation.
This hopeless subject is tellingly repeated in the image of the two cudgelling combatants. They ferociously ply their weapons as they sink into quicksand, a fact which both seem totally oblivious to as they each concentrate their energies in their attempts to despatch the other. Whilst the protagonists in this harrowing act of mindless aggression deal out deathblows, imagining each to have the power to do so, the quicksands of age and disease ignore their petty arguments and suck in the healthy and the injured, the victor and the vanquished, in a game where there can be no winners .
Whilst the two 'enemies' encounter each other, the Fates hover over the landscape. We see Clotho on the left as she spins out the thread, and Lachesis as she measures it with her eyeglass, passing it on, as Atropos prepares to cut the life-thread with her raised scissors. The fourth figure seems to have her hands bound behind her back, as she stares at the spectator in muted dejection. Perhaps she is the mother of us all, whose relentless issue must travel the road through the spinning and measuring, to the final cruel scissors-cut of death. Paired with the former painting, this even further reduces the stance of the adversaries to the ridiculous and the absurd. This painting is also called ‘Destiny’ or ‘Atropos’. Either title would enhance this relentless death theory.
In the ‘Disasters’, Goya has shown us children only as they are snatched from their mothers. Again in ‘Saturn’ this tradition is continued as the father devours the children of Rhea. Here the children of an anonymous mother are snatched by destiny, even as the blood red of Zuniga's clothing foreshadows his death. Goya's Promethean cry of pain fills his dark anguished nights .
“When those dead bodies lay overwhelmed by their own bulk, they say that Mother Earth, drenched with their streaming blood, informed that warm gore anew with life, and that some trace of her former offspring might remain, she gave it human form. But this new stock, too, proved contemptuous of the Gods, very greedy for slaughter, and passionate. You might know that they were the sons of blood".
Ovid’s ‘Metamorphoses’ Book I, Vol. I, lines 156-162
Mother earth grieves as she watches her two, blood thirsty, wayward sons cudgel each other whilst they are being sucked in by the quick sands of 'destiny'.
I am interested in the idea of Goya as a generator of 'Bachelor Machines'.
1981
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.
From my set entitled “Aster”
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
en.wikipedia.org/wiki/Aster_(genus)
Aster (syn. Diplopappus Cass.) is a genus of flowering plants in the family Asteraceae. The genus once contained nearly 600 species in Eurasia and North America, but after morphologic and molecular research on the genus during the 1990s, it was decided that the North American species are better treated in a series of other genera. After this split there are roughly 180 species within the genus, all but one being confined to Eurasia.[1] The name Aster comes from the Ancient Greek word astron, meaning "star", arriving through the Latin word astrum with the same meaning, referring to the shape of the flower head. Many species and a variety of hybrids and varieties are popular as garden plants because of their attractive and colourful flowers. Aster species are used as food plants by the larvae of a number of Lepidoptera species - see list of Lepidoptera that feed on Aster. Asters can grow in all hardiness zones.
The genus Aster is now generally restricted to the Old World species, with Aster amellus being the type species of the genus, as well as of the family Asteraceae. The New World species have now been reclassified in the genera Almutaster, Canadanthus, Doellingeria, Eucephalus, Eurybia, Ionactis, Oligoneuron, Oreostemma, Sericocarpus and Symphyotrichum, though all are treated within the tribe Astereae. Regardless of the taxonomic change, all are still widely referred to as "asters" in the horticultural trades. See the List of Aster synonyms for more information.
In the UK there are only two native members of the genus of which one, Goldilocks is very rare, the other being Aster tripolium, the Sea aster. Aster alpinus spp. vierhapperi is the only species native to North America.[1]
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.
Having seen a Photoshopped color version of this photograph (located here on Flickr), my instructor in a March 2009 street photography class suggested that I convert it to black-and-white to accentuate the vertical shapes of the fence behind the runner.
I've done so here, using Apple's Aperture program, and with a yellow filter applied to the initial image. I think the result is interesting, and I'll try to keep an open mind for a while before deciding whether I like it better than the color version. However, if you have strong opinions one way or the other, I'd enjoy hearing it; leave me Flickr-mail or email me at ed at yourdon dot com
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I was walking south along the bridle path that circumnavigates the reservoir in Central Park; and the view here is basically south, with the CitiCorp building and varous other New York City skyscrapers in the background. The reservoir is enclosed by a fence (presumably to keep people from falling in, or jumping in to swim, or perhaps even attempting to fish), and there's a jogging trail that runs along the fence; so scenes like this are pretty common.
I hadn't taken the sun into account when I took this picture; during this season, it's pretty far south, and for whatever reason, it left the runner in pretty dark shadow. I tweaked it a bit, and hopefully didn't distort the background too badly. I also replaced the grayish-white hazy sky with a bluish gradient fill ...
Note: the color version of this photo has been published twice, as of March 14, 2009: in a Feb 26, 2009 blog article titled "How to Intensify Your Running and Lose More Weight.." and in a blog article (allegedly published on May 21, 2006 - which is difficult to imagine, since I didn't take the picture until Nov 21, 2008) entitled "Burn Twice as Many Calories Running."
This B/W version of the photo was published in an Oct 14, 2009 blog titled "Egyedül vagy társasággal?" And it was published in an Apr 22, 2010 blog titled "Demand Justice For the Wrongfully Convicted Central Park Five." It was also published in a Jul 15, 2010 blog titled "Let AudioTechnica help you run longer..." And it was published in a Nov 22, 2010 Fresh Healthy Body blog titled " Any other good exercises to lose weight rather than running?"
Moving into 2011, the photo was published in a Jan 17, 2011 blog titled "Two Best Exercises to Lose Weight." It was also published in an Apr 1, 2011 blog titled "Sweet! Candy eaters surprisingly slimmer."
Moving into 2013, the photo was published in a Feb 24, 2013 blog titled "Why Do I Want To Run Startup?" It was also published in an undated (early Jun 2013) blog titled "ABNEHMEN: ES GIBT KEIN GEHEIMREZEPT."
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.