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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.
030121-F-7203T-022
Afghani men watch a video entitled "Why We Are Here" which explains the United States involvement in the war on terrorism during a Medical Civil Action Program (MEDCAP) held in the village of Aroki Province of Kapisa, Afghanistan, on Jan/ 21, 2003. Soldiers from the 48th Combat Support Hospital, along side airmen from the 455th Air Expeditionary Wing and the 924th Korean Medical hospital, gathered together in the village of Aroki Province of Kapisa, Afghanistan to conduct a Medical Civilian Action Program (MEDCAP), Dental Civilian Action Program and a Veterinarian Civil Action Program to help bring health and wellness to the Afghan people. (U.S. Air Force photo by Staff Sgt. Cherie A. Thurlby) (Released)
To learn more about living and serving in Korea with the US Army, visit our official website at: imcom.korea.army.mil
Whether you are fresh off of active-duty, a military spouse or a seasoned professional, you will find a career with U.S. Army in Korea both challenging and inspiring. If you ready to join an award winning team and embark on the adventure of a lifetime, you can learn more about living and working in Korea online: imcom.korea.army.mil
Photos from the US Army in Korea can be viewed online at www.flickr.com/imcomkorea
The Morning Calm Weekly command information newspaper is available online at imcom.korea.army.mil
Published for those serving in the Republic of Korea - an assignment of choice.
About this image: Operation Enduring Freedom. A Department of Defense Image Collection.
These images are generally cleared for release and are considered in the public domain. Request credit be given the Department of Defense and individual photographer.
To learn more about living and serving in Korea with the US Army, visit our official website at: imcom.korea.army.mil
Whether you are fresh off of active-duty, a military spouse or a seasoned professional, you will find a career with U.S. Army in Korea both challenging and inspiring. If you ready to join an award winning team and embark on the adventure of a lifetime, you can learn more about living and working in Korea online: imcom.korea.army.mil
Photos from the US Army in Korea can be viewed online at www.flickr.com/imcomkorea
The Morning Calm Weekly command information newspaper is available online at imcom.korea.army.mil
Published for those serving in the Republic of Korea - an assignment of choice.
About this image: Operation Enduring Freedom. A Department of Defense Image Collection.
These images are generally cleared for release and are considered in the public domain. Request credit be given the Department of Defense and individual photographer.
To learn more about living and serving in Korea with the US Army, visit our official website at: imcom.korea.army.mil
Whether you are fresh off of active-duty, a military spouse or a seasoned professional, you will find a career with U.S. Army in Korea both challenging and inspiring. If you ready to join an award winning team and embark on the adventure of a lifetime, you can learn more about living and working in Korea online: imcom.korea.army.mil
Photos from the US Army in Korea can be viewed online at www.flickr.com/imcomkorea
The Morning Calm Weekly command information newspaper is available online at imcom.korea.army.mil
Published for those serving in the Republic of Korea - an assignment of choice.
About this image: Operation Enduring Freedom. A Department of Defense Image Collection.
These images are generally cleared for release and are considered in the public domain. Request credit be given the Department of Defense and individual photographer.
A colourful folding brochure entitled "Lincoln and Lincolnshire" issued by the Great Northern Railway in c.1907 with covers decorated by colour sketches of Lincoln by "E.W.". As well as Lincoln and the surrounding county the brochure looks at the various cathedrals found en route from London Kings Cross toward Yorkshire. The covers also show the GNR's unusual, for the UK, almost American style 'herald' or badge.
The Great Northern Railway was incorporated in 1846 and began operations in a small way in 1848. It took some years to finally construct and open what is now the East Coast Main lIne southcof Doncaster to London but this was to become, along witht he GNR, part of the vital main line from London to Scotland via York and Newcastle that was jointly operated by the GNR, the North Eastern Railway and the North British Railway. The GNR also operated a network of branch lines in Lincolnshire and Yorkshire, the latter being of particular importance in terms of access to the county's great coalfields.
From my set entitled “Cranesbill”
www.flickr.com/photos/21861018@N00/sets/72157607214202240/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Geranium
Geranium is a genus of 422 species of flowering annual, biennial, and perennial plants that are commonly known as the cranesbills. It is found throughout the temperate regions of the world and the mountains of the tropics, but mostly in the eastern part of the Mediterranean region. These attractive flowers will grow in any soil as long as it is not waterlogged. Propagation is by semi-ripe cuttings in summer, by seed or by division in autumn or spring.
The species Geranium viscosissimum is considered to be protocarnivorous.
The name "cranesbill" derives from the appearance of the seed-heads, which have the same shape as the bill of a crane. The genus name is derived from the Greek γέρανος, géranos, or γερανός, geranós, crane. The long, palmately cleft leaves are broadly circular in form. Their rose, pink to blue or white flowers have 5 petals.
Cranesbills are eaten by the larvae of some Lepidoptera species including Brown-tail and Mouse Moth.
Confusingly, "geranium" is also the common name of members of the genus Pelargonium, which were formerly classified in the cranesbill genus. In the United States, true Geraniums are frequently distinguished from the less hardy Pelargoniums as (rather redundantly) "hardy geraniums" by gardeners and in the horticultural trade. One can make the distinction between the two by looking at the flowers: Geranium has symmetrical flowers, while Pelargonium has irregular or maculate petals. Other former members of the genus are now classified in genus Erodium, including the plants known as filarees in North America.
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.
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
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.
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
Open to the public from 7 June to 23 November, 10 am to 6 pm (Arsenale venue 10 am to 8 pm on Fridays and Saturdays until 27 September)
Fundamentals
The 14th International Architecture Exhibition,entitled Fundamentals,directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, will be open to the public from June 7 through November 23, 2014, in the Giardini and the Arsenale. The preview is on June 5 and 6 and the award ceremony and inauguration will take place on June 7.
65 National Participations will be exhibiting in the historic pavilions in the Giardini, the Arsenale, and the city of Venice. Among these, 10 countries will be participating in the Exhibition for the first time: Costa Rica, Dominican Republic, United Arab Emirates, Indonesia, Ivory Coast, Kenya, Morocco, Mozambique, New Zealand, and Turkey.
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.
Shown here is a photograph of an exhibit entitled "Constructing Swem Library," on display from October 2010-2011 outside the Brown Boardroom on the third floor of Swem Library at the College of William and Mary. Since opening, Swem Library has undergone several rounds of renovations and additions, continuing to meet the evolving demands of its public. A 2010 Princeton Review survey even ranked Swem as the eighth “Best College Library” based on student evaluations! In this exhibit you will find a selection of programs and photographs that document various phases of its construction and renovation.
Below is a list of the exhibit text panels that are on display in the case:
The Earl Gregg Swem Library first opened on January 4, 1966. Here you will see a selection of programs and photographs that document various phases of its construction and renovation. After years of planning, the $3-million project gave the College of William and Mary a modern library fit for use by students, faculty, and researchers. Dr. Earl Gregg Swem was an obvious choice for the naming of the new library. As the school’s first College Librarian (1920-1944), he oversaw the increase of the College’s collection to more than 240,000 books. He also established the Archives and Manuscript Department and revived the William and Mary Quarterly.
Since opening, Swem Library has undergone several rounds of renovations and additions, continuing to meet the evolving demands of its public. A 2010 Princeton Review survey even ranked Swem as the eighth “Best College Library” based on student evaluations!
Earl Gregg Swem, 1870-1965.
Pictured here in his office, Dr. Swem was the ideal namesake of the College’s new library. He wrote about it in 1963, “Here then will be a haven for mortals who may wish to commune with immortals.” Sadly, Dr. Swem died before the official opening of the Earl Gregg Swem Library.
Left: Laying the cornerstone, October 1964: Ervin Farmer, Superintendent of Buildings and Grounds; Earl Gregg Swem, III; Davis Y. Paschall, President; Robert English, Bursar; James A. Servies, College Librarian.
Above: Davis Paschall and James Servies talk at the construction site before the cornerstone laying.
From the Special Collections Research Center, Earl Gregg Swem Library at the College of William and Mary. See swem.wm.edu/scrc/ for further information and assistance.
The Civil War Monument, entitled Soldier at Rest, was designed by sculptor Henry H. Davis, was dedicated in the Morristown Green on July 4, 1871. The monument features an 8-foot full length white Quincy granite figure of a Civil War soldier surmounted atop a 50-foot white Quincy granite shaft, divided into three horizontal sections. At the bottom of the shaft on the front is a bas-relief medallion. The base of the shaft stands on a series of steps. A cannon stands at each corner of the base. The monument is enclosed with a wrought iron fence. Inscriptions on the sides of the shift list battles of the Civil War inlcuding Antietam, Vicksburg, Appomattox, Shilo, Wilderness, Malvern Hill, Roanoke, Winchester, Gettysburg, Atlanta, Donelson and Cold Harbor.
Morristown Green is a two and a half acre park in the center of Morristown and bound by Park Place, Bank Street and Speedwell Avenue. The ground, which dates back to 1715, became George Washington's first encampment in the winter of 1777. The land, originally owned by the Morristown Presbyterian Church, was purchased in 1816 by the trustees of the Morristown Green and maintained as a Common ever since.
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."
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.
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.
Entitled “Thinking of Leaving Cuba” this drawing was made by a Cuban rafter in 1994-1996 while detained at the U.S. Naval Station at Guantánamo Bay, Cuba. Artist unknown. Photo courtesy of Dr. Elizabeth Campisi.
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.
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
Janet also released another album entitled The Velvet Rope and it also debuted at the billboard top chart. With the sales reached 16 million copies globally, Janet is one of the biggest selling artist of all time.
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 “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 is a part of an ongoing & experimental photo project of mine entitled "Corpse Photo-Poetics." It was conceived as a sort of abstraction of the Surrealist game, "Exquisite Corpse."
This one was recently run through the camera (7.23.05 =), and I realize that it was my Dad who took the other shot (I took him out of town for a medical procedure. We stayed @ a hotel and that's my bag, laptop & other crap on the bed.) ^_^
CPP is currently becoming an active project again, so I look forward to having more shots to post in the future.
TANGENT ALERT. Ok. You've been warned. I think that it was on this trip -- to Morgantown, WV -- that we were there when 50 Cent was playing at WVU. After we checked in, Dad wandered around, talking to people and looking for snacks & other freebies, as he loves to do. At some point in the lobby, he met a group of younger men, and introduced himself. Based on the way they were dressed -- sweats, killer basketball shoes, et al. -- Dad asked if they were athletes. "No sir," one of them spoke up, very politely. "We're musicians." "Oh," returned Dad, also being quite polite. "Best of luck with that."
The next morning, as I walked near the front counter in a daze, w/ a paper and some steeping breakfast tea, a clerk said, "hey, I heard your Dad was hanging out with 50 Cent last night before the show!" "Huh??" ;) Unbeknownst to me @ the time, 50 was staying @ our hotel.
My nieces loved the story most of all, telling all their friends that Granddad hung out with "Fiddy." ;-)
Again, you were warned...
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.
Postcard entitled "Burns Monument, Dumfries". A colour lithographic postcard of the statue in honour of Robert Burns, posted to Sussex in 1905.
In May 1877 the town council of Dumfries adopted a proposal to erect a statue to Robert Burns, the town's most illustrious inhabitant. A site was chosen in Church Place, at the junction of the High Street, Castle Street and Buccleuch Street and the local historian William McDowall was appointed secretary of a committee formed to progress the project.
The committee approved a model for the statue proposed by the artist Amelia Paton Hill. She had exhibited portrait busts, animal figures and genre groups at the Royal Academy, and all these elements are to be found in her statue of Burns, which is probably her best known work. The statue was carved in Carrara marble by Italian craftsmen working to Amelia Hill's model. It was unveiled by the Earl of Rosebery on 6th April 1882.
This postcard is something of a curiosity as it has been coloured to illustrate the statue lit by a full moon, with illuminated windows in the surrounding buildings of the town.
Digital Number: BCBN043a
(Copyright) We're happy for you to share this digital image within the spirit of the Attribution licence. Please cite ‘Dumfries & Galloway Museums’ when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email dumfries.museum@dumgal.gov.uk
This Christmas bauble, entitled "Silver Bells" depicting a silver bell tied with a bow 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.
"Silver Bells" is going to a friend of mine, who sings in a choir and has a beautiful soprano voice. We have many great memories of singing Christmas carols together, as I also sing. Her Christmas baubles always feature things that can be associated to Christmas carols, either traditional or modern. Past baubles have featured such things as a pear from the partridge in the pear tree from the "Twelve Days of Christmas", and holly and ivy representing "The Holly and the Ivy". My singing friend does not have a Christmas tree, but puts her baubles on the table on Christmas Day as ornaments and keeps them in a glass bowl in her hallway in the lead up to Christmas.
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, silver, blue and black sequins all use silver pins, The magenta 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.
Reading Abbey Exhibition, preparatory work for joint exhibition with artist Keith Lawrence entitled "Journeying"
For the past six weeks I've been working at some new artworks based on Reading Abbey and the town's historic churches. The exhibition will be held in the middle of Reading near the site of its ancient Abbey ruins at Abbey Baptist Church whose foundations were laid in 1640 close to the Holy Brook. These illustrations/prints are still in their early stages. One tends to start a few things to see how certain ideas will work together. I hope to show a selection of about ten of these in September, it's great to look at buildings I've been familiar with one way or another throughout my adult life. I'm not idealising them in any way; I want to show Reading as the busy modern place it is a shopping Mecca, whose medieval past is somehow forgotten, and yet the towers of St Laurence, Mary Minster and the classical portico of St Mary's Castle Street remind one that this was not always the case. Over the past few weeks I've been drawing various people on their way to work on foot, bike or car to fit the theme of Journeying. Gradually the compositions are coming together. At this stage I'm blocking in colour so they appear rather jagged brash and angular in some ways. So far I've started about fourteen works. I have taken hundreds of photographs to aid me, and have studied some of the history in Reading Museum.
From top left St Giles (Church Street), St Laurence (Friar Street), St Laurence, Tower, Reading Abbey and Prison and St Mary Castle Street. Early colour map layouts for prints uncorrected.
I hope to cover some of the following themes in this series:-Reading Gaol/ Abbey Ruins/Contemporary Reading/Trades ancient modern cloth to computers/shopping People walking, cars on bikes/The Holy Brook/ The Kennet/ Ancient paths streets.
The massive Cluiac Abbey of Reading was founded by William of Malmesbury in 1121, many of the town's churches date back to this early period, however with the dissolution of the monestaries and the great upheavals of the C16 and C17 left Reading's ecclesiastical buildings forever changed. Unlike Oxford, Reading had no historic university (until 1892), and its town's history was shaped by trade and its important location on the road between London and Bath and the rivers Kennet and Thames.
Reading's prosperity has meant that its town churches were all heavily restored in the nineteenth century, St Laurence (also recently re-ordered), St Mary Minster (Butts) , Greyfriars and St Giles all have medieval origins and some remains. St Mary Castle Street (Episcopalian) 1798 was by its fine facade with six giant Corinthian columns and pediment is impressive. Its cupola was lost during last century. The portico is by H&N Briant. The church largely dates from 1840-42.
Ceremony 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 bac
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
This is a C. Richter (publishers) Ltd postcard of a long forgotten event which took place on Thursday 17th August 1939. The postcard is entitled "Bombers over Trafalgar Square", but not RAF Bombers. These are French Bombers which took part in mock attacks against British cities in order to test the RAF's response. The following report in the Times of 18th August was written by their Aeronautical correspondent who I suspect was a serving RAF Officer.
A FRIENDLY INVASION
FRENCH BOMBERS OVER ENGLAND
RECEPTION BY RAF
From Our Aeronautical Correspondent
SAFFRON WALDEN, AUG 17
The French aircraft which came seeking targets in England today as British bombers have done lately over France, must have been a little overwhelmed by their reception. The British fighters which met them and cavorted about them seemed at least as numerous as the visitors. The French arrived and passed over England in successive waves, and at various points each wave met the reception committee almost in full force. We who accompanied the fighters were only too impressed by the crowding of the sky and were thankful for the third dimension which made it safe. The French bombers numbered about 120. In addition there were reconnaissance aircraft and fighters at about half that strength. The plan was to send the reconnaissance aircraft ahead to spy out the land and to give advice by wireless to the bombers which followed them. Lastly an escort of fighters was detailed to meet the returning raiders over London and convoy them on their homeward run. The plan afforded the British fighters a whole afternoon of good practice, in which the difficulty was less to intercept the quarry than to establish the right to deliver an attack on it. Over the South Coast soon after noon today we in the Blenheim fighters had to leave the fun of attacking to Spitfires and Hurricanes.
DAWN RAID
As the French came in they were attacked. As they advanced towards their objectives at Bristol, Birmingham, Manchester, and Oxford they were again attacked. As they made their way towards the coast once more they were assailed. Their return path over London was most hotly beset of all. Everything which passed was taken as a target by the fighters, and some of the farewell blows were struck over Tonbridge by fighters which had pursued the last wave from London. The only raid which was unopposed by British aircraft was that against Liverpool in the early morning. The four-engined heavy bombers, believed to be of the Farman type, crossed the coast at Harwich at 3.15 a.m. and were over Liverpool at 6.12. Some of the searchlights caught these, and the gunners probably had some practice, but the mist in eastern and southern England caused the fighters to be kept, for safety‘s sake, on the ground. That mist, which lifted when the sun came up, was not dispersed throughout the day. It hung, a gauzy curtain, at heights up to 9,000ft., and it made the visitors much less easy to find from the air than those who watched them from the ground may have supposed. When we left some of the raiders on the east side of London this afternoon, we lost sight of them completely at four miles range. Over the sea, while we watched for them this morning, the mist was still thicker, and our flight of three aircraft opened out to serve as an aerial drag-net a mile wide, drawn over the sea approaches between Hove and Beachy Head.
AIR FULL OF FIGHTERS
There the air was full of British fighters. There were Hurricanes and Spitfires above us, Gladiators beneath us, and a few Sharks of the Coastal Command away on our flank. When the Bloch reconnaissance aircraft came dimly into sight out of the mist, they were engaged so quickly by the fighters from above that we should have had no chance of jumping their claim even if we had been closer to them. Nearly an hour later the bombers came northwards from Havre in large bodies. The twin engined Potez could not be mistaken for anything but French aircraft, but the Amiots, similar to the Blenheims, nearly led to our being attacked.
A Formation of six Spitfires, having already played havoc among all the bombers they or we could see, sat patiently above us while its leader dived condescendingly to our modest height of l2,500ft. to make sure that we belonged to the home team. Then we were all recalled while fighters farther inland took up the duty of extending a hearty welcome to the French. We were hospitably given luncheon at an aerodrome to the east of London and there, when the alarm of returning bombers was given, we had the stimulating sight of 36 Spitfires being put into the air within 12 minutes. These were some of the numerous fighters which people in London saw engaging the French visitors high in the mist.
PILOTS’ GREETING
This was simply a piece of British heartiness. The French had arranged to assemble over London. They had no targets in London to bomb. Their rendezvous was intended as a salute to London and the British fighters could have no difficulty in finding so big a body of aircraft. The fighters attacked in their dozens, sailing in behind and below the bombers, delivering a burst of fire and then circling for the next assault. They could not have been an embarrassment, for they carefully kept the prescribed distance of 300 yards and occasionally waved a greeting which the French pilots returned. The assembly of the French over London more properly resembled a procession which strung itself out a little as the visitors made for the coast. It was then that interception practice became more difficult.
By 4.30 all the French aircraft had returned safely to their bases across the Channel, and we too had ended as full and exciting a day as the fighters could expect to have at the expense of their allies. The task of both parties to the excercise could have been simpler if the air over England had been as clear as the sky above; but the work of the French raiders and of their British opponents could not have been better done, and, apart from its significance as a token of Anglo-French relations, the joint adventure has doubtless increased the mutual respect between the two air forces and helped to deepen their sense of comradeship.
Mural entitled Beauty by San Flores in the Logan Square area of Chicago, Illinois.
Photo by James aka Urbanmuralhunter on that other photo site.
Edit by Teee
UNEP Executive Director Achim Steiner speaks at a forum entitled 'Towards COP21: Civil Society Mobilized for the Climate", Manila, Philippines, Feb 26 2015
On Wednesday, September 28, 2022, at the University of Mississippi’s Gertrude C. Ford Center, Mr. James Meredith was recognized by both that educational institution and the U.S. Marshals Service. With the 60th anniversary of the integration of the University approaching on October 1, the institutional ceremony, entitled “The Mission Continues-Building Upon the Legacy,” gave USMS Director Ronald L. Davis the perfect opportunity to award Meredith one of highest honors he could, and made him an Honorary Deputy U.S. Marshal. In the history of the U.S. Marshals Service only a handful of people have ever received this honor.
Of the approximately 350 deputy U.S. marshals and deputized personnel that ensured the registration and safety of Mr. Meredith during this time, few are living today. Retired Deputy U.S. Marshal Herschel Garner, the youngest of the cadre of deputies present during the riots that preceded registration, attended the ceremony representing all of them.
This historical event continues the partnership between the USMS and the University of Mississippi in recognizing the importance of educational equality and the role of our deputies in bringing this about. While it truly was a battle that resulted in Mr. Meredith attending and graduating from the school of his choice, the decade celebrations from 2002 to 2022 remain important moments in their own right.
Photo by Shane T. McCoy/US Marshals
Detail of Ragamala miniature entitled 'Assavari Ragini. Text below shows an English transliteration of this spelled 'Ausavery Raugny'. Depicts two girls sitting on a roof terrace, accompanied by two cobras. It is possible that this musical mode might originate from the Sabara people, who traditionally lived in the jungle and whose occupation it was to catch and charm snakes.
Ragamala paintings are images which depict, in physical form, the 'modes' or scales used in Indian Classical Music, known as ragas. Usually accompanied by an inscription or poem, they elucidate the season and time of day in which a raga was meant to be performed, as well as its mood, and often portray the Hindu deities with which they are individually associated. The concept may have originally come about through the use of personification as an aide memoire for musicians, which then developed into physical imagery.
This collection, which is purportedly called the Raga Kalpadruma, originates from Jaipur in Northern India and has the description of the Raga written in Sanskrit on the back of each image. Including some Bengali and English text as well, the collection also contains a few pages from another Indian music manuscript, also written in Sanskrit. It was gifted to the university by Dwarkanath Tagore (1794-1846), grandfather of the poet laureate Rabindranath Tagore (1861-1941) and is one of two sets of Ragamala paintings in the Oriental Manuscripts Collection, the other being Or.Ms 114.
Sources:
Watson, L. (2012), What is Ragamala?, dulwichonview.org.uk/2012/01/20/what-is-ragamala/ (accessed 05/06/14).
www.ed.ac.uk/about/museums-galleries/talbot-rice/archive/... (accessed 05/06/14)
The full LUNA record for this item is here: images.is.ed.ac.uk/luna/servlet/detail/UoEsha~4~4~64120~1...
© The University of Edinburgh Library
Lake Cordova
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]
Hector Goldsbrough
WW1 medal entitlements and ephemera. ARR accoutrements pre-date his AIF (1909-1915) service for conscription and Militia service in the Manly Garrison.
The original service medals for both Hector and Roy have been misplaced or "lost" through the ascention of time, hopefully they may be in the possession of an appreciative collector (at least), or connected family relative.
The Goldsborough Family in Australia
Contact us: goldsborough.familyhistory@gmail.com
© Goldsborough-Rogers Archives Respect our copyright. Permission required for other than non-profit reproduction.
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 Ohio Northern University gallery program continues its 2012–13 art exhibition and gallery season at the Elzay Gallery of Art with a show entitled “Beautiful Stores (Remix)” by artist Patricia Bellan-Gillen. The exhibit runs October 1 through November 9.
After years of studying cultural, dream, mythological and religious symbols, Bellan-Gillen found that the most interesting signs are the images that appear and keep pressing on one’s mind with no explanation. Honoring these puzzling visages, she maps the same direction begun in her paintings, prints and drawings. In very simple terms, she wants to make work that combines ideas and imagery generated through study and research with ideas and imagery that are felt, intuitive, and enigmatic.
Patricia’s current body of work continues to build on the use of imagery that suggests a narrative, remixes our stories and attempts to engage the viewer’s associative responses: imagery that is at once forgotten but familiar. Her work also celebrates a return to drawing—the sheer love of the fundamental act of working with the most basic of materials.
Admission to the Elzay Gallery of Art is free and open to the public, daily from noon to 5 p.m. while school is in session.
A public reception will be held Friday, Oct. 5 from 5–7p.m. at the Elzay Gallery of Art and the Wilson Art Center. As part of the University Homecoming activities, a public lecture will be held at 5:30p.m., Oct. 5. Both are free and open to the public.
Operated by the department of art & design, the University’s exhibition program serves as a vital means for engaging the Ohio Northern community and the Northwest Central Ohio region in the visual arts. The gallery season is designed to serve as an educational and cultural resource, to host national and international touring exhibitions, and to host original exhibits distinctly suited to an academic environment.
Patricia Bellan-Gillen lives in rural Burgettstown, Pennsylvania adjacent to the West Virginia border. She is the Dorothy L. Stubnitz Professor of Art at Carnegie Mellon University in Pittsburgh, where she teaches a variety of classes including Foundation Drawing, Concept Studio, Painting and MFA Seminar.
Bellan-Gillen’s paintings, prints and drawings have been the focus of over 35 solo exhibitions across the U. S., including venues in Washington DC, Chautauqua, NY, Las Cruces, NM, Albany, NY, Bloomington, IL and Portland, OR. Her work has been included in numerous group shows in museums, commercial galleries, university galleries, and alternative spaces. Venues have included: Hudson river Museum, Yonkers, NY, Chelsea Museum of Art, New York, NY, Frans Masreel Centrum, Belgium, and the Tacoma Museum of Art, Tacoma, WA.
“After years of studying cultural, dream, mythological and religious symbols,” said Bellan-Gillen, “I am beginning to believe that the most interesting signs are the images that appear and keep pressing on one’s mind with no explanation-unexpected images that flash across the brain when phrases like ‘war by proxy,’ ‘turn to salt’ or ‘separation of church and state’ are heard. Or the nascent compositions that appear while revisiting the ‘Spy vs. Spy’ pages of vintage Mad Magazine or hearing the familiar Da-Da-DaDa-DaDa theme song from the Rocky and Bullwinkel Show. Honoring these puzzling visages maps the direction that I have begun to follow in my paintings, prints and drawings. In very simple terms, I want to make work that combines ideas and imagery generated through study and research with ideas and imagery that are felt, intuitive and enigmatic.”
Bellan-Gillen continued, “This current body of work continues to build on the use of imagery that suggests a narrative, remixes our stories and attempts to engage the viewer's associative responses: imagery that is at once forgotten but familiar. The work also celebrates a return to drawing-the sheer love of the fundamental act of working with the most basic of materials.
“I must add that I am an artist that finds absolute exhilaration in mark making, from the controlled and academic to the childlike and spontaneous. I often look to the work of outsider artists for inspiration and awe. I want to achieve a weird elegance. I welcome provocation and puzzles. I would like my drawings to confront the viewer simultaneously with beauty and awkwardness and to mediate grace with humor. I place great trust in the viewer.”
Original Work entitled 'Riptide.'
Finger/stylus drawing done on the Apple App Store iPad application 'ProCreate.'
Originally entitled "Yellow Spiral" by its sculptor and artist Chris Byars, a Colorado-based artist who crafted this 11 semi-circle, towering modern structure outside the interior court at anchor JCPenney for Fairlane Town Center for its opening in 1976. Its original tone was yellow until it faced a black repaint. still stands today despite Byars' reported malcontent with various works of his either deteriorating or becoming mismanaged at other sites.