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.

St Edmundsbury Cathedral (formally entitled the Cathedral Church of St James) is the cathedral for the Church of England's Diocese of St Edmundsbury and Ipswich. It is the seat of the Bishop of St Edmundsbury and Ipswich and is in Bury St Edmunds. Originating in the 11th century, it was rebuilt in the 12th and 16th centuries as a parish church and became a cathedral in 1914; it has been considerably enlarged in recent decades.

 

A church has stood on the site of the cathedral since at least 1065, when St Denis's Church was built within the precincts of Bury St Edmunds Abbey. In the early 12th century the Abbot, Anselm had wanted to make a pilgrimage along the Way of St James to Santiago de Compostela. He was unsuccessful and instead rebuilt St Denis's and dedicated the new church to Saint James, which served as the parish church for the north side of Bury St Edmunds. Anselm was also responsible for building the abbey gate tower, known today as the Norman Tower, alongside St James's, which also served as the church's belfry and it continues in this function to the present day.

 

This church was largely rebuilt, starting in 1503, in the Perpendicular style by John Wastell, a master mason who also worked on King's College, Cambridge. Further alterations to the building were undertaken in the 18th and 19th centuries, notably a new chancel and a hammerbeam roof by George Gilbert Scott. When the Diocese of St Edmundsbury and Ipswich was created in 1914, St James's Church was made the cathedral. In 1959 Benjamin Britten wrote the Fanfare for St Edmundsbury for a "Pageant of Magna Carta" held in the cathedral grounds.

 

From 1959 onwards there was renewed building work designed to transform the former parish church into a cathedral building. Between 1959 and 1970, the Victorian chancel was demolished and replaced with a new quire, a cloister was added on the west side; also transepts, a Lady chapel and a side chapel dedicated to St Edmund were built. The cathedral architect from 1943 to 1988 was Stephen Dykes Bower and he left £2 million for the completion of the cathedral. In the cathedral grounds a new choir school and visitor's centre were which were opened in 1990, built by Dykes Bower's successor, Alan Rome.[1] Work started on a Gothic revival style tower in 2000; funded by the Millennium Commission, the Stephen Dykes Bower Trust and others, the Millennium Tower was designed by Hugh Matthew, an associate of Dykes Bower. The 150 foot (46 metre) structure was built from 600,000 bricks and faced with Barnack and Clipsham stone. Its completion was officially celebrated on 22 July 2005.Further additions are the Chapel of the Transfiguration and the East Cloister, both completed in 2009, and the Crypt Treasury in 2012.

 

Interior

The font was designed in 1870 by George Gilbert Scott, constructed on a medieval shaft, with a cover by Frank Ernest Howard of Oxford. The decoration was added in 1960. A painting, "The Martyrdom of St Edmund" by Brian Whelan hangs in the Lady Chapel.[7] A sculpture by Elizabeth Fink entitled Crucifixion stands by the Treasury steps. Stained glass in the cathedral includes the medieval Susanna Window which has Flemish glass in the lower section and English glass at the top. The west window depicts the Last Judgement and dates from about 1900.

 

In addition to guided tours of the cathedral itself, visitors can view changing exhibits of art in the Edmund Gallery, and an exhibit of historic and religious regalia and artefacts in the Cathedral Treasures display.

    

A cultural event entitled “Follow Georgia” featuring an exhibition of work by contemporary Georgian artist Ms. Tamara Kvesitadze and a music performance by ethno-jazz band “Shin” was held on the sidelines of the Assemblies of WIPO Member States, which met from October 2-11, 2017.

 

Ms. Tamara Kvesitadze’s works take roots in antiquity and mythology as well as in surrealism, which successfully combine art and construction. The music of the Shin smoothly combines Georgian folk melodies with jazz, which is the sound of Georgia’s musical encounter with the world.

 

WIPO co-organized the event with the Government of Georgia to mark the 25th Anniversary of the National Intellectual Property Center of Georgia – SAKPATENTI.

 

Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.

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.

 

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 “Bleeding Heart”

www.flickr.com/photos/21861018@N00/sets/72157607186479750/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Dicentra

Dicentra spectabilis also known as Venus's car, bleeding heart, Dutchman's trousers, or lyre flower, is a perennial herbaceous plant native to eastern Asia from Siberia south to Japan. This species of bleeding heart can grow to 24"-36" tall and has ternately compound leaves (leaflets that come in threes). The flowers are pendulous, shaped much like hearts, produced in a raceme bearing 3-15 individual flowers, each one 1-2" long, with pink outer petals and white inner petals. The flowering season is from early spring to mid summer. The common name of this plant, bleeding heart, comes from the heart-shaped flowers which have a longer inner petal that extends below the 'heart'.

 

It is a popular ornamental plant for flower gardens in temperate climates, and is also used in floristry as a cut flower. It can be a full sun plant if in a cool area but in a warm climate, prefers semi-shaded areas. It needs to be kept moist and prefers neutral to alkaline soil with good drainage although these plants can tolerate heavy clay soil as well.

It is prone to aphids, slugs and snails, which cause damage to its leaves. Propagation is by sowing the seeds when fresh. It can also be divided, preferably in the late fall or early spring. However, contact with the plant can cause skin irritation because the entire plant is toxic, so should be handled with gloves and long sleeves.

 

Several cultivars have been selected, including 'Alba', with pure white flowers, and 'Goldheart', a relatively new cultivar developed at Hadspen Garden in England and introduced in 1997 with fuchsia-coloured flowers that drop from the stem in a row, and yellow foliage that turns lime green by mid summer.

 

This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.

For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...

A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........

All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.

I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..

 

If you are interested in more info please feel free to contact ...efj@sbcglobal.net

 

Best best

 

Efj.

All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.

I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..

 

If you are interested in more info please feel free to contact ...efj@sbcglobal.net

 

Best best

 

Efj.

The Frontline club brought forward the annual "International Press Freedom Day" from the 3rd of May to hold a debate entitled "Does unregulated political comment enhance the democratic process?" last friday.

 

The debate was moderated by William Horsley from the Centre for Freedom of the Media (CFOM)a nd the Association of European Journalists (AEJ) and featured Sir Robert Worcester, founder of MORI and the Ipsos Group, Caroline Thomson, Chief Operating Officer of the BBC; Prof Steven Barnett, from the University of Westminster and Sunny Hundal, founder of liberalconspiracy.com

Fashion Photographer Zoe Zimmer documented several Roma settlements in Slovakia. The resulting work is entitled Deserve Dignity.

 

Zimmer: “Before I went, I thought about painted caravans and all sorts of romantic ideas of what a Gypsy is – I hope my photographs are a more realistic portrayal of how they’re actually living and the problems they face.”

While visiting Roma settlements, she saw children who attend segregated schools and musicians who struggle to afford their instruments. But she said she was struck by how optimistic many of the people were despite their hardships. CNN

 

Very few photographers documenting the plight of the Roma are written about in Huffington Post, featured on CNN and have their work exhibited internationally. From California where it premiered in a West Hollywood Library, Zimmer’s Deserve Dignity is set to travel to New York and Chicago and will conclude sometime next year in Slovakia.

 

Zoe traveled to Slovakia with her father Hans Zimmer. Also part of the crew was a six-member delegation that included Bonnie Abaunza, director of Hans Zimmer’s philanthropic Remote Control foundation. A well known activist, Bonnie’s work has received commendations from the United States Congress House of Representatives. This was more than a picture taking expedition. It was part of a fact finding mission organized through former Secretary of State Madeline Albright and the nonprofit National Democratic Institute.

 

NDI: In four days the six member delegation visited 7 Roma settlements. Joining forces with other NDI members and citizens – they spoke with activists, community leaders, municipal councilors, members of parliament, ministry officials, journalists, educators and students. Before leaving Slovakia, the delegation briefed U.S. Ambassador Theodore Sedgwick on their initial thoughts and findings.

  

Bonnie Abaunza has great success in attracting a new generation of activists through the power of popular media: “She is the Wizardess of Oz in the film industry’s human rights community,” says activist John Prendergast. Look behind the curtain on many of the key campaigns and there she is.

For Hans Zimmer, the Slovakia experience served also as a way to “listen to as many musicians as we could.” (See Video below) while composing the soundtrack for the second Sherlock Holmes film. Traveling with him were members of his sound and editing crew. Parts of the film’s score are heavily influenced by musical styles of Kokavakere Lavutara and the quintet Ciganski Baroni – two Gypsy bands with whom he met and played.

Hans Zimmer: “I’m not a politician. I know I can’t fix the problem. Even though we are feeding right into the positive stereotype of the incredibly musical gypsy world, it’s the only thing I know how to do right now. Maybe by putting a little work their way, it will make their lives a little bit better.”

A portion of proceeds from the film’s soundtrack will help the Roma pay for necessities like water, heating and bus fare to get their children to school

CNN: cnnphotos.blogs.cnn.com /categoria / zoe-zimmer /

Huffington Post: www.huffingtonpost.com/2011/12/08 /hans-zimmer-roma-sherlock-hOlmes-2_n_1133058.html

Billboard Biz www.billboard.biz/bbbiz / industria / tv-film /hans-zimmer-usa-sherlock-hOlmes-colonna sonora-1005650562.story

Hollywood Reporter: www.hollywoodreporter.com/news /hans-zimmer-sherlock-holmes-Roma-zingari-275467

The Campus Libraries Commemorate the 50th Anniversary of The University of the West Indies, St. Augustine Campus with a competition entitled “Bling Your Trolley”.

 

The second prize was won by the Soc. Sci Blingers. The team leader is Nicole Clarke-Martin and team members are Raiann Ruiz, Dionne Spears-Frontin, Tenesha Charles and Deryck Ollivierre

 

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.

 

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.

 

Armory Center for the Arts is pleased to present an exhibition entitled Music for Hoarders, a video projection and installation by Los Angeles-based artist Dawn Kasper that documents a live "visual poem performance action" of the same name. Music for Hoarders, organized by Armory curator Irene Tsatsos, will be on display from February 12 – May 13, 2012 in the Armory’s Pasadena Art Alliance Gallery. A public opening reception will take place on Saturday, February 11 from 7-9pm in conjunction with Armory’s opening of simultaneous solo exhibitions by Richard Jackson, Nicolas Grider, and Jocelyn Foye. The exhibitions by Kasper, Grider, and Foye coincide with the Armory’s lead exhibition, Richard Jackson’s Accidents in Abstract Painting, the Armory, creating an opportunity for visitors to reflect on the shared conceptual and/or formal considerations between and among the works.

 

Originally performed in 2010 at Honor Fraser Gallery in Culver City, California, the performance Music for Hoarders featured a unique musical score designed specifically for the gallery environment. The structure of their composition was determined according to a performer’s spontaneous interactions with a large and unwieldy set of found everyday objects that had been stacked in the middle of the space. Musicians employed an aleatoric technique; they played whenever an object was touched, each musician assigned a sound to that object, each sound was performed during the duration of the object's use, and the sound assisted in informing the performer’s movements during the duration of the performance. The improvised musical interpretations of everyday objects compounded throughout the performance; the resulting full, layered sound, “hoarded” in the gallery, was meant to invoke the idea and physical sense of the hoarding of human emotions. The Armory will present documentation of this performance in a single-channel video installation with chairs and a new painting directly on the wall.

 

About the Artist

 

The work of Los Angeles-based performance artist Dawn Kasper addresses a deep fascination with the subjects of vulnerability, desire, process, and the construction and location of meaning. She critiques the corporate aspects of our culture by examining emotions – such as fear, panic, hate, envy, lust – through which advertisers, news media, and other commercial entities, manipulate us, and in doing so strives to create a place of shared camaraderie. Kasper often performs in a premeditated yet spontaneous manner, generally using props, slapstick comedy, and monologue to ask fundamental questions such as What is existence? or What is a physical object?. She then attempts to answer these life questions, and more, while inhabiting different characters and personas, each differentiated through costume and costume changes, with all shifts taking place before the audience.

 

The environments in which Kasper performs, created through the use of props, musical instruments, and diverse personae, provide what she calls an “open-air laboratory (of thought),” creating a theatrical space while also doubling as a platform for living sculpture. “Everything is in play,” she says, “and everything is mobile.” Kasper often repeats actions and gestures in her performances, invoking a feeling of ritual or ritualistic behavior. Kasper’s performances are often extremely physical – her various characters often construct a sculpture or installation, marking her study into being and process, and serving as an illustration of her findings.

 

Dawn Kasper has performed and exhibited internationally at galleries and institutions including the Migros Museum Für Genenwartskunst in Zurich and LISTE Basel, both in Switzerland; Art Basel Art Positions and David Castillo Gallery, both in Miami; Newman Popiashvili Gallery, Leo Koenig Inc., Projekte, and Art in General, all in New York; Copy Gallery, Philadelphia; and Anna Helwing Gallery, Circus Gallery, J. Paul Getty Museum, Los Angeles County Museum of Art, Los Angeles Contemporary Exhibitions, Hammer Museum, and Museum of Contemporary Art, all in Los Angeles. Kasper is one of the acting co-directors of the performance and experimental art venue Human Resources in Los Angeles.

 

Detail of Ragamala miniature entitled 'Kedara ragini'. Text below shows an English transliteration of this entitled 'Kadara Raug', while the image conveys an atmosphere of peace and inspires meditation.

 

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~4~4~64131~1...

© The University of Edinburgh Library

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.

  

A fine Chinese pen and ink scroll painting, possibly 17th / 18th century, bearing signature for Wang Yian also known as Wang Yuanzhao (1598-1677), entitled 'The Scroll of Endless Stream and Mountains' with four characters underneath reading ' The Rare Collection from the Imperial Household Department (Neifu Zhenmi)', the painting with seal reading 'The Treasure for the Imperial Appreciation of Qianlong Emperor', the pale celadon jade toggle clasp reading' For the Imperial Appreciation of Qianlong Emperor' and 'The Landscape Scroll by Wang Yuanzhao' with original zitan wood case, the extremely long scroll finely drawn with continuous mountainous landscapes flanked at the near side with a narrow band of script and at the far end with a wider band of script, with twenty five various large and small printed red seal collectors marks, the majority of seals with imperial associations, translating as follows: 'Imperial Treasure Seen by Emperor Qianlong (Qianlong yulan zhibao)', 'Imperial Treasure Seen By Emperor Jiaqing (Jiaqing yulan zhibao)', 'Treasure of Connoisseurship from the Mansion of Heavenly Purity (Qianqing gong jiancang bao)', 'Imperial Treasure Seen by Emperor Xuantong (Xuantong yulan zhibao)', 'Qianlong's Connoisseurship (Qianlong jianshang)', 'Appraisal Seal of the Hall of Three Rarities (Sanxi tang jingjian xi)' and 'Bequeathed to Son and Grandson (Zisun)', Xuantong's Connoisseurship (Xuantong jianshang)' and 'Appraisal Seal of Study of Wuyi (Wuyi zhai jingjian xi)', 'The Seal of Zhang Junheng 1872-1927 (Zhang Junheng xi)', 'One of "Four Wang", the landscape painting masters in early Qing, a follower of Wang Jian / Wang Yuanzhao (Colophon by Wang Yuanqi - inscribed by Wang Yuangi {1642-1713})', 'Wang Yuanqi / Lutai, courtesy name', 'Post scripted by Zhao Zhixin {1662-1744} (Zhao Zhixin ba)', 'The Seal of Zhixin (Zhixin zhi yin)', 'Shen Fu, courtesy name (Shen Fu)', 'Yide tangli renjia' , 'Jian Zhai' , 'Lushi shangjian tushu' together with three other seals, probably belonging to private collectors of the late Qing. 918cm long overall including paper and cream brocade end borders and 24.5cm wide, the landscape section, 296cm long, the near end script band, 10cm long, the far end script, 78cm long. Condition Report:. In good condition commensurate with age with a few old minor repairs to edges. Wang Yian was one of the four most famous master landscape artists of the early Qing period. Born in one of the most prominent families in Taicang, Jiangsu province, he grew up in a privileged highly cultured environment. In 1633 Wang earned the second level juren degree and was appointed to a government position in Beijing. Using his family connections he then obtained a position as prefect of Lianzhou in Guangdong province in 1638. He stayed in this position until 1641, at which time he retired to his family estate where he built a retreat and devoted himself to literary and artistic endeavours. As a former student of Dong Qichang (1555-1636) and a member of the famous 'Nine Famous Friends of Painting', Wang subsequently became one of the most influential painters and theorists of the late 17th century. Together with Wang Shimin (1592-1680), Wang Hui (1637-1717) and Wang Yuanqi (1642-1715), Wang Yian is revered as one of the 'Four Wangs' who were anchors of the Orthodox school during the first sixty years of the Qing rule.

Frank Duff wrote a pamphlet entitled 'Can we be Saints?' He argued with great conviction that God calls everyone without exception to be saints and He provides all the necessary means to that end. Apart from one letter where he gives permission to translate the pamphlet into Polish he never refers to this little work again. The reason for this is probably because the central theme of the pamphlet has become the central theme of the handbook and the aim of every legionary. The Legion is a call and a practical way of becoming a saint. The primary objective of the legion is the holiness of its members. But there is one profound difference between the pamphlet and the Handbook. When he wrote 'Can we be Saints?' he had not yet undergone the deep religious experience mediated by St. Louis Marie de Montfort and his 'True Devotion to Mary' nor had he read the book 'The Knowledge of Mary' by De Concilio which enabled him to grasp the work of De Montfort.

 

The overwhelming experience of the True Devotion to Mary radically changed his life. He was given a profound insight into the place of Mary in God's plan for the salvation of the world. She was essential to this plan because that was the way God willed it. No matter which mystery of Our Lord that we reflect on we find that Mary has an indispensable role to play in it. So, if we begin with God taking His place in the womb of Mary we are faced with a staggering truth: Jesus living in Mary, making Himself totally dependent on her for his human reality. It is not just a biological maternity but a bond of the most unimaginable intimacy between the Mother and her divine Child. Being baptised into the life of Christ we are invited to share in his relationship to His Mother and her relationship with Him. Then on Calvary at the end of his life the Gospel of John makes some tremendous statements. We read: "By the Cross of Jesus stood his Mother". Mary is inextricably involved in the passion and death of Jesus, her Son. Then we hear the cry of Our Lord in the most dramatic moment of his life: "Behold your Mother". During the course of his life Our Lord taught us to say Our Father and on the Cross He teaches us to say Our Mother. Frank Duff spent a long life trying to unpack the full meaning of Mary's motherhood of Jesus and his mystical Body, the Church. He knew with absolute certainty that one could never be a saint without the help of Mary or without an all pervading relationship with her.

 

It is only in the context of all the mysteries of the life of Christ that we can fathom the riches of the Rosary as Mary's great gift to the Church. Pope Paul the sixth said the Rosary was a compendium of the whole Gospel. Others have said the Rosary is the Gospel on its knees. It certainly immerses us in the whole history of salvation. It opens us to the special grace of each of the mysteries of the life of Christ. It plunges us into the mystery of Jesus. Most mothers remember all the significant events and words of their children but Mary never forgot anything Jesus said or did. She kept pondering on everything in her heart. She was the loving keeper of the whole Gospel in her heart so that it could never be eradicated. In the Rosary Mary shares with us her memories of Jesus. John Paul II was fond of saying: 'In the Rosary we contemplate Jesus and his mysteries with the eyes and heart of Mary.' We can learn a great deal about true devotion to Mary from books, lectures and workshops but when we pray the Rosary we actually live the heart of this devotion which is to go to Jesus through Mary. The basic reason why Our Lady incessantly asks us to pray the Rosary is simply because it puts us mind and heart in contact with Jesus. This meeting between Jesus and ourselves in prayer is an infallible way of bringing joy to the maternal heart of Mary.

 

It is probably self evident that the Rosary is crucial to the Legion. The Handbook says: 'what breathing is to the human body, the Rosary is to the Legion meetings'. This is even truer of the individual Legionary. The Rosary is an essential part of the interior life of every Legionary because it puts Jesus at the centre of our lives.

 

Shortly before he died Frank Duff, our Founder, attended Mass celebrated with the Holy Father, Pope John Paul II and afterwards they had breakfast together and an extended meeting. The meeting gave immense joy to Frank because he met a twin soul so to speak. The Pope's motto 'Totus Tuus' emphasised how important De Montfort's True Devotion to Mary was to his spiritual life and could also sum up the life of Brother Duff and the Legion. Also, what the Pope wrote about the Rosary could have been written by our Founder when he wrote: 'The Rosary is my favourite prayer. A marvellous prayer! Marvellous in its simplicity and in its depth ... The Rosary itself is a contemplative prayer and is also a powerful form of intercession: indeed whoever recites it is united with Mary in the various situations of life and history.'

   

New Deal mural entitled "Wildlife in the White Mountains" painted in 1941 by Musa McKim for the US Forestry Building in Laconia, NH. The mural was removed around 2016 from the building that had been sold to the state. The mural is on display at the Currier Art Museum in Manchester from 2020-2022 until the new Federal Courthouse in Concord is completed, where it will be moved.

Ms. Amal Tucker head of community based nutrition and micronutrients presents on programmatic and policy recommendations at the Launching of document entitled “Situation Analysis of the Nutrition Sector in Ethiopia” from 2000-2015.©UNICEF Ethiopia/2016/Nahom Tesfaye

An article entitled "Sea lions at Victoria's Race Rocks injured by debris, boats" just ran in Victoria's Times Colonist that quoted me. See it here: www.timescolonist.com/technology/lions+Victoria+Race+Rock...

 

Anna Hall, a marine zoologist also quoted in the article suggests showing graphic images to children to warn them of the dangers posed to sea lions. This series is a response to that suggestion and not biased propaganda as I have been accused of.

 

This grotesque mouth scar may have been obtained at the same time as his huge chest slice.

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.

 

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.

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

TAD292 was an Open University course entitled Art and the Environment. It ran for the last time in 1985. In its later years the summer school was held at UEA Norwich. I attended the final week of the final summer school which finished on Friday 23 August 1985. A lot of students from previous years arrived that weekend, member of the Tadpole Society, which was formed from people who had done the course. This ceremonial burning of course materials was on the Sunday night, outside the red barn which had been a centre of activity throuout the week, and for other TAD students who had been there in previous weeks.

 

I should have gone home on Saturday morning and I finally went home on the bank holiday Monday. Life was never the same again and a year later I left my wife, children, job and city and started a new life. About par for the TAD course.

 

The Tadpole society is still running, one of the most active of OU societies.

 

Composite of two photos. Camera was a Pentax ME Super.

Do we really live in a democracy? ---- Leben wir wirklich in einer Demokratie??

     

Yes, tomorrow all those entitled to vote will gather here in this district.

     

I then set photos from the Landsgemeinde myself

 

But actually I would also like to ask a question about the topic.

 

Are we currently living in democracies here in Western Europe, the USA etc.??

   

Yes they say it like that. But isn't it a little dishonest and the devil is in the details.

   

#&&&&&&&&&&&&&&&&&&&

 

We are all equal before the law!

 

Everyone has freedom of speech!

 

Everyone has equal opportunities at birth!

 

etc etc etc .. . #&& &

   

I put that all in question and up for discussion here.

 

I often experience that people with less money or from financially disadvantaged circles do not enjoy these privileges undisputedly.

     

For the first time I'll say it like this:

 

We are far from living in a democracy as it is written in books, rather everything here corresponds to a "money aristocracy".

   

The ones that used to send scoundrels and the scoundrels would cut you down with a battle ax or a club have remained roughly the same.

 

Today the bad guys send you bad-letters, lawyers and hit you with your wallet.

 

90% of the so-called democratic governments are made up of those with the big fat wallets or their assistants and decide. If the people reject so-called suggestions from them, they come back with their own layers again and again until the people are tired and say yes !!!

     

What do you all mean?

   

bennoH. May 2023 GLARUS Switzerland

     

Ja morgen werden sich also hier alle Wahlberechtigten hier in diesem Kreis Versammeln.

   

Ich werde von der Landsgemeinde selbst dann noch Fotos Einstellen.

 

Aber eigentlich möchte ich auch eine Frage in den Raum stellen zum Thema.

   

Leben wir aktuell in Demokratien hier in Westeuropa den USA etc.??

   

Ja man sagt dass so.

 

Aber ist es nicht ein wenig verlogen und der Teufel steckt im Detail.

 

Wir seien Alle vor dem Gesetz gleich! Alle haben Redefreiheit! Jeder habe bei Geburt Chancengleichheit!

   

Ich Stelle dass alles in Frage und zur Diskussion hier.

   

Ich erlebe oft, dass Menschen mit weniger Geld oder aus finanziell schlechter gestellten Kreisen keineswegs diese Privilegien unbestritten genießen.

   

Für das erste sage ich's einmal so:

 

Wir leben längst nicht in einer Demokratie wie sie im Buche steht, vielmehr entspricht dies hier alles einer "Geld Aristokratie". Die die welche früher Schurken geschickt haben und die Schurken dich mit der Streitaxt oder der Keule niedergestreckt haben, sind die selben geblieben in etwa.

 

Heute senden Die dir Bösse Briefe, Rechtsanwälte und strecken dich mit Ihrer Geldbörse nieder.

   

In den sogenannten demokratischen Regierungen sitzen zu 90% eben die mit den dicken Fetten Brieftaschen oder deren Gehilfen und bestimmen. Lehnt dass Volk sogenannte Vorschläge derer ab, kommen sie mit selber Layer wieder und wieder bis dass Volk mürbe ist und ja sagt !!!

   

Was meint Ihr?

This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.

For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...

A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........

All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.

I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..

 

If you are interested in more info please feel free to contact ...efj@sbcglobal.net

 

Best best

 

Efj.

There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time but deals more with dynamic movement .I hope to execute these ideas in the future...........

All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.

 

I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..

 

If you are interested in more info please feel free to contact ...efj@sbcglobal.net

 

Best best

 

Efj.

Entitled delivery. I guess when you have a Ferrari delivered, it is just fine to block bike lanes and an entire bus stop pull out. I would love to know what the bus driver is saying to the delivery person.

 

This photograph was taken by Turners, entitled 'Harrop Brothers Fashion Parade at Station Hotel'.

 

The Harrop brothers established the yarn company Sirdar, and here you can see some of their knitted designs being modelled in a fashion parade at the Royal Station Hotel in Newcastle.

 

Date: 11/10/1960

 

Turners was established in Newcastle upon Tyne in the early 1900s. It was originally a chemists shop but in 1938 become a photographic dealer. Turners went on to become a prominent photographic and video production company in the North East of England. They had 3 shops in Newcastle city centre, in Pink Lane, Blackett Street and Eldon Square. Turners' photographic business closed in the 1990s.

 

Ref: DT.TUR-2-25202-K

 

(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & 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 archives@twmuseums.org.uk.

 

To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.

 

Technical panel entitled "On-Site Insight! Technical SEO Advice from the

Pros", including presentations from:

 

Susan Moskwa

Vanessa Fox

Aaron Kahlow - Top 10 Technical SEO Recommendations

 

moderated by Sean McMahon

 

copyright © 2009 sean dreilinger

    

follow me! FB / twitter / G+

view vanessa fox speaking to a crowded house - on-site insight! technical seo advice from the pros - sempdx searchfest 2009 - _MG_9420 on a black background.

 

The sculpture, entitled Your Essential Magnificence, is made of ferrocement and clad with colorful ceramic tile and glass. Imbedded inside and out of view are objects and mementos which the artist collected from iconic South Austin locations including the Broken Spoke, the Armadillo World Headquarters, and the Cathedral of Junk. Fabrication of the piece began in 2009 and James Talbot has spent more than 2,000 hours building the steel armature, assembling and filling it with concrete, and cladding the form with mosaic tile. Many interested community members volunteered to assist with the mosaic process. The sculpture was then moved in sixty-five sections to be installed and completed on site.

 

This is definitely playing a role in "Keeping Austin Weird". I spotted this while driving down South Congress Ave. It is fairly large and actually looks like a throne when you get close enough to see the tiled seat near the center/base of the sculpture. It is also a part of Art In Public Places (AIPP) which also brought us Open Room Austin (Day 42/365).

 

If you find this interesting, check out Austin artist James Talbot's (artist) website.

 

www.talbotworld.com/

 

This HDR image was created from 3 exposures and rendered with Exposure Fusion in Photomatix Pro 4.

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 photographic portfolio entitled “GLOBALIZING CONTAMINATIONS” was among the finalists at the PORTFOLIO SIFEST 2018 international award (Italy). This photography project is the result of a one-month period lived in Africa from Kenya to Tanzania. In the 1950s and 1960s, the European colonial powers gradually ceased to administer their African territories. The process of “apparent decolonization” led to the gradual departure of all the expatriate personnel of the colonizing nations: administrators, soldiers and all those who had settled in the “colony”. This process favored the creation of independent states and paved the way for new foreign influences over those of the colonial powers. Therefore, after some years living in Africa, I came to ask myself: “How has the influence, after decolonization, of European countries evolved in the face of the emancipation of African countries and the competition of new powers?”

This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.

For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...

A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........

All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.

I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..

 

If you are interested in more info please feel free to contact ...efj@sbcglobal.net

 

Best best

 

Efj.

All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.

I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..

 

If you are interested in more info please feel free to contact ...efj@sbcglobal.net

 

Best best

 

Efj.

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.

 

Relic under my family custody

 

More miraculous stories in the life of Saint Padre Pio

(This article is a continuation of miraculous stories in the life of St Padre Pio. Part 1 which is entitled "Little known stories in the life of St Padre Pio" can be found here.

I would like to sincerely thank Brother Michael of the Cross and also Thomas Warner M.D. for transcribing these stories. -Webmaster)

 

The cure of Gaspare di Prazzo, Cianciana, Agrigento

Mr. Gaspare di Prazzo had a case of Mediterranean Fever which had become very serious. A woman, Signora Vacarro, knew of Padre Pio and recommended the patient invoke Padre Pio's help for a cure and Signora Vacarro gave Gaspare a picture of Padre Pio to use while invoking his intercession. Upon receiving the photo, the patient kissed the photograph of Padre Pio and begged him to cure him.

 

A few days passed when one evening at 6pm the patient said to his wife: "Put someone at the door and don't let anyone in, because Padre Pio is coming, and I don't want to be seen by anyone.'

 

The wife nodded assent and assured him that their nephew was already near the door.

 

Later that night, at eleven o'clock, when all were in bed and only his wife was sitting up by the patient's bedside, and the patient had a significant fever he said to his wife: 'Put out the light because Padre Pio is about to come, and I don't want to be seen by anyone, not even by you.'

 

His wife obeyed and put out the light. All of a sudden the patient began to speak, very joyfully: "Oh! Padre Pio, are you here to heal me? I thank you. Pass your hand from my head to my feet. I cannot go on anymore and I do not want to leave my wife a widow...'

 

The patient felt Padre Pio near his bed. He passed his stigmatized hand over all his body. His wife saw nobody, but understood that Padre Pio was beside her beloved spouse, and trembling in a corner of the room on her knees, weeping she also prayed to Padre Pio: ' As you have come, Padre Pio, ask Our Lord for the grace of my husband's cure.'

After a few minutes, the wife asked her husband if she could put on the light, and the patient replied: 'No, because Padre Pio has not gone out yet, he is still by my bedside.'

 

Another ten minutes passed, then the husband told his wife to put on the light, because Padre Pio was gone. After putting on the light, his sister and Dr. Giannone came around the bed of the patient, whose eyes were shining, and who was emitting deep sighs. He said he felt better, and then told them the following:

"A little while ago I found myself in a beautiful church, where Padre Pio was celebrating Mass, and I was on my knees . I saw the Holy Ghost in the beautiful form of a dove above the altar. After Mass, I drew closer to him, and he said to me: 'Have faith in God. But you must go to confession and you must not swear any more.' Being thirsty, I asked Padre Pio for water, and he accompanied me to a cistern. I filled a bottle with lovely fresh water; groaning with pain I drank it in one draught, burning with fever. As soon as I had drunk the water I smelt perfume which resembled the smell of vanilla. Then Padre Pio went away."

 

After this account the patient repeated that he felt better. The cousin,a medical physician, examined him an noted a very significant change: the fever had already diminished, and by the next morning he was without any, and the fever never returned. Early that next morning Signora Vacarro went to visit him - the reader will recall that it was she who lent him the photograph of Padre Pio - and joyfully upon seeing him she said:

"The grace has been given! I dreamt of Padre Pio last night and he said to me: 'The grace has been given.'"

-and truly the grace had been obtained, for a few days afterwards the patient got up cured and went to church to thank Our Lord. Later he had a solemn day of the Blessed Eucharist celebrated in the Church of the Liguorini, where he confessed and received Holy Communion, after having been away from the Sacraments for ten years. From then on Signor Piazzi has never swore again and he is very grateful to Padre Pio, whose photograph he always carries about with him."

 

Cure of a diabetic through a vision of Padre Pio

On Corpus Christi, June 20, 1946, at about 6pm a nun named Lucia was suffering from severe diabetes and because of this was impelled to drank quarts of water for relief. Suddenly however she no longer felt the need to drink water and she called the Mother Superior. She said she must now go to the chapel to pray.

 

Nevertheless, the Mother Superior asked the sister to bring along a glass of water. The Mother Superior had a presentiment that it was the beginning of the end. Lucia told her with a happy smille: "I will die soon, Mother, Padre Pio came to see me. He was just like picture on the bureau. He said I could not be cured (i.e. by the doctors). But he also told me to hope, and to have faith in the help of Heaven.

 

Evidently, from the succession of events we will read below, Lucia has initially misunderstood Padre Pio. Two sisters assisted her to the chapel. She did not ask for water, and even refused when offered the glass that had been taken along. It was now already a quarter of an hour since she had taken anything to drink. After finishing her prayers she was brought back to her little room as it appeared that she was fainting. The chaplain was called and a drinking tube was put into her mouth, but she immediately pushed it away. Suddenly she opened her eyes with a strange smile on her lips. She sat up in her bed and gesticulated joyously, saying Padre Pio had just told her in the name of God: "You are cured. Get up! Come immediately to my monastery. I want to bless you and thank the Almighty with you." Lucia went to the monastery with two of the sisters on June 17. When they appeared before Padre Pio, he said with a smile: "I was waiting for you," and he blessed her.

__________________

A spiritual grace, Porto Maurizio, September 11, 1940

A gentleman from Porto Maurizio writes:

"No matter how much I say with regard to the graces received through Padre Pio, I could not say enough, for he procured me a great number, and continued to do so. When I saw Padre Pio for the first time, it seemed to me like a dream, and my heart leapt for joy.

"I assisted at the Mass he celebrated with saintly ardor. I was also fortunate enough to see him at close range, for I was kneeling at the side of the altar; large drops of tears fell from his eyes ... in that instant I repented of my sins and implored forgiveness for myself and for all mankind. At the Consecration, I was doubly wrapped in prayer, and at the Elevation of the Host I looked up with faith, and to my astonishment it appeared radiant and beautiful. I said nothing about it to anyone that day, but the following day I went to the confessional of the Padre and I said, 'Father,the Host consecrated by you does not look the same as the others.' 'What,' he said, 'is there something special about mine?' 'Yes, I replied, 'the Host of every other priest looks ordinary, and there is a crucifix in the center, while yours appears beautiful and radiant.' he did not reply, so I continued, "Tell me Father, is this so, or is it an illusion?' Entering into a state of recollection within himself, he replied with gravity, 'What you saw in fact was true.'

 

________________

 

Padre Pio predicts a boy to a childless couple, and later baptizes the baby under miraculous circumstances

 

A couple from Genoa visited Padre Pio to tell him they had no children. "Bring him to me to be baptized when he is born," was his answer. He could often foretell the sex of an unborn child.

The following year the fortunate couple returned to the monastery Church with their new baby boy, but in the Church of Our Lady of Graces there was such a large crowd that it was impossible to reach Padre Pio who was hearing confessions and then reciting the evening prayers . The mother remained in the parish house of San Giovanni Rotundo one mile away, whilst the father went to the monastery to talk to Padre Pio's fellow priests, telling them that Padre Pio had invited them to come there and that they were to meet with him; hoping to try to arrange a meeting with him in the next few days. Since by then it was getting quite late, he was told to come back in the morning. So, he returned to his wife at the parish house and when he arrived his wife informed him that Padre Pio had come to baptise the baby earlier in the evening. "But how is that possible!" he replied, because at the time specified Padre Pio was without a doubt in the Church reciting the evening prayers and hearing confessions of the many people assembled there.

_________________

 

A woman is revived from a coma

On July 20, 1921, a Monsignor D'Indico of Florence, whom this author [Fr. Charles Carty] met in 1923 when studying theology at the Archbishop's Seminary in Florence, was alone in his study. He felt the sensation of having someone at his back. He turned and saw a monk, who disappeared. He left his room to tell a chaplain what happened. The chaplain thought it was mere hallucination due to his state of anxiety over his sister, who was very ill. He invited him to take a short walk for mental distraction. When they returned they went to see his sister in her sick room. His sister, who a little before had been in state of coma, at the same hour when her brother felt the sensation of being in the presence of Padre Pio, told how she had seen a monk enter her room who approached her and said : "Don't be afraid; tomorrow your fever will disappear, and after a few days there will be no trace of your illness in your body." But, Padre, she answered, "are you then a saint?" "No, I am simply a creature who serves the Lord through His mercies."

"Let me kiss your habit, Padre."

"Kiss the sign of the Passion," and he showed his hands transfixed and bleeding.

"Padre, I recommend to you my husband and child."

"Pray, pray that you will be good, and be assured that your child will be under my protection," and blessing her, he vanished.

She immediately got better and in eight days was entirely cured.

____________________

 

Fr. Antonio narrates that during the war in Africa an Italian soldier was standing behind a large rock, while a fierce battle was going on. Suddenly a monk stood beside him and pulled him gently by the sleeve, saying he should get out form behind the rock. The soldier did not want to leave what he thought was a safe place. The monk pulled a second time, and was more emphatic. he did not move. Then the monk pulled him out by force. Right after that the entire place where the soldier had been standing blew up. The monk disappeared. Some days after as he was relating this to a fellow soldier, the companion showed him a picture of Padre Pio which he always carried with him. The soldier whose life had been saved exclaimed: "Why, that is definitely the monk who saved my life!"

Prior to this he had never seen Padre Pio or heard of him before.

_____________________

 

The Church approved miracle for the canonisation of Padre Pio

January 20th , 2000, was a regular school day for seven years old Matteo Pio Colella of San Giovanni Rotondo until he started to shiver and develop a fever. He was brought home weak and vomiting. That he evening he was progressively worse with the development of bleeding into and necrosis of his skin. In the modern hospital of San Giovanni Rotondo (Casa Sollievo della Sofferenza ) he was found to have clots in his blood vessels, signs of kidney and liver failure and hyperacute meningitis with septicaemia : an extremely serious condition, which by next morning, had rapidly affected all organ systems with septic shock, respiratory failure, cyanosis, a heart rate of 20 , dilated pupils and cardiac arrest. Despite therapy, the prognosis for survival was hopeless. Meanwhile, prayers for his recovery were being offered by many through the intercession of Padre Pio. By mid-day, despite the most morbid prognostication, he showed signs of improvement. Even with a persistent lung problem he made great progress within ten days. In a few weeks recovery was complete.

The mortality from his illness ---fulminant meningitis with acute respiratory distress syndrome and multi-organ (nine organ systems) failure ---- is 100 percent. His recovery was medically inexplicable and was declared a miracle by the Congregation for the Causes of the Saints in the presence of Pope John Paul II.

An unusual visitor

While asleep, Matteo said that he was unable to pray to Padre Pio but started to do so, on awakening. “As soon as I awoke, I put out my hand searching for another hand saying: I want Padre Pio “. However during his ‘sleep’ he was not alone but was visited by an old man with a white beard and a long brown garment. This man, smiling, gave him his hand and said “Matteo don’t be worried you will soon be healed “. Beside this man he saw three angels, one dressed in white with green wings and two in red with white wings; their faces were not clear because of their brilliance. Another day afterwards, he told his uncle Giovanni that the very night he was healed there was a child with green eyes and black hair, lying rigid, on a little bed in a hospital in Rome. Subsequently he related the dream to his mother who asked: “How did you get to Rome? “. Matteo told her that he made a kind of flight with Padre Pio who held him by the hand and who spoke to him interiorly; when they arrived Padre Pio asked: “Do you want to be healed ? And Matteo replied “How will that happen? “ “Will it with prayer”.

Then his mother asked: “How did you know you were in Rome? “ Matteo recognized Luna Park ( a theme park ) which he had visited with uncle Giovanni! In conclusion, Matteo said “I was healed by Padre Pio“

Matteo was present in Saint Peter’s Square for the canonization of Padre Pio (June 16th, 2002 ) and at this Mass he made his First Holy Communion. Incidentally, Matteo has green eyes and black hair.

Finally, as if to remind us of an unusual ‘event’ in the Saint’s life, the official missal for the occasion had on the cover an icon depicting Jesus Christ crucified with Saint Francis beneath one arm of the Cross and Padre Pio beneath the other. This ‘event’, to be described briefly, was reported by Fr. Alberto D’Apolito, a friend of Padre Pio’s.

 

Jacopa and the Third Order

Giovanna Rizzani Boschi, a shy lady from Udine, became a spiritual daughter of Padre Pio in 1923. In 1905, while her father lay dying her mother gave birth to Giovanna in their courtyard where, during labour, she thought she saw a Capuchin friar. Meanwhile , in 1905, as a seminarian in the Capuchin friary Padre Pio wrote about a similar incident in which he found himself in a nobleman’s home during the birth of a child as her father was dying. The Virgin Mary appeared to Padre Pio and said: “I am entrusting this child to you --- she will seek you out --- but first you will meet her in St. Peter’s.

The Boschi family moved to Rome in 1922. One afternoon Giovanna visited St. Peter’s where she discussed doubts about her faith in a confessional with a Capuchin friar. She waited for this “gifted man “ before the Basilica was closed to arrange a further meeting. The sacristan showed her that the confessional was empty; he had vanished. Later, she heard about Padre Pio for the first time and decided she must meet him and arranged a trip to San Giovanni Rotondo. While Padre Pio was passing through a large crowd he stopped in front of her and said: “Giovanna, I know you. You were born the day your father died.” And he continued to reveal details of her birth and her visit to St. Peter’s. On a later visit he asked her to join the Franciscian Third Order, giving her the name Jacopa which she didn’t like. But he insisted, saying that a noble Roman woman called Jacopa was present at the death of St. Francis of Assisi. “One day you will be present at my death”.

In September 1968, the anniversary of the stigmata, Giovanna heard his voice calling her to San Giovanni because he was going away. She arrived and went to confession. After Mass, on September 22nd, Padre Pio became ill, but not seriously. That night, either in a dream or a vision, she found herself in Padre Pio’s cell where he lay dying, surrounded by friars and two doctors. She woke up and cried out to her friend that Padre Pio was dying. She got dressed and outside the monastery was told by a friar that Padre Pio was dead. Later, she related the strange events to Fr. Alberto D’Apolito and described in detail the interior of Padre Pio’s room (which before his death had never been photographed). He agreed with her description.

 

Indeed, in 1209, when St. Francis travelled to Rome to submit the rule of his new order to Pope Innocent III, he was supported by a Roman noblewoman called Jacopa de Settesoli. Subsequently she followed St. Francis’ life of austerity and was probably the inspiration for the founding of the Third Order of St. Francis. Jacopa was present at the death of St. Francis in Assisi. She died in Assisi in 1239 where her remains were placed in the “Saint’s Crypt“ bearing the inscription : HIC REQUIESCIT IACOPA SANCTA NOBLISQUE ROMANA

 

Beatification-Canonisation

Patience is a virtue and a virtue that was recognized as such by the devotees, prayer groups and spiritual children of Padre Pio. Even though the cause for canonization could have been initiated in 1973, ten more years elapsed before the complex process of beatification would begin with anihil obstat in 1982. In December 1997 the Decree of heroic virtue was promulgated in the presence of Pope John Paul II. The Servant of God was now Venerable. The medical board of the Congregation for the Causes of the Saints examined a miracle attributed to the intercession of Padre Pio and the Decree on the miracle was promulgated again in the presence of the Pope in December 1998. His beatification by the Pope followed on May 2nd.1999 in the presence of a huge crowd.

 

Pope John Paul met Padre Pio in 1947, confessed to him and attended his Mass. This made a lasting impression on Fr. Wojtyla who recalled that Padre Pio “physically suffered “during the Eucharistic celebration. Also, in 1962 Bishop Wojtyla wrote to Padre Pio asking for his prayers for a friend who had advanced cancer. The malignancy disappeared the day before scheduled surgery.

 

There was no shortage of miracles during the life of “the man of prayer and suffering”, as Pope Paul VI called him. However, only those miracles occurring after death are considered for beatification with another, following that, for canonization. Again, the canonical documents were sent from the diocese of Manfredonia-Vieste to the Congregation and the medical testimony from Matteo’s cure was examined. In December 2000 the Theological Consultors met, followed by the Session of Cardinals and Bishops. Finally, the Decree of miracle and subsequently the Decree of Canonization were promulgated in the presence of Pope John Paul II.

 

Piazza San Pietro was packed for Mass on Sunday, June 16th. 2002. A large tapestry with the image of Padre Pio hung over the main door of the Basilica. No doubt many of his followers and spiritual children were ecstatic. The introduction included prayers, hymns and readings from Padre Pio’s writings. The choir sang the “Canto d’ingresso” followed by Psalm 97. Then the Pope recited a beautiful prayer in Italian, beginning with: “My dear brothers and sisters, today the Church inscribes the name of Blessed Padre Pio of Pietrelcina in the Register of the Saints---“,followed by the Miserere nostri ---. The Litany of the Saints preceded the Rite of Canonization with the Formula solemnly read in Latin by the Pope “ --- Beatum Pium a Pietrelcina Sanctum esse decernimus et definimus, ac Sanctorum Catalogo adscribimus ----“. “In nomine Patris et Filii et Spiritus Sancti”. Amen.

 

Padre Pio's feast day falls on September 23rd, the anniversary of his holy death.

 

References:

1. San Pio da Pietrelcina: Gerardo di Flumeri & Luciano Lotti; Frati Minori Cappuccin,Provincia di “Sant’ Angelo e Padre Pio”.

2. "Padre Pio, Man of Hope" Renzo Allegri; Servant Publications, Ann Arbor, MI.

3. "Witness to Hope" George Weigel; Harper Collins, New York.

4. "Padre Pio, The Stigmatist". Fr. Charles Mortimer Carty. Tan Books.

Mural entitled "Pigs on the Wing" by Joshua Santos Rivera aka @bikismo seen at 1538 Race Street in the Over the Rhine area of Cincinnati, Ohio.

 

Drone photo by James aka @urbanmuralhunter on that other photo site.

 

Edit by Teee.

 

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

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.

 

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 performance series, entitled The Market of Toys, was created specifically for Times Square. It is composed of four distinctive minimalistic single-element actions representative of Akademia Ruchu’s 40 years of experience working in the public realm. These austere, participatory interventions will simultaneously contrast and emphasize the vibrant character of Times Square and its multitude of visitors. The performances will be complemented by videos chronicling some of the collective’s seminal performances. These 30 second videos will play every 5 minutes on 10 CEMUSA newspaper kiosks located between 34th-48th Streets. A printed exhibition in the form of a newspaper documenting Academia Ruchu’s deep history of socially and politically driven public performances will be handed out to visitors.

 

Akademia Ruchu (The Academy of Movement) has been a political sounding board in Poland since its establishment in 1973 in Warsaw. Operating at the juncture of theater, performances, political actions, and anonymous interventions in the public realm which and with the involvement of spectators.

  

Photo Credit: Chani Bockwinkel, courtesy of Performa

From my set entitled “Lamium”

www.flickr.com/photos/21861018@N00/sets/72157607217474399/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Deadnettle

Lamium (deadnettle) is a genus of about 40-50 species of flowering plants in the family Lamiaceae, of which family it is the type genus. They are all herbaceous plants native to Europe, Asia, and north Africa, but several have become very successful weeds of crop fields and are now widely naturalised across the temperate world.

The genus includes both annual and perennial species; they spread by both seeds and stems rooting as they grow along the ground.

 

The common name refers to their superficial resemblance to the unrelated stinging nettles, but unlike those, they do not have stinging hairs and so are harmless or apparently "dead".

 

Lamiums are frost hardy and grow well in most soils. Flower colour determines planting season and light requirement: white- and purple-coloured flowered species are planted in spring and prefer full sun. The yellow-flowered ones are planted in fall (autumn) and prefer shade. They often have invasive habits and need plenty of room. Propagate from seed or by division in early spring

 

The Duomo, the medieval cathedral, entitled to Santa Maria Assunta (St. Mary of the Assumption) is a five-naved cathedral with a three-naved transept. Construction was begun in 1064 by the architect Busketo, and set the model for the distinctive Pisan Romanesque style of architecture. The mosaics of the interior, as well as the pointed arches, show a strong Byzantine influence.

The façade, of grey marble and white stone set with discs of coloured marble, was built by a master named Rainaldo, as indicated by an inscription above the middle door: "Rainaldus prudens operator".

The massive bronze main doors were made in the workshops of Giambologna, replacing the original doors destroyed in a fire in 1595. The central door was in bronze and made around 1180 by Bonanno Pisano, while the other two were probably in wood. However worshippers never used the façade doors to enter, instead entering by way of the Porta di San Ranieri (St. Ranieri's Door), in front of the Leaning Tower, made in around 1180 by Bonanno Pisano.

Above the doors there are four rows of open galleries with, on top, statues of Madonna with Child and, on the corners, the Four evangelists.

Also in the façade we can find the tomb of Busketo (on the left side) and an inscription about the foundation of the Cathedral and the victorious battle against Saracens.

The interior is faced with black and white marble and has a gilded ceiling and a frescoed dome. It was largely redecorated after a fire in 1595, which destroyed most of the medieval art works. Fortunately, the impressive mosaic, in the apse, of Christ in Majesty, flanked by the Blessed Virgin and St. John the Evangelist, survived the fire. The present gold-decorated ceiling carries the coat of arms of the Medici.

The elaborately carved pulpit (1302–1310), which also survived the fire, was made by Giovanni Pisano and is one the masterworks of medieval sculpture. It was packed away during the redecoration and was not rediscovered and re-erected until 1926. The pulpit is supported by plain columns (two of which mounted on lions sculptures) on one side and by caryatids on the other.

The church also contains the bones of St Ranieri, Pisa's patron saint, and the tomb of the Holy Roman Emperor Henry VII, carved by Tino da Camaino in 1315. That tomb, originally in the apse just behind the main altar, was disassembled and changed position many times during the years for political reasons. At last the sarcophagus is still in the Cathedral, but some of the statues were put in the Camposanto or in the top of the façade of the church. The original statues now are in the Museum of the Opera del Duomo. Pope Gregory VIII was also buried in the cathedral. The fire in 1595 destroyed his tomb.

The Cathedral has a prominent role in determining the beginning of the Pisan New Year. Between the tenth century and 1749, when the Tuscan calendar was reformed, Pisa used its own calendar, in which the first day of the year was on March 25, which is the day of the Annunciation of the Virgin Mary. The Pisan New Year begins 9 months before the ordinary one. The exact moment is determined by a ray of sun that, through a window on the left side, hit a shelf egg-shaped on the right side, just above the pulpit by Giovanni Pisano. This occurs at noon.

In the Cathedral also can be found some relics brought during the Crusades: the remains of three Saints (Abibo, Gamaliel and Nicodemus) and a vase that it is said to be one of the jars of Cana.

      

The current edifice rises over a pre-existing 5th century Palaeo-Christian church entitled to Sts. Peter and Paul, built by order of St. Amantius of Como, third bishop of the city. Erected c. 1 km outside the city's walls, it was intended to house several relics of the two saints which Amantius had brought from Rome.

The basilica acted as bishop's seat until 1007. Six years later bishop Alberic moved the seat within the walls. The basilica was then entrusted to the Benedictines who, between 1050 and 1095, rebuilt it in Romanesque style. The new edifice was dedicated to Amantius' successor, Abundius. The structures of the Palaeo-Christian church, discovered in 1863 during a restoration, are still marked by black and pale marble stones in the pavement.

The new basilica had a nave and four aisles. It was consecrated by pope Urban II on June 3, 1095.

The church has two notable belltowers rising at the end of the external aisles, in the middle of the nave. The sober façade, once preceded by a portico, has seven windows and a portal. Notable is the external decoration of the choir's windows. There are also Romanesque bas-reliefs and, in the apse, a notable cycle of mid-14th century frescoes. Under the high altar are the Abundius' relics.

The medieval monastery annexed to the church, recently restored, will act as the seat of the local faculty of Jurisprudence of the University of Insubria

 

A cultural event entitled “ASEAN @ 50 – Intellectual Property, Innovation and Development” featuring innovations from the bloc’s ten member countries and musical and dance performances was held on the sidelines of the Assemblies of WIPO Member States, which met from October 2-11, 2017. WIPO co-organized the event with the Association of South East Asian Nations (ASEAN) to mark the Organization’s 50th anniversary.

 

Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.

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.

 

Since entitling this I have seen that it is most likely going to be taken literally. The storm to which I was alluding, is the struggle to preserve the environment in the face of the demand for energy and minerals.

This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.

For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...

A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........

All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.

I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..

 

If you are interested in more info please feel free to contact ...efj@sbcglobal.net

 

Best best

 

Efj.

There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time but deals more with dynamic movement .I hope to execute these ideas in the future...........

All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.

 

I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..

 

If you are interested in more info please feel free to contact ...efj@sbcglobal.net

 

Best best

 

Efj.

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.

 

This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.

For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...

A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........

All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.

I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..

 

If you are interested in more info please feel free to contact ...efj@sbcglobal.net

 

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Efj.

There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time but deals more with dynamic movement .I hope to execute these ideas in the future...........

All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.

 

I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..

 

If you are interested in more info please feel free to contact ...efj@sbcglobal.net

 

Best best

 

Efj.

Hardback book entitled ''Electrical Technology', by H. Cotton, 6th edition. Published in 1949 by Pitman & Sons Ltd., London.

Cover has plain cover and title printed in gilt on spine.

 

West Lothian Museums. http://www.westlothian.gov.uk/tourism/museumsgalleries/ums/information

 

If you would like more information about this object, please contact: museums@westlothian.gov.uk, quoting WLDCM1995.096.014.