View allAll Photos Tagged Existence
from the book
STRATEGIES d'EXISTENCE"
from the book
STRATEGIES d'EXISTENCE" by Thierry Geoffroy / Colonel
ISBN877245456949
Rhodos Publishing h
from the book
STRATEGIES d'EXISTENCE" by Thierry Geoffroy / Colonel
ISBN877245456949
Rhodos Publishing house 1996
Mendoza, Argentina... seen at most major intersections.
You might only be able to see it "all sizes".
How many roads must a man walk down, before they call him a man
How many seas must a white dove sail, before she sleeps in the sand
How many times must the cannonballs fly, before they are forever banned
The answer, my friend, is blowing in the wind
- Bob Dylan
For more on the art in your world visit www.Warholian.com or Follow us on Facebook at www.Facebook.com/WarholianFan
Skinner is more than just an artist who paints psychodellic images of metal band mayhem, he is an event, a personality, a one-stop-shop of the super rad. It is within this personality that we begin to understand Skinner's work, and the detail, time, and focus he puts into everything he produces. We sat down with the artist to talk about his new show at The Shooting Gallery entitled "The Fragile Art of Existence" which explores a new place in the Skinner's body of work.
Read the full interview on Warholian here: www.warholian.com/2011/08/11/skinner-fragile-existence/
Studio photos by Hal Rotter
Opening Night Photos by Michael Cuffe
Go to the Book with image in the Internet Archive
Title: Works, 3
Creator: Balfour, Francis M. (Francis Maitland), 1851-1882
Publisher: London, MacMillan
Sponsor: MSN
Contributor: Gerstein - University of Toronto
Date: 1885
Vol: 3
Language: eng
Description: v. 1. 1. On some points in the geology of the East Lothians Coast; 2. Development [and] growth of the layers of the blastoderm; 3. Disappearance of the Primitive Groove in the Embryo Chick; 4. Development of the blood-vessels of the Chick; 5. Preliminary account of the development of the Elasmobranch fishes; 6. Comparison of the early stages in the development of Vertebrates; 7. On the origin and history of the urinogenital organs of vertebrates; 8. On the development of the spiral nerves of amphioxus; 10. A monograph on the development of the spinal nerves in Elasmobranch fishes; 11. On the phenomena accompanying the maturation and impregnation of the ovum; 12. On the structure and development of the vertebrate ovary; 13. On the existence of a head-kidney in the embryo chich, and on certain points in the development of the Müllerian duet, by F.M. Balfour and A. Sedgwick; 14. On the early development of the lacertilia together with some observations on the nature and relation of the primitive streak; 15. On certain points in the anatomy of Peripatus Capersis; 16. On the morphology and systematic position of the Spongida; 17. Notes on the development of the Ararenia; 18. On the spinal nerves of Amphioxus; 19. Address to the department of anatomy and physiology of the British Association for the advancement of Science; 20. On the development of the skeleton of the paired fins of Elasmobranchii, considered in relation to its bearings on the nature of the limbs of the Vertebrate; 21. On the Evolution of the placenta, and on the possibility of employing the characters of the placenta in the classification of the Mammilia; 22. On the structure and development of lepidosteus by F.M. Balfour and W.N. Parker; 23. On the nature of the organ in adult Teleosteans and Ganoids which is usually regarded as the Head-kidney or Pro Nephros; 24. A renewed duty of the germinal lawyers of the chich by F.M. Balfour and F. Deighton; 25. the anatomy and development of Peripatus Capensis ed. by H.N. Mosley and A. Sedgwick.- v. 2 [and] 3. Treatise on comparative embryology.- v. 4. Plates
14
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
Finally got the roll from early spring developed. Thanks to the folks at Blue Moon for always coming through. Fleeting cherry blossoms in downtown Portland, Oregon, early Spring 2009.
11/03/2014, Little Bardfield, Braintree CM7 4TZ.
The South Porch.
By 1046, St Katharine's church tower was in existence.
The parish church in Little Bardfield is dedicated to St Katharine of Alexandria. According to tradition, Katharine was a virgin who was martyred at Alexandria in the early fourth century A.D. during the persecution of Christians by the pagan Roman emperor Maxentius. At the time the church was being built in Little Bardfield, St Katharine was one of the most venerated women saints in Europe after the Blessed Virgin Mary.
The foundation of St Katharine’s Church is uncertain but is believed to date from circa 1040 A.D. This beautiful church is built of flint and rubble dressing, partly of clunch, together with occasional Roman tiles and bricks, adding colour to the walls and structure of the tower.
The Tower and Nave are pre-Conquest. The chancel was added in the fourteenth century and the porch in the late fourteenth or early fifteenth century. The Vestry was built c.1820 and Organ Chamber in 1866.
The Tower:
The Tower was built in five stages divided by rubble string courses. The ground storey of the tower has late sixteenth or early seventeenth century moulded ceiling beams with curved braces. The second stage is included in the internal ground storey and has one blocked opening. The North, South, and West walls of the third stage have each two-narrow round-headed windows all without dressing. It also has two seventeenth century ceiling beams with curved braces. The fourth stage has in each wall a window of two round headed lights with a rubble division between them. The fifth stage has two round headed windows in each wall but those in the north and east are blocked. The embattled parapet and the small spire were added in the eighteenth century.
Muilman's History of Essex (1769) states: "In the tower which hath a little cupola at the top are only two bells". The clock was given by Sir John Sutton, in 1865-6 during the restoration of the Church. Sir John was organist at Jesus College, Cambridge and was also responsible for removal of the organ from All Saints Church, Cambridge.
The Bells:
There are two bells although the frame was built to take four. The smaller one is dated 1624 and was cast by William Land of London who was working between 1612 and 1637. The larger bell was cast by John Bird also of London who was working between 1408 and 1418 and has been dated c1410. It is inscribed SUM ROSA PULSATA MUNDI KATERINA VOCATA (’I am the battered rose of the world called Katharine’). In 1899 the bells were re-hung, and the frame strengthened. There is also a clock bell dated 1848 which is unusual in that it is hemispherical.
It was cast by Robert Edward Taylor of Loughborough who was only 18 years old at the time and died at the age of 26; only six bells have been credited to him.
The ladder leading to the tower was made by Mr. S. Sturgeon of Hawkspur Green in 1884-1887. On the south wall of the tower the following can be seen: Benefactors of this parish - a farm called Charity Farm containing 136 acres, situated in this and the Parish of Great Bardfield settled by Sarah Bernard relic of the Rev. Thomas Bernard Late Vicar of this Parish in deed enrolled in the High Court of Chancery bearing date 12th November 1774 upon certain trustees therein named, and for such charitable uses and purposes as the said- deed are fully specified and recited.
Also, a rent charged of £1.10s. upon the farm called Wainsford situated in the Parish founded by Geoffrey Wale by deed in 1730 for the poor of the parish annuity of £1.0s.0d. upon the Rector of Little Bardfield founded by an unknown donor for the poor of this Parish".
The Nave:
This was built at the same time as the Tower and measures 332 ft. by 20 ft. In the North Wall are two windows.
The second of these is 14th century and is of two trefoiled ogee lights with tracery under a segmented pointed head and a moulded label, the rear arch is moulded and the glass is Victorian.
The outline of a third window can be seen near the pulpit. It is blocked now but is pre-Conquest and round headed.
In the South wall are two windows. The larger is fourteenth century and is similar to the second window in the North wall but has moulded internal splays and the label has a disc stop. The smaller pre-Conquest window can be seen over the church door.
The South Porch has a late fourteenth or early fifteenth century outer entrance with moulded jambs and a two centred arch traceried internal and external spandrels and a moulded label.
The monument on the South wall dates from the seventeenth century and depicts the arms of the Wale family.
The roof of the Nave has moulded and cambered tie-beams and moulded wall plates possibly of late fourteenth century.
The Chancel:
The chancel was added in the fourteenth century and was extensively refurbished by G.F. Bodley in 1866.The internal chancel roof, rood beam, choir stalls (which incorporate some earlier sixteenth century carved wooden poppy heads) and alabaster reredos all date from this period and include many of Bodley’s trademark features such as ‘barber pole’ decoration, crenellations, quatrefoil flowers and gothic window shapes.
The Cross on the rood beam bears the emblems of the four evangelists at the four corners and the Agnus Dei or Lamb of God in the centre. The Agnus Dei can also be seen at the top of the stained glass in the East Windon and carved on the door of the tabernacle on the altar: another example of Bodley’s integrated design scheme.
The Organ Chamber:
The Organ Chamber dates from 1865-66 and was built to house the organ.
The small window depicting Saint Katharine paid for by contributions from the children of the parish.
The chest in the Organ Chamber is of panelled oak inlaid and is early 17th century.
Organ and Organ Case:
The case is of oak with semi-circular end towers and central flats beneath a curved moulded cornice.
Both towers and flats are fitted with richly carved upper and lower pipe shades.
The tower impost brackets are enriched by supporting cherub heads late 16th century. The console with its reverse, colour keys has turned wooden stop knobs to the right and left, each stop designated by a printed label pasted onto the jamb.
The organ had an interesting history before it came to Little Bardfield in the year 1865-66. It was built by Renatus Harris for Jesus College, Cambridge.
On the 18th December 1693 an agreement was made between William Saywell, DD., Master of Jesus College, that the latter would come to Cambridge whenever required to put the College organ to rights and would in any case attend "once every year without notice" to inspect the instrument and this all for £3 per annum.
The entry in the audit book for 1688-1689 “wine at ye opening of ye organ £00.07.00". So, it would seem reasonable to suppose that the organ is 1688. In 1764 the organ was laid aside and it is said that it became the custom of "a certain element within the Undergraduate Body to sing dubious songs to its accompaniment as a diversion before dinner"; graffiti from this period can be seen on the treble end of the case.
By 1776 it was being described as ‘a useless piece of lumber’, and in January 1790 the College agreed to make a present of ‘the remains of our organ’ to the Parish of All Saints, Cambridge. The word ‘remains’ has been conjectured as ‘the case, chest and some decaying action work and little else’.
In 1824 twelve guineas were spent on repairs and in 1830 John Gray, a London organ builder, fitted ‘a new inside’ for £149.
The organ remained at All Saints until a new church was built in 1863/64 and the contents of the old church were disposed of or sold.
The organ was not transferred, and the next proven documentation was a letter dated May 21st, 1865, which is still in the archives at All Saints. This letter Is from R. H. White, who was then Rector of Little Bardfield and it says: "I am in a position to say that my neighbour at Great Bardfield will be glad to give £55 for the organ in the old church. I shall be glad to hear from you that you can accept the offer".
Sir John Sutton, organist at Jesus College, Cambridge was the neighbour although the allusion to Great Bardfield is confusing as by 1865 he was living permanently in Germany, only coming to England for visits.
There is no doubt that the organ is the one that came from Jesus College, Cambridge, as the Sperling note books (now in the Royal College of Organists) include a sketch of the organ as it stood in old All Saints Church and it clearly shows the case is the one which is now at Saint Katharine’s, Little Bardfield.
A.T. Miller of Cambridge was employed to move and rebuild the organ in the new organ chamber in 1866. He provided new soundboards and replaced most of the action but retained the Gray pipework and brought the Harris front pipes back into use which Gray had left silent in his 1830 rebuild. He also provided three new stops and possibly the Trumpet. It is just possible that the keyboard, which was extended up by one note by Gray and fitted with a bottom G sharp by Miller, is the original one by Harris but this cannot be confirmed.
In 2006 the organ was dismantled for restoration while the interior of the church was being restored. Upon its return in 2010 it was moved forward from its original position to allow the pedal pipes to be placed behind and enclosed in new solid oak casework. The restoration was skilfully and sympathetically carried out by Michael Young of Duton Hill. For a one manual instrument it is very versatile and is noted for its distinctive sound.
'La Celba' tree found its lodge on Maya ruins - and it also hosts a 'parasitic' plant on its trunk. 'Symbolically symbiotic'.
The major themes of human existence are addressed in the four-part picture Death Hope Life Fear (1984). Gilbert & George began to work together in the late 1960s, when they presented themselves as Living Sculptures. During the 1970s, they developed this idea to make ‘sculptures’ using drawing, film and painting, which invariably included the figures of the artists. They are now perhaps best known for their large-scale grids of boldly-coloured images, which they began to make in the 1980s. Each part of Death Hope Life Fear tackles one of the central themes of human experience. The compositions feature the artists, wearing their trademark suits, and a number of young men dressed in eighties street fashions. Living in the East End of London, Gilbert & George insist that art is an integral part of real life, or, as they once put it: ‘We never want to show or reflect life – but we do hope to form our tomorrows’. The poses of the figures evoke both classical and religious imagery. These connotations are reinforced by the luminescent colours which resemble stained glass windows in medieval cathedrals, or the great friezes of antiquity. In Death, the artists appear to rest on a bed of flowers, symbols of the fleeting passage of time, while in Life giant leaves provide symbols of renewal that also resemble wings.