View allAll Photos Tagged Expression
Photograph taken at 06:57am on July 26th 2011 after catching the first morning train up to London Bridge, for a leisurely street shoot on the South Bank in London.
This frame was taken within the skateboard arena on London's South Bank, located underneath the Queen Elizabeth Hall, near the Festival Pier and very much a part of the central London scene. Home to world championships and freedom of expression that is both artistic and refreshing, this vibrant and energetic location has fallen victim sadly to red tape and beaurocratic stupidity which threatens to close it in the near future.
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Nikon D700 75mm 1/160s f/4.5 iso1600 RAW (14Bit) Handheld
Nikkor AF 75-300mm f/4.5-5.6 (1989 35mm film lens). Jessops 62mm. Nikon MB-D10 battery grip pack. Two Nikon EN-EL3 batteries. Hoodman soft viewfinder eyecup. Nikon GP-1 GPS module.
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LATITUDE: N 51d 30m 24.88s
LONGITUDE: W 0d 6m 58.85s
ALTITUDE: 15.0m
RAW (TIFF) FILE SIZE: 34.60MB
PROCESSED SIZE: 10.30MB
Expression: Frustration - I wonder why this lady keeps on hitting the ground with her umbrella. I have a lot of 'maybe' in my mind. And one of it is 'Frustration of life'.
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www.youtube.com/watch?v=PNK_EUWcvlQ
pose by del may
i love your poses del. they reminds me improvisation dances. every movement or pose could tell a story...so much space to imagine....
se prestiamo attenzione,ci rendiamo conto che non c'è un giorno uguale all'altro.
ogni mattina porta con sé una benedizione nascosta...(paulo coelho)
un grazie sincero e silenziosamente rumoroso...
life is made of magic moments.
mauroNSTER
In the last months, artistic expression has been targeted by state and non-state actors together. Think of names such as Charlie Hebdo and Pussy Riot: what makes them so provocative that they are attacked so brutally? How can art be creative, innovative and satirical without having the freedom to do so?
"Defending Artistic Expression", a workshop organised by the Community's Working Group on Promoting Freedom of Opinion and Expression, dealt with these questions.
The North-Western Indian state of Rajasthan which literally means 'land of the Rajas (kings)' is known for its mystical deserts, royalty and elaborate ceremonies. The stark ochre of the desert is offset by the bright clothing and colorful jewelry worn by the women of this land; amongst the most vivid in all India.Roopvati Rajasthani Barbie doll's many hued lehenga-choli (long skirt and bustier top) and dupatta (large stole) capture this tradition. This lavish outfit is rich with sparkling Zari work (gold and silver thread inlay) on vibrant bandhini (traditional tie and die print). Wearing colorful bangles, a shimmering maang- tika (head ornament), and an elaborate nose ring and a brilliant choker, Roopvati Rajasthani is like a mirage in the desert. Roopvati Rajasthani Barbie doll, in all finery, is a symbol of the glorious tradition and magnificence of Rajasthan.
Oil painting - a study showing the contrast between the emotions you portray and the hidden feelings.
January 2015
Oh, how I wish I could have captured Ian's expression when he saw his tractor cake! He did a little dance and just kept saying "My tractor, my tractor" with a very broad smile on his face:-) Happy birthday Ian!
Demi Lovato (X-Factor USA Judge) performs live at the Teen Choice Awards, Universal City - Los Angeles.
** Listen To The Freshest Music Mix including music from Teen Choice Award artists 24 hours a day on Big FM - Visit www.facebook.com/BigFMNorthernIreland for info and full details of how you can listen to Big FM or download the "TuneIn" app and search for "Big FM Northern Ireland" **
museumPASSmusees 2020 - Art et marges musee-museum - Le coeur au ventre
Collectionneurs passionnes, decouvreurs de talents, galeristes au grand coeur, Marion et L. Oster vivent au milieu d'un fascinant debordement brut et expressionniste. ''Le Coeur au ventre'' invite a une immersion inedite dans l'univers de ces collectionneurs discrets, se proposant de recreer leur lieu de vie, une demeure aux mille habitants...
avec une oeuvre-cabane creee in situ par Caroline Dahyot, et les oeuvres d'A.C.M, Abadne, Adam Sabhan, Aini Philippe, Albasser Pierre, Amar Paul, Amourette Pierre, Angkasapura Noviadi, Armstrong Zebedee, Avril Armand, Azema Philippe, Babahoum, Badia, Barbarit Beatrice, Barbe-Hatuel Nicole, Barrameda, Baudelere Karl, Bauman Manuel, Beaver Larry, Ben Ali, Berquin Patricia, Birobent Martine, Blot Olivier, Bosco Giovanni, Branciard Jean, Brunet Guy, Burland Francois, Cadore Delphine, Cahoreau Gustave, Cerredo Fabian, Chanut Danielle-Marie, Chauvet Francois, Chomette Virginie, Cluzel Nicolas, Comte Robin, Cooper Ronald, Corentin Sylvain, Cumingham Richard, Dahyot Caroline, D'antuono Barbara, De Sagazan Olivier, Dellschau Charles, Demelis Eric, Dereux Philippe, Dominici Veronique, Donate Pepe, Doue Eric, Dubreus Lherisson, Duclos Helene, Dugnoille Myla, Duprilot Hubert, El Syrio Josvedi, Fillaudeau Noel, Finster Howard, Fleury Yves-Jules, Gallieni Jill, Gillet Lionel, Glamocak Zlatko, Golz Michael, Gordon Ted, Gougelin Eric, Goulet Marie-Therese, Goux Claudine, Greiner Thierry, Grunenwaldt Martha, Hinojosa Aaron, Hofer Josef, Jaber, Jacqui Danielle, Jagiello George, Jorgensen Hans, Joss, Kapela Paulo, Knopf Solange, Kumar Pradeep, La Pinturitas, Labrie Karine, Lacoste Alain, Lagnieu Helene, Lambert Thierry, Laure Isabelle, Laurent Henri, Le Carre-Galimard Simone, Lefevre Pierre, Liberman Cirlene, Lippstreu Alexis, Manca Bonaria, Marie Florence, Mariette, Margot Margot, Marshall Francis, Marte Daldo, Mecalco David, Michaels Damian, Mister Imagination, Monchatre Francois, Mond Mina, Montpied Bruno, Morel Marie, Mouly Gaston, Mustafa, Nadau Jean-Pierre, Nedjar Michel, Nitkowski Stani, Obata Masao, Oster Marion, Palmer Andrei, Park Chong-Ran, Patba58, Pelligand Bernard, Philippi Jean-Christophe, Pietquin Dimitri, Pietri Josselin, Pignat Armande, Plaza Amadeo, Plny Lubos, Podesta Giovanni Battista, Postic Evelyne, Raak, Rae Helen, Rieux Jean-Francois, Rigal Antoine, Robert Yvonne, Robertson Royal, Robillard Andre, Rosset Jean, Saban Ody, Sablon Francoise, Sanders Jim, Schwanse Petra, Sendrey Gerard, Sesow Matt, Sharlhorne Welmon, St John Christopher, Staelens Ghyslaine Et Sylvain, Stroff Denis, Tanjung Ni, Tirilly Jean, Tourlonias Jean, Ughetto Henri, Ursin Catherine, Valois Marie-Francoise, Van Acker Jacqueline, Vigneau Monique, Vinsard Marcel, Vladimir, Webster Dereck, Wilson Ben, Zanon Juliette.
A l'etage, une selection d'oeuvres de la collection permanente du musee par Ines Andouche, Jan Bedinsky, Georges Cauchy, Aloise Corbaz, Francois De Jonge, Isabelle Denayer, Johan Geenens, Madge Gill, Martha Grunenwaldt, David Houis, Anne N'Dayiziga, Jean-Marie Mortier, Andre Prues, Nouzha Serroukh, Anny Servais, Jacques Trovic, Andre Wostijn.
( 170 musees
Des maintenant, vous pouvez visiter tous les musees participants pendant un an. Pas une fois, mais aussi souvent que vous le souhaitez !
267 expositions
Vous pouvez egalement visiter les expositions temporaires des musees participants gratuitement ou a un tarif fortement reduit.
Musee, espace d'art et de creation dedie a la ceramique, Keramis est erige sur le site de l'ancienne faiencerie Boch a La Louviere.
Le musee possede une remarquable collection de faiences produites aux XIXe et XXe siecles par la manufacture Boch, fleuron de l'industrie belge. Des creations exceptionnelles, issues des ateliers d'art comme les vases de Charles Catteau, cotoient des pieces du quotidien. Dans la reserve accessible au public, un parcours scenographique presente les techniques de fabrication d'une faience industrielle et la vie dans l'entreprise.
Keramis valorise egalement une importante collection de ceramiques d'artistes representatifs de la seconde moitie du XXe siecle. Tous les aspects de la ceramique moderne et contemporaine sont evoques ainsi que le design.
Parcours dans les collections. L'Orientalisme dans les productions Boch et l'art contemporain :
Du samedi 21 decembre 2019 au dimanche 31 mai 2020, redecouvrez les collections permanentes de Keramis, riches de plus de 8000 pieces, a travers un parcours sur l'orientalisme dans les productions Boch et l'art contemporain.
Pour l'occasion, plusieurs pieces seront exceptionnellement sorties des reserves precieuses.
L'Orientalisme est ici employe dans son interpretation la plus large, puisque ce Parcours traite plus particulierement des influences chinoises, japonaises et du Moyen-Orient.
Le Parcours s'accompagne d'un guide du visiteur remis gratuitement sur demande a l'accueil du musee et beneficie d'une signaletique particuliere. )
Inspired by the UNESCO Convention for the Protection and Promotion of the Diversity of Cultural Expressions, of which Canada is a founding member, Culture Days is a Canada-wide volunteer-focused and citizens enabled cultural program aimed at raising the awareness, accessibility, participation and engagement of all Canadians in the arts and cultural life of their communities.
Launched in 2010, this year’s Culture Days fall on the weekend from Sep 28-30, 2012. In the Greater Vancouver area alone, there are no less than fifty culturally focused programs including dance performances, concerts, art exhibits, carving, historical walking tour, books fair, poetry-reading etc.
Richmond BC has one of the largest and most vibrant Chinese communities in the country. To help celebrate Culture Days, the Association of Chinese Cultural Promotion Canada 加拿大中国文化促进会 organized the Richmond Lantern Festival 列治文中秋灯节 to coincide with the Mid-Autumn Festival (often lovingly-referred to as the Mooncake Festival) that is a very popular celebration occasion in China and many parts of Asia.
In 2009, the Vancouver Chinese Cultural Festival (VCCF) 中国文化节 has its inaugural Chinese cultural fair at the BC Place Plaza of Nations in downtown Vancouver and the festivities get even bigger this year with the Richmond Antiques RoadShow & Art Collection Fair also joining.
Much of the 4th annual VCCF and Cultural Days weekend in Richmond BC took place at Minoru Park, a nice neighborhood park within a short walking distance from the Brighouse Skytrain station and Richmond Centre Mall. The three-day festival offered a full program of activities. Much of that centered on a performance stage for music and dance by local and invited guests from China. There was even a mini-fashion show and ticketed events offsite as well. Under a large white tent, a book and culture fair and a Chinese artwork collection exhibit attracted many curious minds interested the 5,000 years of Chinese history and cultural treasures.
A group of longtime actors, singers and performers from the Hong Kong movie and TV industry (many of whom now call Vancouver or Richmond home) made an appearance to add an extra bit of glamour and excitement. A bonfire party wrapped up a weekend of Chinese cultural celebration on Sunday night (Sep 30th, 2012) at 8PM.
The weekend of events has an estimated 30,000 people participating. Visitors enjoyed the opportunity to experience the Mid-Autumn Festival and have their mooncake and eat it too.
[Photos & text by Ray Van Eng | www.vancouver21.com ]
No visit to Cambodia is complete without attending at least one traditional Khmer dance performance, often referred to as 'Apsara Dance' after one of the most popular Classical dance pieces. Traditional Khmer dance is better described as 'dance-drama' in that the dances are not merely dance but are also meant to convey a story or message. There are four main modern genres of traditional Khmer dance: 1) Classical Dance, also known as Court or Palatine Dance (lakhon preah reach troap or lakhon luong); 2) Shadow theater (sbeik thom and sbeik toot); 3) Lakhon Khol (all-male masked dance-drama.); 4) Folk Dance (Ceremonial and Theatrical).
As evidenced in part by the innumerable apsaras (celestial dancers) that adorn the walls of Angkorian and pre-Angkorian temples, dance has been part of Khmer culture for well more than a millennium, though there have been ruptures in the tradition over the centuries, making it impossible to precisely trace the source of the tradition. Much of traditional dance (especially Classical) is inspired by Angkorian-era art and themes, but the tradition has not been passed unbroken from the age of Angkor. Most traditional dances seen today were developed in the 18th through 20th centuries, beginning in earnest with a mid-19th century revival championed by King Ang Duong (reigned 1841-1869). Subsequent Kings and other Khmer Royals also strongly supported the arts and dance, most particularly Queen Sisowath Kossamak Nearireach (retired King Norodom Sihanouk's mother) in the mid-20th century, who not only fostered a resurgence in the study and development of Khmer traditional dance, but also helped move it out of the Palace and popularize it. Queen Sisowath Kossamak trained her grand daughter Princess Bopha Devi in the art of traditional dance from early childhood, who went on to become the face of Khmer traditional dance in the 1950s and 60s both in Cambodia and around the world. Many traditional dances that are seen in performances today were developed and refined between the 1940s and 1960s under the guidance and patronage of Queen Sisowath Kossamak at the Conservatory of Performing Arts and the Royal University of Fine Arts in Phnom Penh. Almost all of the Theatrical Folk dances that are presented in modern performances were developed during this period. Like so much of Cambodian art and culture, traditional dance was almost lost under the brutal repression of the Khmer Rouge regime of the late 1970s, only to be revived and reconstructed in the 1980s and 90s due, in large part, to the extraordinary efforts of Princess Bopha Devi.
Classical dance, including the famous 'Apsara dance,' has a grounded, subtle, even restrained, yet feather-light, ethereal appearance. Distinct in its ornate costuming, taut posture, arched back and feet, fingers flexed backwards, codified facial expressions, slow, close, deliberate but flowing movements, Classical dance is uniquely Khmer. It presents themes and stories inspired primarily by the Reamker (the Cambodian version of the Indian classic, the Ramayana) and the Age of Angkor.
Folk Dance come in two forms: ceremonial and theatrical. As a general rule, only Theatrical Folk Dance is presented in public performances, with Ceremonial Folk Dances reserved for particular rituals, celebrations and holidays. Theatrical Folk Dances such as the popular Good Harvest Dance and the romantic Fishing Dance are usually adaptations of dances found in the countryside or inspired by rural life and practices. Most of the Theatrical Folk Dances that are seen in performances today were developed at the Royal University of Fine Arts in Phnom Penh in the 1960s as part of an effort to preserve and perpetuate Khmer culture and arts.
Shadow theatre comes in two forms: Sbeik Thom (big puppets that are actually panels depicting certain characters from the story) and Sbeik Toot (small articulated puppets). The black leather puppets are held in front of a light source, either in front or behind a screen, creating a shadow or silhouette effect. Sbeik Thom is the more uniquely Cambodian, more formal of the two types, restricting itself to stories from the Reamker. The performance is accompanied by a pin peat orchestra and narration, and the puppeteers are silent, moving the panels with dance-like movements. Sbeik Toot has a far lighter feel, presenting popular stories of heroes, adventures, love and battles, with or without orchestra and with the puppeteers often doing the narration.
Lakhon Khol is all male masked theatre presenting exclusively stories from the Reamker.
Most dance performances in Siem Reap offer a mixture of Classical and Theatrical Folk dances. A few venues offer Shadow Theater. Many of the dance performances in Siem Reap consist of 4-6 individual dances, often opening with an Apsara Dance, followed by two other Classical dances and two or three Theatrical Folk dances. The Apsara Dance is a Classical dance inspired by the apsara carvings and sculptures of Angkor and developed in the late 1940s by Queen Sisowath Kossamak. Her grand daughter and protégé, Princess Bopha Devi, was the first star of the Apsara Dance. The central character of the dance, the apsara Mera, leads her coterie of apsaras through a flower garden where they partake of the beauty of the garden. The movements of the dance are distinctly Classical yet, as the dance was developed for theatrical presentation, it is shorter and a bit more relaxed and flowing than most Classical dances, making it both an excellent example of the movements, manner and spirit of Classical dance and at the same time particularly accessible to a modern audience unaccustomed to the style and stories of Khmer dance-drama.
Another extremely popular dance included in most traditional dance performances in Siem Reap is the Theatrical Folk Dance known as the 'Fishing Dance.' The Fishing Dance is a playful, energetic folk dance with a strong, easy-to-follow story line. It was developed in the 1960s at the Royal University of Fine Arts in Phnom Penh and was inspired by the developer's interpretation of certain rather idealized and stereotyped aspects aspects of rural life and young love. Clad in rural attire, a group of young men and women fish with rattan baskets and scoops, dividing their attention between work and flirtatious glances. Women are portrayed as hardworking, shy, demurring and coy, whereas the young men are strong, unrestrained, roguish and assertive. As the dance continues a couple is separated from the group allowing the flirtations between them to intensify, only to be spoiled by the male character playing a bit too rough, leading to her coy rejection. He pokes and plays trying to win her back, bringing only further rejection. Eventually he gently apologizes on bended knee and after some effort, draws a smile and her attention once again. Just as they move together, the group returns, startling the couple and evoking embarrassment as they both rush to their 'proper' roles once again. The men and women exit at opposite sides of the stage, leaving the couple almost alone, but under pressure of the groups, they separate, leaving in opposite directions, yet with index finger placed to mouth, hint of a secret promise to meet again. (In an interesting side note, placing one's index finger to the lips to denote quiet or secrecy is not, generally speaking, a gesture found in Cambodia, but is common in the West. Its employment in the dance probably indicates a certain amount of 'foreign influence' amongst the Cambodian choreographers when the dance was developed in the 1960s.)
Source: Canby Publications Co., Ltd.
If anyone knows chimpanzee facial expressions I would love to know the emotions going on here.
Nori (the baby) was running around causing a disturbance and the rest of the troop was running around making noises.
~Update~ This is Ruthie and her caregiver told me this about the facial expressions:
"First expression showing teeth is a fear grimace. The second was a vocalization, probably an alarm call if the group was wound up but could be a couple of other things. The last is just Ruthies relaxed or tired face"
MUCH appreciated EGM!
Their facial expressions say it all.
Joint water rescue training exercise with members of the Berkeley and Alameda County fire departments. Members were practicing water rescue jumps from a California Highway Patrol helicopter just outside the Emeryville Marina.
பிரான்ஸ் நாட்டின் NICE நகரத்திற்கு சுற்றுலா சென்றிருந்தபோது ஒரு "Boat" இல் என் எதிரே அமர்ந்திருந்த சிறுவனை கிளிக்கியது....
Nice Expression என்னை பொறுத்தவரை....