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when the future is a tad out of focus,
what’s right in front of you
is crystal clear
Captured with the Canon Vixia HF G10
MARCH ON WASHINGTON FOR GUN CONTROL / March Step-off across from the US Capitol Reflecting Pool on the National Mall on 3rd Street in Washington DC on Saturday morning, 26 January 2013 by Elvert Barnes PROTEST PHOTOGRAPHY
Visit Saturday, 26 January 2013 MARCH ON WASHINGTON FOR GUN CONTROL facebook events at www.facebook.com/GunCtrlMarch/events#!/events/13773795304...
Visit Elvert Barnes Saturday, 26 January 2013 MARCH ON WASHINGTON FOR GUN CONTROL docu-project at elvertbarnes.com/GunControlMarch-26January2013
This Local Places for Nature Food Development project was designed and built by ground staff from the East Team from Newport City Homes. It is located in Alway and was a site for fly tipping. Most of this was cleared off site beforehand and was a blank slate. 60% of the perimeter is housing and 40% is a hedge. Once the vegetation was strimmed, the soil was shown to be very poor quality with lots of historic litter including broken glass and cans etc. This meant growing in the soil would be very dangerous and we decided all growing would be done in raised beds. This project came with 3 raised beds, but we managed to get a hold of a load of spare sleepers from Newport City homes and eventually built one extra large bed and a very long bed with the 2 x trellis. The trellis would also hide the shed at the north end of the space. We also built from these sleepers, five 2.4 m long benches which could sit a whole class of children. We also covered almost 40m2 of the area in wildflower turf and hope to increase the coverage of the area with seeds from the turf collected in Autumn 2022. The day we installed the seating area, it pured of rain and we ended up putting muddy footprints on the paths outside the space. These paths are access for the adjacent bungalows which house disabled tenants. This was a risk, so we needed to clean the paths, and cover the growing space with stones. With enough stone, we'd be able to mix this into the ground and create a firm surface to walk on. As such, we moved 14 tonnes of chippings from the car park, uphill to the site in a day (8th November). Lovell's, one of NCH's contractors, donated time and materials to build a concrete base for the shed and green house and a week later, we built these structures on the base. Finally, we planted some of the plants. built strimming guards for the apple trees (coming later in December), tidied up the site and engraved our names into one of the benches. Much fun was had by all. Good luck Newport City Homes. - Chris Partridge, 29th Nov, 2021.
UMPS CARE Charities, a non-profit founded by Major League Baseball (MLB) Umpires, hosted the fourth BLUE for Kids hospital visit of the 2009 baseball season with its signature Build-A-Bear Workshop® experience. MLB Umpires Jim Reynolds, Bill Welke, and Angel Hernandez visited with children coping with serious illnesses and injury at Cleveland Clinic Children's Hospital. More at www.UmpsCare.com. (Photo/Roger Mastroianni)
i took this shot on the ferry as we left Vinalhaven. i was trying to take a shot that would capture at least some of the splendor of maine that i knew i was going to try to later describe to my father in ohio.
so, here it is, dad: new england in a nutshell, just like i said.
For nearly half a century Genesis Breyer P-Orridge has been questioning the meaning and substance of identity through artistic endeavors, willful reincarnation, and physical shapeshifting. Try to Altar Everything, a selection of paintings, sculptures, and installations, will explore the ways that Hindu mythology and Nepal’s Kathmandu Valley have influenced the artist and h/er work.
March 11 - August 1, 2016
Photos by David DeArmas
A Feast for the Eyes fashion show, The Art Institute of Portland’s 12th annual event benefiting the Creative Arts Scholarship Fund was held at the Oregon Convention Center on June 5th, 2010.
Learn more about The Art Institute of Portland: www.artinstitutes.edu/portland
Photo: Jill Alderete ticklingtrees.deviantart.com
Elder running some Aspen for cabins in NY. Aspen is too soft for floors but is great for walls and ceiling. #FSC #greenbuilding @hudsonwoodsny #madeintheusa #manufacturing
Grounds For Sculpture is a 42-acre (170,000 m2) sculpture park and museum located in Hamilton Township, Mercer County, New Jersey, United States, on the former site of the New Jersey State Fairgrounds. Founded in 1992 by John Seward Johnson II, the venue was intended to be dedicated to promoting an understanding of and appreciation for contemporary sculpture by organizing exhibitions, publishing catalogues, and offering a variety of educational programs and special special community events.
-Wikipedia-
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MARCH ON WASHINGTON FOR GUN CONTROL / Assemblance at the US Capitol Reflecting Pool on the National Mall just off 3rd Street in Washington DC on Saturday morning, 26 January 2013 by Elvert Barnes PROTEST PHOTOGRAPHY
Visit Saturday, 26 January 2013 MARCH ON WASHINGTON FOR GUN CONTROL facebook events at www.facebook.com/GunCtrlMarch/events#!/events/13773795304...
Visit Elvert Barnes Saturday, 26 January 2013 MARCH ON WASHINGTON FOR GUN CONTROL docu-project at elvertbarnes.com/GunControlMarch-26January2013
museumPASSmusees 2020 - CENTRALE for contemporary art
CENTRALE for contemporary art
L'ambition premiere de la CENTRALE for contemporary art est de faire decouvrir et sensibiliser un public le plus large possible aux creations artistiques contemporaines d'artistes bruxellois, et ce, dans une perspective internationale.
La CENTRALE propose une reflexion sur la creation contemporaine et son lien avec la societe. Sa programmation a pour vocation la presentation d'oeuvres d'art qui questionnent les limites de l'art plutot que d'imposer une lecture unique de la creation.
La CENTRALE met en valeur le foisonnement de l'art actuel dans une perspective internationale a travers des expositions thematiques, des duos d'artistes bruxellois et internationaux, des collaborations avec des ecoles d'art bruxelloises, des projets participatifs d'artistes belges en residence, des collaborations avec d'autres lieux defendant la creation contemporaine et l'ouverture aux autres formes d'art (danse, performance, musique, litterature,...).
PANORAMA
La CENTRALE presente l'exposition Xavier Noiret-Thome & Henk Visch PANORAMA, ode a la peinture et a la sculpture.
Xavier Noiret-Thome, artiste francais base a Bruxelles, offre des peintures et assemblages d'une rare diversite qui se nourrissent de savoir, d'experience et d'influences assumees. Il a choisi d'inviter le sculpteur, dessinateur et peintre hollandais Henk Visch, dont les sculptures tantot monumentales, tantot miniatures, s'apparentent selon lui a la pensee humaine.
Leurs oeuvres, intenses et directes, parfois teintees d'humour, depeignent le reel et tentent de cerner le processus de creation et son impact sur la vie.
Pour cette exposition, les deux artistes ont concu un parcours qui se decline en cinq chapitres, de la pensee a la metaphysique. Ce cheminement permet la decouverte de leurs oeuvres respectives, prenant le contre-pied de la presentation classique de la peinture et de la sculpture, tout en permettant une lecture du processus de creation artistique et de la reflexion qu'il suscite.
Des artistes, performeur.ses, musicien.ne.s de jazz, animatrice d'ateliers intergenerationnels, offriront un autre regard sur le duo.
L'exposition s'accompagne d'une collaboration exceptionnelle avec De Garage a Malines qui presentera l'exposition No more, no less du 19.09 au 22.11.2020.
Xavier Noiret-Thome - Henk Visch. Panorama
03.09.2020 > 17.01.2021
GOOD LOST CORNERS - places that appeal to me
Il s'agit d'histoires personnelles mais pour le lecteur, le contenu ne sera pas si different. Elles pourraient etre les histoires de n'importe qui. ' - SPOT SPOTS - Prologue due to circumstances, 2017 - Artist book, Self-published - Max Kesteloot
Depuis plus de 10 ans, Max Kesteloot (1990, Gand, vit et travaille a Ostende) capture ses observations sur photo. Au cours de promenades ou de voyages, il se concentre principalement sur son contexte urbain environnant, constitue d'elements architecturaux souvent banals. Ses images sont depourvues de personnes et ne se referent qu'indirectement a une presence ou une action potentielle. Le travail de Kesteloot semble porter sur la facon dont nous absorbons notre environnement, et comment cela se traduit par des impressions fragmentees et des souvenirs associes.
Dans l'exposition GOOD LOST CORNERS - places that appeal to me, les visiteurs peuvent entendre une voix constante qui se refere a des lieux qui ont ete photographies par l'artiste, puis utilises comme source pour realiser des oeuvres visuelles. Pour les spectateurs, il est impossible de savoir quel texte appartient a quelle image, mais c'est exactement ce qui rend interessant l'exploration de l'oeuvre.
( 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 )
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50mm f/1.8D AF
I was taking pictures of people feeding pigeons, then when they left I went to walk away but this woman took out some food and had the pigeons swarm her. I took some photos then I thanked her, and left.
For more on the art in your world visit www.Warholian.com or follow us on Facebook at www.Facebook.com/WarholianFan
Although LUDO may work solo on his own pieces he is willing to assist other artists in their work. Recently he helped street art veteran Ron English’s own mural with LA Freewall along with Lahoda and Birdman. “I cherish these opportunities to work with all artists; but it’s truly a special experience for me to represent Ron English’s artwork in any situation,” commented Lahoda.
Read the rest of the story here: warholian.com/2011/08/29/ludo/
Photos by Birdman for Warholian
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for 52 weeks of pix group SOOC apart from touching up the dirty spots that showed up in the sky, Boohoo will have to clean my sensor in the next few days, FUN, not! Taken using a polarizing filter.
ADU Apartment Downstairs Unit
www.elementalarchitecture.com/projects/single/baker.html
{Mount Baker 3844 37th Ave. S. over 2,600 sf $998k}
Christopher Myers: Please Trouble, Carry Me
February 2, 2024 - July 21, 2024
Please Trouble, Carry Me features works demonstrating the scope of Myers' creative process, including the installation, Let The Mermaids Flirt with Me, which premiered at Art Basel Miami in 2022 and is on loan from the Jordan Schnitzer Family Foundation. The installation features a suite of stained-glass paintings in lightboxes, which creates an atmospheric devotional space for Myers' deeply personal and poetic project. It is a visual exploration of the varied mythological, spiritual, and historical relationships between Black bodies, diaspora, and water.
Myers pulls from a wide range of sources – from the stories of water deities like the African water spirit, Mami Wata (Mother Water) and the South Carolina low-country cymbees, whose name is derived from the word simbi (plural, bisimbi), Central and West African water spirits. He is also inspired by the poetry of Langston Hughes and the words of Martin Luther King, Jr.
Christopher Myers (b. 1974, New York City) is a Brooklyn-based artist and writer whose work across disciplines is rooted in storytelling. Myers delves into the past to build narratives that speak to the slippages between history and mythology. His diverse practice spans textiles, performance, film, and sculptural objects, often created in collaboration with artisans from around the globe. He has worked around the world with traditional shadow puppet makers in Jogjakarta, conceptual video artists in Ho Chi Minh City, young musicians in New Orleans, woodcarvers in Accra, weavers in Luxor, textile printers in Copenhagen, and more.
Myers earned his B.A. in Art-Semiotics and American Civilization with focus on race and culture from Brown University in 1995 and participated in the Whitney Museum of American Art Independent Studio Program in 1996. His work has been exhibited internationally including MoMA PS1; Art Institute of Chicago; The Mistake Room, Guadalajara, Mexico; Akron Art Museum; Contrast Gallery, Shanghai; Goethe-Institut, Accra; Kigali Genocide Memorial Center, Rwanda; San Art, Ho Chi Minh City; and the Studio Museum in Harlem.
His work is included in the permanent collections of institutions including the National Gallery of Art, Brooklyn Museum, Solomon R. Guggenheim Museum, Museum of Contemporary Art Chicago, Los Angeles County Museum of Art, Mead Art Museum (Amherst, MA), the Studio Museum in Harlem, and the Jordan Schnitzer Family Foundation, Portland, OR.
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Located in the heart of Uptown Charlotte at Levine Center for the Arts, the Gantt is the epicenter for the best in visual, performing and literary arts reflecting the African diaspora.
www.ganttcenter.org/visit-the-gantt/
Sometimes standing up for what’s right means having the courage to blaze your own trail.
Harvey Bernard Gantt grew up in the 1940s and 50s in then-segregated Charleston, South Carolina. As the oldest child of Wilhelmina and Christopher Gantt, he often attended NAACP meetings with his father. It was there, and at the family dinner table with his four sisters, that he began to appreciate the importance of advocacy and the injustice of racial discrimination.
After graduating second in his class from Burke High School in 1960, Gantt left home to study architecture at Iowa State University. In January 1963, after a legal battle that escalated to the U.S. 4th Circuit Court of Appeals, Gantt became the first African-American student accepted at Clemson University. In September 1963, Lucinda Brawley became the first African-American woman to be admitted to Clemson and in October 1964 married Harvey. Harvey Gantt graduated with honors from Clemson in 1965, earning a Bachelor’s degree in Architecture and later a Master of City Planning from Massachusetts Institute of Technology (MIT).
He moved to Charlotte after graduating from MIT, and, in 1971, co-founded Gantt Huberman Architects. A pioneer in blending urban planning with the practice of architecture, Gantt Huberman employed a diverse group of professionals who were charged with designing buildings that encourage community. As a result, the firm has developed some of the city’s most iconic landmarks, including the Charlotte Transportation Center, TransAmerica Square, ImaginOn, Friendship Missionary Baptist Church, and the Johnson C. Smith University Science Center.
While significant, Gantt’s impact on the city extends beyond improving the built environment. He joined Charlotte City Council in 1974 and again broke barriers when he was elected Charlotte’s first African-American mayor in 1983. Remaining in office for two terms, Gantt stood shoulder-to-shoulder with other Charlotte leaders committed to establishing a New South City.
SouthBound Extra: A Preview Of Harvey Gantt Interview
Gantt continues to advocate for equity and equal rights and is often tapped to serve on civic, cultural, and business boards, and to lead philanthropic efforts and community initiatives. In 2009, the former Afro-American Cultural Center opened its doors to a new, award-winning facility and was renamed the Harvey B. Gantt Center for African-American Arts + Culture in honor of Harvey B. Gantt, an American trailblazer.
Naming The Center
When it was first proposed that this building be named after me, I hesitated. Being a man of tradition, I always felt it was more appropriate to name a building or street for someone after their passing, as a way to honor their work. Admittedly, it took some convincing by Board Chair Earl Leake and others. After much processing and discussion with my wife, Cindy, the prevailing factor that led me to say "yes" was that it was for the sake of posterity. I envisioned walking into the building with my grandchildren and had thoughts of others doing the same with future generations. I saw them talking about the sacrifices of many who made Charlotte great, and the enormous history and accomplishments of the African American community. And I remembered my parents and others who served as inspirations to me. I am forever grateful to them for being the driving force and motivation in my life.
I thought about the enormous history of the residents of the historic Second Ward community of "Brooklyn," where the Gantt Center now stands. I hope that those who have already "crossed over" can smile and feel proud knowing that we have not forgotten their sacrifices; how they nurtured, pushed and prodded young minds to strive for excellence. We are forever grateful to them. Brooklyn residents often referred to the old Myers School as the "Jacob's Ladder School." Its skyward stairway was a visible reminder of the importance of aspiring to greater things and a good education. Not just teachers, but an entire community rallied behind the youth, molding bright minds.
That's why I agreed to the naming of the building, and that's why I want you to join me in celebrating our history and the dawning of a new day for all of us. Charlotte is a great community and the Carolinas are a great region. I call this home because the city and community represent all that is symbolic to steadfastness and a "can do" attitude. While our nation and world still struggle with acknowledging and appreciating our differences, the Gantt Center can serve as a vehicle for people to come celebrate African American art, history and culture. Residents and visiting friends alike will have numerous opportunities to enjoy all aspects of Levine Center for the Arts. The Gantt Center will serve as one of the entry points to experience the arts, sporting events and many other amenities that Charlotte has to offer. Thank you for your interest in and support of the Harvey B. Gantt Center for African American Arts + Culture. May this edifice always stand as a symbol that this community and nation are places where we all "belong".
By Harvey B. Gantt