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Daily Journal Drawing allowing the forms to be suggested from the previous lines and marks, creating an image of motion through space. The direction of the abstract image is never predetermined.
Location: Lichfield District Council
Accession number: 1983.84.1
This ornamental paddle was carved between 1800 - 1840 by the inhabitants of Ra-ivavae or Tubuai in the Austral Islands, which now form part of French Polynesia in the South Pacific.
Although clearly resembling a paddle or oar, the object's neck is too thin and fragile to allow it to have been used as a paddle. It is therefore believed that paddles of this style held a ritualistic or status role in traditional Austral Island culture.
This traditional culture was deeply altered by contact with Western explorers in the 18th and 19th centuries. One such alteration seems to be a growth in paddle production by the inhabitants of the Austral Islands after 1800. This growth appears to have been motivated by trade with the outside world.
This particular paddle is an example of an object produced solely for trade with Western visitors.
However, contact with the Western world resulted in exposure to foreign diseases for which the people of the Austral Islands had no immunity. This caused catastrophic population collapse, to such a degree that by the 1830s paddle production had essentially stopped. As such this paddle can be dated to the period between 1800-1840.
The paddle itself consists of a petal shaped blade set upon a long, thin shaft topped with a flared pommel. The entire blade and shaft are decorated with engraved "X" and crescent patterns. Three rows of sun and moon designs mark the connection between blade and shaft.
The paddle's pommel is topped with eight stylised human faces, each with two large rosettes in their hair. A further sunburst design sits in the top centre of the pommel.
(LtoR) Row 1 [1] xxx [2] xxx [3] xxx [4] GD Raj Kumar [5] Harbajan Singh [6] Goh Bee Nge [7] xxx [8] xxx [9] xxx
Row 2 [1] xxx [2] xxx [3] xxx [4] xxx [5] xxx [6] xxx [7] xxx [8] xxx [9] xxx [10] xxx [11] xxx
Row 3 [1] xxx [2] xxx [3] xxx [4] xxx [5] xxx [6] xxx [7] xxx [8] xxx [9] xxx [10] xxx [11] xxx [12] xxx [13] xxx [14] xxx
Photo contributed by The Tarsian 1972
KLUB MOOZAK #40
3 YEARS OF KLUB MOOZAK
27/10/2010 @ FLUC VIENNA
LIVE:
SZELY (AT)
FORM&VOID (AT)
DJs:
MOOZAK RESIDENTS (AT)
SIRIUS & DARKTUNES (AT)
Photo by Claudia Schwarz
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
Seguendo il "Gruppo Storico Romano" durante l'evento "Le Notti di Cicerone" presso Formia il 14 Settembre 2012
Artist: Elizabeth Aubury
Title: From Form to Formless (to Form)
Material: plaster and fabric
You are invited to become a destructive collaborator within this work. Paradoxically made to be destroyed, feel free to crush these plaster forms underfoot. In transition, the rich and satisfying sound of breaking plaster will resonate down the stairwell. The fragments shall be swept away and added to the fabric paunch in the adjacent room.
What might the on-looking Discus Thrower make of this?
These hollow shells, originally moulded from the body’s negative space, hint at the ghost of a process. The effigies appear genderless; their delicate bodies are balanced upon plaster-worked clothes. As a multitude, these corporeal off-cuts acknowledge their fleshy simulation. This piece is concerned with bodies, destruction as a tool and an accumulative sculptural process.
NUA Degree Shows 2014
Wednesday 2 July to Tuesday 8 July 2014
Norwich University of the Arts (NUA)
Norwich, Norfolk, England, UK
The initial phase of landscape associated with the UCD Charles Institute and the Systems Biology Ireland Building includes a new bronze sculptural piece titled “Rotating Form” by artist Mark Ryan. Mark has been working full-time as a sculptor for the last 10 years, following a career as a designer. He works in a variety of materials including wood, clay, plaster, steel, stainless steel and bronze. He welds, cuts, casts and shapes. The scale of his work varies from small scale intimate works to very large scale sculptures in public spaces.
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Es un patio de forma rectangular que presenta en la planta baja una serie de arcos lobulados sobre dobles columnas de mármol y en la planta superior, una arcada de medio punto sobre columnillas jónicas de mármol con balaustrada, que fue añadida hacia 1540, bajo el reinado del rey Carlos V por el arquitecto real Luis de Vega.
En 1572, en época del rey Felipe II, se cambió la fisonomía del patio, procediéndose a enlosar el mismo y colocándose una fuente en el centro. En los primeros años del siglo XXI, el patio ha recuperado la primitiva estructura que tenía en los tiempos del rey Pedro I, configuración que ha supuesto la desaparición de las losas del patio y su sustitución por una alberca que corre a lo largo del mismo, rodeada por arriates rehundidos.
En tres de los lados del patio se abren las habitaciones que componen la planta baja del palacio. El cuarto de los lados está adosado al palacio de Alfonso X, por lo que sólo presenta las galerías que cierran el patio.
Nangis pourrait-être d’origine et de formation gallo-romaine. La première forme semble être Nangiacus, puis Nangeium, Nangeis puis Nangiis. Nangis apparaît officiellement en 1157 sur une bulle du pape Adrien IV.
Une autre interprétation décompose le nom de Nangis en deux substantifs celtiques : Nan (rivière) et Gys (habitation), ce qui donnerait « habitation de la rivière ».
Nangis n’est arrosé par aucune rivière de surface mais dans son sous-sol coule un torrent à fort débit, et n’oublions pas que l’avant -poste fortifié de la Grande-Bertauche protégeait un petit ruisseau.
Troisième hypothèse : la traduction de Nangiacus en domaine de Nanguis, nom qui fut peut-être celui du premier possesseur du Chastel.
Autre supposition : une partie de la forêt de Bièvre portait, près de Chenoise, le nom de forêt de Hogis. Peut-être la partie de forêt occupant le territoire du Chastel portait-elle le nom de Nangis par opposition et pour la distinguer de celle de Hogis.
Nangis : de la guerre de Cent Ans au Premier Empire
Pendant la guerre de Cent Ans, Nangis est épargnée de justesse. Jeanne d’Arc vient de faire sacrer Charles VII à Reims, le 17 juillet 1429. Le 25 juillet, le duc de Bedford, régent et oncle du jeune roi d’Angleterre Henri VI, envoie des renforts à Winchester ; une armée de 10 000 hommes se porte sur Corbeil et Melun. Revenant de Reims vers Paris, Charles VII campe à Provins et déloge la garnison anglaise. Celle-ci se replie sur Nangis et brule, au passage, Sognolles, Lizines, Landoy et Vanvillé. Sous l’influence de la Pucelle, Charles VII se porte jusqu’à Nangis à la rencontre des anglais. Devant cette démonstration d’énergie, Bedford refuse le combat et se retire dans les plaines de Brie.
1560, Charles IX, fils d’Henri II et de Catherine de Médicis, est roi à 10 ans. Sa mère assure la régence. Les guerres de religion éclatent. En 1560, l’église de Vanvillé est brûlée par les protestants. En 1562, le prince de Condé brûle Cucharmoy et Saint-Just. En 1567, l’armée protestante pille Montereau, Bray et Nogent-sur-Seine, dévaste Chalautre-la-Petite et Chalmaison.
Un groupe de huguenots campe à la Croix-en-Brie qu’elle met au pillage.
Le passage des troupes royales est aussi néfaste que celui des protestants. Le 9 août 1574, les troupes de la reine mère, allant à la rencontre de Henri III revenant de Pologne, pillent Rampillon, Vanvillé et Landoy. Puis, le 25 novembre 1576, les protestants pillent, une fois de plus, Rampillon ; l’église est saccagée. En 1592, une bande de vagabonds pillent Villeneuve-les-Bordes ; l’église est incendiée. En fait, à chaque fois, les troupes sont accompagnées de pillards.
Les habitants de Nangis, grâce aux fossés qui en imposent aux bandes de pillards, peuvent traverser cette longue période de troubles sans trop souffrir.
1747, le 6 février, jour de liesse à Nangis et grande réception au château. Madame la dauphine Marie-Josèphe de Saxe, fille du roi de Pologne, se rend à Paris où doivent avoir lieu les fêtes de son mariage avec le dauphin de France, fils de Louis XV et père de Louis XVI ; elle s’arrête à Nangis. On prétend que le dauphin, venu incognito à Nangis, déguisé en page, servit sa future femme pendant le banquet.
1759, le 27 février, le prince de Bourbon, comte de La Marche, prince de sang, épouse dans la chapelle du château de Nangis la princesse Fortunée Marie d’ Est, fille du prince Marie d’ Est, prince de Modène et de la princesse Charlotte Aglaée d’ Orléans, princesse de sang.
1767, autre mariage princier. Le 31 janvier, Louis-Alexandre Joseph Stanislas de Bourbon, prince de Lamballe, épouse la princesse Marie-Thérèse Louise de Savoie de Carignan. Veuve le 6 mai 1768, l’infortunée princesse périt assommée et décapitée en 1792 au cours des massacres de septembre. Un de ses geôliers lui arrache le coeur pour le manger et transporte le corps sous les fenêtres de la reine Marie-Antoinette dont elle était l’amie et la confidente.
1814, la France est envahie et Nangis voit les différentes armées aux prises sur son territoire. Tandis que les Prussiens opèrent vers la Marne, l’armée russe et autrichienne, s’avançant derrière la Seine, franchit ce fleuve à Montereau et à Bray puis repousse le corps des maréchaux Victor et Oudinot qui s’étaient retirés derrière la rivière Yerres.
Napoléon, qui vient de culbuter les prussiens à Montmirail, accourt au secours de ses lieutenants pour rejeter l’ennemi au-delà de la Seine et couper les corps de troupes qui s’étaient aventurés jusqu’à Fontainebleau. Le général Gérard surprend l’avant-garde ennemie qui s’est établie à Mormant, la chasse de cette ville l’épée dans les reins et la rejette sur Nangis qui est occupée par un corps bavarois.
Le combat continue dans la vaste plaine entre Mormant et Nangis, l’ennemi toujours repoussé est chassé de Nangis et rejeté sur Montereau. La division bavaroise Lamotte, rejointe entre Valjouan et Villeneuve les Bordes par les troupes du général Gérard, est mise en déroute et sabrée. Ce sont ces faits précursseurs de la bataille de Montereau que l’histoire a appelé le combat de Nangis le 17 février 1814. Le moulin du Haut-Mondé (La Sablière), situé sur le mamelon qui domine Nangis, est renversé par l’artillerie.
Napoléon s’arrête à la Baraque, à l’entrée de Nangis. De là, il donne ses ordres aux troupes qui défilent devant lui, dirigeant le corps d’Oudinot sur Provins, celui de MacDonald sur Donnemarie et le maréchal Victor sur Montereau. La Vieille Garde bivouaque dans le parc du château et sur les boulevards.
L’empereur, harassé de fatigue, passe la nuit au château. C’est là qu’il écrit cette lettre, datée du 18 février, au ministère de Caulaincourt pour lui retirer ses pleins pouvoirs.
I have many names, numberless forms, endless shapes. Make no mistake, I only achieve simplicity with enormous effort.
As long as I have questions and no answers I’ll keep on writing. I shall argue that we must use generative processes. These are to become conventional metaphors, but at this stage they reflect a world-view which makes no clear distinction between the human body and the world it inhabits; and the transition from one to the other was across frontiers which were fluid and indefinite. This link between man and nature was the key determinant in his consciousness. How do you start at the beginning, if things happen before they happen. Thinking is an act. Feeling is a fact. Put the two together – I am the one writing what I am writing. To you, mind of no mind, in which the timeless way was born. What shape waits in the seed of you, to grow and spread its branches, against a future sky? I was there when numbers, words and thoughts became one, and man figured out how to traverse the distances of space at the speed of thought, finding that all along there was no past, present or future, only one elongated now. Start by remembering the fundamental truth about the parts of any system which is alive. The source of life which you create lies in the power of the language which you have. Is it waiting in the fertile waters,? In the trees beyond the house? In the life you can imagine for yourself? In the open and lovely white page on the waiting desk?
Sisters Academy Staff by Sisters Hope
photo: I diana lindhardt
Photographs are free to use with the credits as formulated above displayed visibly.
This picture shows the rear floor section, with the "Hump" that was beaten in - with the use of the wood form.
This week's photo shows "Space Forms," suspended artwork by Dan Corson recently installed in the underground Beacon Hill Station.
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Colorized Chandra Space Telescope image of supernova remnant W49B. Various wavelengths combined to form an RGB image.
Original caption: This highly distorted supernova remnant may contain the most recent black hole formed in the Milky Way galaxy. The composite image combines X-rays from Chandra (blue and green), radio data from the Very Large Array (pink), and infrared data from the Palomar Observatory (yellow). Most supernova explosions that destroy massive stars are generally symmetrical. In the W49B supernova, however, it appears that the material near its poles was ejected at much higher speeds than that at its equator. There is also evidence that the explosion that produced W49B left behind a black hole and not a neutron star like most other supernovas.
Artist: Dame Barbara Hepworth
Title: Single Form (Eikon)
Material: bronze
Tate Liverpool
Albert Dock
Liverpool, Merseyside, England, UK
Form nhỏ. Hãng này chuyên đồ cưới và evening nên chuẩn lắm (ra tiệm áo cưới Vivian đường 3/2, toàn đồ hãng này). Lót cực đẹp, có đệm ngực. Đen trắng đan xen làm eo ót vô cùng. Size 10 nhỏ nên trầm 55kg trở lên là OK rồi
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
Water & Form: clay, fiber and encaustic by Emily Miller
Oct. 6 - Nov. 17, 2017
510 Museum & ARTspace, Lake Oswego, Oregon
eco designer Alessandro Acerra Acerra
www.hinu.it info@hibu.it
Eco moda d’autore Alessandro Acerra
Alessandro Acerra, dà il via a un collezionismo della moda, sotto il segno del riciclaggio & dell’autenticità. Cura dei dettagli, design ricercato e pregio dei materiali riciclati sono gli elementi distintivi della linea di moda. Le magliette sono fatte a mano una per una con massima cura e rifinitura finale ad ago, ogni esemplare è disegnato, ritagliato e cucito assemblando tessuti differenti. Alessandro elabora i soggetti, sceglie le stoffe, le ritaglia e imbastisce per poi cucirle. Sono “ eco ” perché le stoffe provengono da scarti sartoriali o da rimanenze di produttori famosi, tessuti che nascono per capi di lusso destinati alle passerelle modaiole milanesi vengono recuperate, mescolate per poi rivivere in nuova forma con un sano messaggio sociale. Progettati come quadri da indossare sono espressione di prezioso lusso, sono vere e proprie opere d’arte e allo stesso tempo oggetto di consumo: le si può indossare, sporcare, lavare oppure appendere al muro come quadri come consiglia lo stesso eco designer. Ogni t-shirt è diversa dall’altra e ha con sé un certificato di autenticità che ne garantisce l’unicità (una targhetta e la firma interna al capo e il numero di serie personale esprimono il pregio e il lusso di ogni capo, per soddisfare i collezionisti più esigenti).
Capi unici che cercano di combattere l’omologazione di massa portata dalla globalizzazione che valorizzano ogni singolo individuo. Ogni dettaglio, dalla creazione del prodotto alla spedizione, viene curato personalmente da Alessandro Acerra che non ama lasciare nulla al caso, come ogni artista che si rispetti. Anche il packaging estroso è frutto di un riuso, infatti vengono confezionate nei contenitori della pizza da asporto. Una scelta non casuale, ma espressione del legame al territorio italiano. La testimonianza contemporanea della più raffinata professionalità artigiana italiana. Simbolo di una delle poche cose che ancora rappresenta l’Italia nel mondo per qualità e produzione. Vero è proprio cibo per gli occhi!
www.hibu.it info@hibu.it www.alessandroacerra.com/Main.swf
AUTHORIAL ECOLOGICAL FASHION
Alessandro Acerra commenced a new concept of fashion, through the development of personal interpretation of the definition of recycling and authenticity.
The distinctive features of his fashion line are the fine details, the originality
of the design and the quality of the recycled materials. Each t-shirts is made with extreme care and realized in an exclusive way with the artist personal final finishing made by needle. The items are designed, cut out and sewn using different tissues. Alessandro draws the subjects, chooses the materials and paste everything together with his skilful touch. HIBU collection is 'eco' because each piece comes from remnants of famous brands or artigianal sartories. The clothes were once thought to be used by the famous Milan fashion catwalks and then recovered by Acerra, realizing today another art-form with an healthy message inherited. The items are paintings to be worn, they are an expression of luxury, they are at the same time real art work and consumerist objects. In fact you can wear, stain and clean them or simply hang them up to the wall like pictures, as the author himself advises. Each t-shirt is different from the others. Each one carries a certificate of authenticity which assure its uniqueness: there have a little tag, the signature of Alessandro Acerra and the serial number, expressing the good quality and the luxury of each article in order to satisfy even the most exacting collectors. Wearing a HIBU t-shirt tries to give a meaning to each individual, crating a personal fingerprint against the homologation generated by mass production and globalization. Alessandro Acerra personally takes care of all the details, from the concept of his masterpiece to the despatch of the product.
Even the package is excentric as you will receive the 'eco' t-shirts wrapped into “take-away pizza's boxes”. A choice which is not random, but it comes from the artist need of underlining his connection with both Italy and his substainable activity.
The ecological creations of Acerra are then a symbol of those elements which still nowadays represents Italy world-wide as quality and professionality. It derives from the choice of comes from a recycling as well.
Schloss Morges ( VD - 374 m - Baujahr 1286 – 1291 – Mittelalter - Form eines Carré savoyard - château castle castell ) beim historischen Städtchen Morges ( Altstadt Stadt ) am Genfersee - Lac Léman im Kanton Waadt - Vaud in der Westschweiz - Suisse romande - Romandie der Schweiz
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Schloss Morges
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Das Schloss Morges steht in der Altstadt - Stadt Morges am G.enfersee im Kanton Waadt -Vaud in der Schweiz
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Südwestlich der Altstadt steht das mächtige Schloss, das 1286 – 1291 in der Form eines Carré savoyard erbaut wurde. Der regelmässige viereckige Bau mit drei kleineren runden Ecktürmen und dem grossen runden Nordturm als Donjon erhielt seine heutige Gestalt im 16. und 17. Jahrhundert. Seit der Revolution ist das Schloss im Besitz des Kantons Waadt und diente zunächst als Z.eugh.aus. Seit 1.9.3.2 beherbergt das Schloss das Waadtländer M.ilitärm.useum.
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( BeschriebSchlossMorges AlbumSchlossMorges AlbumStadtMorges StadtMorges SchlossMorges AlbumSchweizerSchlösserBurgenUndRuinen Waadt KantonWaadt AlbumSchlösserKantonWaadt KantonVaud Vaud Schloss Castle Château Castello Kasteel 城 Замок Castillo Mittelalter Geschichte History Schweiz Suisse Switzerland Svizzera Suissa Swiss Sveitsi Sviss スイス Zwitserland Sveits Szwajcaria Suíça Suiza )
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Ausflug nach B.ière und M.orges und auf`s G.ornerg.rat am Mittwoch den 02. Oktober 2013
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Mit dem Z.ug von B.ern über L.ausanne - M.orges nach B.ière
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Kurzer S.paziergang durch B.ière
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MIt dem Z.ug von B.ière nach M.orges
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B.esuch des S.chloss M.orges
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Mit dem Z.ug von M.orges nach V.isp
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Spaziergang durch den h.istorischen D.orfkern von V.isp
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Mit dem Z.ug von V.isp über Z.ermatt auf`s G.ornergrat
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T.reffen mit M.ese, N.adia und L.iliana und zurück nach R.otenb.oden
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S.pielen mit L.iliana während M.ese und N.adia zum S.ee gingen
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Von R.otenb.oden über Z.erm.att - V.isp - C.isalpino - T.hun zurück nach B.ern
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Hurni1301002 KantonWaadt KantonVaud
E - Mail : chrigu.hurni@bluemail.ch
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Letzte Aktualisierung - Ergänzung des Textes : 241024
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NIF
Este dibujo forma parte de la exposición "Un montón de osos" (www.unmontondeosos.com.ar/) comisariada por Diego Naguel (www.diedie.com.ar/).
Muchas gracias por tu invitación, Diego!!
VENDIDO
Marco color verde con diseño de hojas en color ocre. Aplicaciones de flores de género doradas y cinta verde con blanco.
Se puede poner en posición vertical u horizontal.
Mide 28,5 x 33,5 cm.
Forma de retiro: estaciones del metro Universidad de Chile, Moneda o Santa Lucía.