View allAll Photos Tagged Fragility
Shot the other day while treading in the knee-deep snow for a couple keepers.
Feeling a little fragile myself today, staying at home with a stomach disease, feverish...
Fragile Earth. Image depicting fragile earth, including baby. Taken march 6, 2007 at Formby Point, Formby, England.
Teddy Cook is crying.
#MyWhy This is Abel. He calls me Auntie Na and likes it when we go to the beach in my "white broom broom". His name means "breath" because that what his parents wished for him on the day of his birth. That's because he was born with a rare condition that collapsed his lung and damaged his heart. He's the most resilient but also the most fragile little person, and Covid-19 presents a real danger to him. I'm fully vaccinated because I want to protect him in every way possible. Not everyone can be vaccinated, and those of us that can are responsible for making sure they grow up.
View in Original size: www.flickr.com/photos/nsxbirder/51292905278/sizes/o/
FRAGILE FORKTAIL DAMSELFLY-07210911-.jpg
Suzie Brown of Holiday Inn Express's fragile bike. Time Trial. Global Relay Canadian Road Cycling Championships 2015, St. Georges, Quebec.
Estas fotos se hicieron para ilustrar un libro o mejor dicho un cuento "FRÁGILES".
Los muñecos los hizo: Nuria González (Shawara)
Vestuario: Rosa Díaz
Fotografía y edición: Rodolfo Velasco (Olpho)
Por favor, no use esta imagen en los sitios web, blogs u otros medios de comunicación sin mi permiso explícito - Todos los derechos reservados © OLPHO Rodolfo Velasco.
Please don't use this image on websites, blogs or other media without my explicit permission - All Rights Reserved © OLPHO Rodolfo Velasco.
Mi web: www.rollcreativo.com/
Leptodea fragilis
State listed as Endangered in Vermont
The Fragile Papershell is found in various sized bodies of water, from headwater streams to rivers and lakes. It can also inhabit mud, gravel, and even found in sand. This freshwater mussel can grow up to six inches long and is oblong shaped. When mating, the males release sperm into the water which is taken in by the females through their respiratory current. The eggs are internally fertilized and then pass into the water through the gills where they attach themselves to host fish to relocate. Generally, they breed once a year during the warmer months. The age of a mussel can be determined by looking at annual rings on the shell! Like all mussels, the fragile papershell is rather sedentary, although may move with current or with the help of a host if water levels or conditions change. Mussels are ecological indicators, their presence in a body of water indicate good water quality. They can filter up to fifteen gallons of water a day; a six mile stretch of mussel bed can filter out over 25 tons of particulates per year. Currently there is intense research at Yale University, Stanford University and the NOAA (to name a few) about using mussels to clean fouled waters.
The Fragile Papershell is prayed on by muskrats, racoons, minks, otters, and some birds. Juvenile mussels are also fed upon by lake sturgeon, spotted suckers, redhorse and some other fish. There is a specific mite that feeds on mussel and can destroy about half of their gills. These natural predators are not the root cause of the radical diminishing population of freshwater mussels today. Construction of dams, regulation of river flows, and gravel mining, alter the river bottom habitat. Currently the building of and maintaining dams is a controversial issue. To build a dam one must get a permit, post public notices and it is overseen by the Army Corps of Engineers. Dam removal has in recent years been used as a tool to restore rivers while addressing the on-going problems of aging, and deteriorating, infrastructure. Of the 1,200 known dams in Vermont, many no longer serve a useful purpose and impose legal and financial burdens on their owners. In some cases, removal of these dams makes sense for economic, public safety, ecological or social reasons. The state has published a user’s guide to removed dams in Vermont.
The Endangered Species Project: New England
Exhibition Dates: February 4 - April 14, 2019
Public Lecture and Closing Reception with the Artist: Saturday, April 13
Gallery Hours: M-F 10am - 8pm; Weekends 10am-5pm
Gallery 224 at the Ceramics Program, Office for the Arts at Harvard
224 Western Ave, Allston, Massachusetts 02134
Gallery 224 at the Ceramics Program, Office for the Arts at Harvard is pleased to present an exhibition of work from Montana-based potter Julia Galloway's most recent body of work, The Endangered Species Project: New England. Galloway works from each state's official list of species identified as endangered, threatened or extinct. She has created a series of covered jars, one urn for each species, illustrating the smallest Agassiz Clam Shrimp to the largest Eastern Elk.
Read more about this exhibition here:
ofa.fas.harvard.edu/ceramics/gallery224/endangered-specie...
Fragile
by Erik Brede
Photo manipulation / photoart / conceptual political statement made from a nude portrait of a woman.
Pigment Print on Hahnemühle Fine Art Baryta 325gsm archival, museum grade paper with Epson Inkjet 11880 and 9 color K3 pigment inks, that ensure even the smallest details are visible and the colors appear freshly printed, even after 100 years. Limited Edition of 30. The print include a white border to allow for future matting and framing.
Big prints on exclusive, ready to hang Brushed Aluminium and other material available from www.erikbrede.com. Sign up for exclusive deals.
My artwork is checked by hand, given a protective cover and placed in art-secure packaging before delivering to the art shipping professionals at UPS, FedEx or DHL straight from the laboratory within 5 to 10 business days.
A signed certificate of authenticity, certificate hologram tamper with CoA#, and a label signed by artist, which can be affixed to back of the artwork, is mailed to buyer as soon as the artwork is delivered and accepted. The price will increase as prints become unavailable.
www.contemporary-artists.co.uk/paintings/fragile/
#art #painting #artists
每個人都總會有感到脆弱的時候，而它就好像埋藏在樹底的鐵盒內的信件般。
你不希望與別人分享，甚至是多麼渴望自己可以把那位置也忘記掉。
但它卻老是愛在你的腦海中出現來提醒你它的存在。
by Nikon F3@My Home,Hong Kong
Agfa CT100
The cross-hatch of live electric fences in and around the camp made loved ones literally untouchable. The fences fatally divided families and lovers into subcamps between which communication was forbidden, and that cut off inmates from any previous relationship to the world beyond. And nor were these separative boundaries always material ones. Of a woman whose name had been written down at the previous selection on the list of those to be gassed, Nomberg-Przytyk writes: 'I did not talk to her, though she lay no more than an arm's length from me. I was ashamed that I was to live. At a later date, the period of death marches and extreme privation between Lucie Adelsberger's evacuation from Auschwitz and her liberation revealed to her that 'there is no saving face when caught up in the whirling dance of death, All inhibitions are cast aside.
-The Female Face of God in Auschwitz: A Jewish Feminist Theology of the Holocaust,
Melissa Raphael
Exhibition "Double Sexus", Louise Bourgeois & Hans Bellmer, Haags Gemeentemuseum by Hendrik Petrus Berlage architect, The Hague, the Netherlands
Face of a fragile forktail damselfly from Greenbottom WMA. These guys only get about 1 1/2 inches long and stay low in the weeds most of the time, but there are so many out right now, they are not terribly hard to find.
Estas fotos se hicieron para ilustrar un libro o mejor dicho un cuento "FRÁGILES".
Los muñecos los hizo: Nuria González (Shawara)
Vestuario: Rosa Díaz
Fotografía y edición: Rodolfo Velasco (Olpho)
Por favor, no use esta imagen en los sitios web, blogs u otros medios de comunicación sin mi permiso explícito - Todos los derechos reservados © OLPHO Rodolfo Velasco.
Please don't use this image on websites, blogs or other media without my explicit permission - All Rights Reserved © OLPHO Rodolfo Velasco.
Mi web: www.rollcreativo.com/
A fellow photo manipulating friend, Ruby Strange (see my tag by that name if you'd like to see works I have done of her), requested mirror photos for her latest series, and being the self portrait junky I am, I was happy to oblige! I found it to be quite a challenge. I sent her 44 photos & made it hard for the poor thing to choose, but when I do a photoshoot, I am a perfectionist & I just can't help myself! Of course I had every intention of having some fun with them myself. I had that pink glass heart box that I believe I got at at dollar store just sitting in my room, & thought I might be able to use it for something, so it gave me this idea that I've had for a while. View On Black
This is gonna be the next title picture for a magazine about safty and the paradoxon of the safty-paranoia.
Estas fotos se hicieron para ilustrar un libro o mejor dicho un cuento "FRÁGILES".
Los muñecos los hizo: Nuria González (Shawara)
Vestuario: Rosa Díaz
Fotografía y edición: Rodolfo Velasco (Olpho)
Por favor, no use esta imagen en los sitios web, blogs u otros medios de comunicación sin mi permiso explícito - Todos los derechos reservados © OLPHO Rodolfo Velasco.
Please don't use this image on websites, blogs or other media without my explicit permission - All Rights Reserved © OLPHO Rodolfo Velasco.
Mi web: www.rollcreativo.com/
Estas fotos se hicieron para ilustrar un libro o mejor dicho un cuento "FRÁGILES".
Los muñecos los hizo: Nuria González (Shawara)
Vestuario: Rosa Díaz
Fotografía y edición: Rodolfo Velasco (Olpho)
Por favor, no use esta imagen en los sitios web, blogs u otros medios de comunicación sin mi permiso explícito - Todos los derechos reservados © OLPHO Rodolfo Velasco.
Please don't use this image on websites, blogs or other media without my explicit permission - All Rights Reserved © OLPHO Rodolfo Velasco.
Mi web: www.rollcreativo.com/
colori sotto al sole in primavera
- Capaci (PA) -
132
20110407180721
Copyright © 2011 Federico Patti. All rights reserved.
Please, do not use my photos without my written permission.
Congregative Realism
From Pentateuch to Arpanet, databases form our ethical foundation. They total to a framework by which we determine how to be nice, and how to ward off all that wishes to harm us. So a residency is a kind of safe haven, streamlined until secular/contemporary. Tomes we build churches around seem invincible, despite millions who are over it. You can’t just throw the bath water out and leave this really important baby right there, like in a shed outside for animals.
That said, even all-powerful texts are fragile in their way. Viewed from the right angle, they’ll have a lazy eye, a crooked facial feature, bad grooming, a chapter where two editors fought out their long-term grudge only to bewilder every reader. And one can hope that somewhere on this planet, reader, fan, and underwriter of the new museum wing all mean the same thing. One word says them all. You can call the entire faithful by name in just a breath. Hello, Goodbye, and Peace.
It’s in this “just took shelter + who wants to meet up” safe space that personal growth is a basic guarantee. Graceful acceptance of flaws and a ceasing of self-shame for having them is yours free online, in big groups of friends, and honestly in quite a bit of scripture. I’m going to back off from that last point though before it goes over the edge.
If you think of what a church is like, versus wherever you live now, and extend that to art practice, there’s a distinction between soothing and tolerated waking lives. A church has ceilings and windows. The windows are stained, with lots of red. So you’re literally seeing the world through rose-colored glasses. Also high ceilings – so far up they come to a point – supercharge your limitless certainty you’re worth everything.
Do it. Go for it. And since we’re going there, let’s say that artists can, if they feel like it, live as texts. A group show would be several translations happening all at once. A database of truths emerging through acerbic contradiction would bubble up. It would be the kind of thing a community flooring it down the left hand path, somewhere in the middle of a dérive-on blast road trip invents by accident. A close-knit crop of interfacing aims quite often does produce objects and events we feel such zealotry to protect. We cloak the events in oratory and marinate the objects in myth.
It’s just like parties broke New York creators threw twenty years ago wherever they wouldn’t be kicked out, only to be codified as Lifestyle we now will our puritanical best to simulate. There’s a recipe for disaster in there. Good thing we kept the evil out.
– Zach Smith, 6:06am June 6, 2014
Within the framework of Mikkel Carl’s and Pedro Wirz’ residencies, this exhibition is made possible with the support of the Danish Arts Council and the International Exchange and Studio Program Basel.
Estas fotos se hicieron para ilustrar un libro o mejor dicho un cuento "FRÁGILES".
Los muñecos los hizo: Nuria González (Shawara)
Vestuario: Rosa Díaz
Fotografía y edición: Rodolfo Velasco (Olpho)
Por favor, no use esta imagen en los sitios web, blogs u otros medios de comunicación sin mi permiso explícito - Todos los derechos reservados © OLPHO Rodolfo Velasco.
Please don't use this image on websites, blogs or other media without my explicit permission - All Rights Reserved © OLPHO Rodolfo Velasco.
Mi web: www.rollcreativo.com/