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Kate's worn stilettos, Madonna's worn them, Marilyn and Brigitte both definitely wore them. Imelda could have drowned in the number of pairs she owned. Men love them, women adore them. And if they don't just now, they've simply not found the right pair yet.
See all Kurt Geiger's designer stiletto shoes
Willis & Geiger shirt and leather vest. Plus Kangaroo leather hat - Also see www.areaguides.com/made-in-usa
Photo by BriFitDance.com
Here are some quality clothing brands that will survive the test of time. Yes, if you look, you can find quality clothing items that are made in USA, England, India and Japan. You can skip Chinese made junk! In some cases you may need to buy pre-owned because many once great brands have sold out quality for profits. The good news is there are great deals to be found by buying vintage old school quality on eBay. See lots of brand names to search for at: www.flickr.com/photos/areaguides/albums/72157673043917817
Also see: www.frederick.com/made-in-usa
Looking for a great watch? See www.craigshipp.com/grandseiko
See my Made In USA video playlist: www.youtube.com/playlist?list=PLEwYYQha4Mn15OSzbq6rOqCAMI...
National Museum of Nuclear Science & History
CRITICAL ASSEMBLY
THE SECRETS OF LOS ALAMOS 1944:
INSTALLATION BY AMERICAN SCULPTOR JIM SANBORN
Civil Defense
CD V-777-2
Radiation Detection Kit
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In Critical Assembly (1998-2003), Jim Sanborn has re-created the moment in 1945 when human beings first fashioned a practical device powered by nuclear fission. It was called the "gadget" We know it today as the Trinity bomb. When it exploded on July 16 in the New Mexico desert, it permanently changed the human condition.
The place Sanborn takes us to is Los Alamos, in the 1940s a secret town known to the outside world only by its mailing address, Post Office Box 1663, Santa Fe, New Mexico. The scene is a small building in an isolated canyon, far enough from other buildings to contain the radiation. On the tables are "criticality experiments," their purpose to determine how much plutonium 239 can be packed into a bomb for maximum yield without making the bomb unsafe to handle.
Electronic instruments, hardware, furniture, tools and materials used by the Los Alamos Scientific Laboratory during the 1940's and 1950's were acquired by the artist during a six year period from a variety of sources including Lab employees (some of whom had originally made or designed them) These employees had bought these objects many years later as surplus materials at public sales carried out by the Laboratory. Any materials the artist was unable to collect in Los Alamos he machined and fabricated himself.
Plutonium and highly enriched uranium are very unstable metals. If the scientists placed too much of either material in one place it would spontaneously fission or "go critical" causing a tremendous burst of radioactivity that would kill everyone in the immediate area. Conversely if too little material was used to make a bomb it would not detonate at all. This is not to say that sub-critical masses were non-hazardous, in fact they were extremely dangerous. At any given time several of the experimenters tables held a highly radioactive sub-critical mass and a hemispherical reflector (the tables were kept far enough away from each other to reduce the chance of a fission event). The sub-critical masses on the tables were so close to criticality that the reflective properties of the human hand could cause a dramatic rise in radioactivity and the scientists frequently played tunes on the ever present sound of the Geiger counters.
In the late 1940's the scientists at the Lab referred to these experiments as "tickling the tail of the dragon" and the table top work was done with very little personal radioactivity shielding. After 1950 these criticality experiments were done using robotic arms controlled from shielded rooms.
The "Physics Package" as it was called of the "Fat Man" bomb (the one dropped on Nagasaki Japan and tested earlier in Southern New Mexico) is depicted on two metal tables in this installation.
Evocative of both the brilliance of the collective human mind and the potentially devastating power of knowledge, this installation is about the allure of pure science and the ethical dilemmas scientific researchers have faced for decades.
American Civil War reenactors at the 10th annual Lehigh Valley Civil War Days event in Whitehall Township, Pennsylvania.
Large color group photograph of the 1st Platoon, I Company, 1st Infantry Training Regiment, at Camp Geiger, NC, in August 1971 [Dimensions: 14-inches x 10-inches].
From Camp Geiger Large Training Unit Photographs, VW 36, Vietnam War Papers, Military Collection, State Archives of North Carolina, Raleigh, N.C.
The Cocoa Butter Club Gay Pride Review Hosted by Sadie Sinner the Song Bird at Kurt Geiger luxury British footwear and accessories retailer Shop Westfield's London
A close-up of my trusty New Rock 373s - heavy duty (or just plain heavy) elevating calf-boots that are basically the only footwear I own apart from some boring formal shoes for school and some DC Axel skateshoes that I wear for PE.
Yes, the lace goes through the heel. Yes, they have metal plates here and there.
Making some radiation tests with my Geiger counter before entering Chernobyl and Prypiat exclusion zone
Para el noveno número de Arte colombiano del siglo XXI, pequeña biblioteca coleccionable. Pueden descargarlo y ver las instrucciones para armarlo en la página web de Jardín: jardinpublicaciones.com/publicaciones/arte-colombiano-del...
Kate's worn stilettos, Madonna's worn them, Marilyn and Brigitte both definitely wore them. Imelda could have drowned in the number of pairs she owned. Men love them, women adore them. And if they don't just now, they've simply not found the right pair yet.
See all Kurt Geiger's designer stiletto shoes
I've had these boots for years and love them with a passion. They are fabric upper, leather soles and SO comfortable.
Unfortunately I wore them to death and thought I'd have to bin them until I found a genius at replacing the soles on my favourite shoes.
New leather soles and they feel completely new again! Well worth the £20 to get my favourite boots back again.
A 54-piece creature MOC I built with my twin brother Lyichir. I suppose that given its color scheme it could be part of the Piece Out Collab, though it might be a bit late for that.
... they crossed the pass down there with iron ore, carried by horses and ox wagons . The ore came from the mines at Tulleck / Eisenerz and was melted at Seisenbach / Wildalpen.
A 54-piece creature MOC I built with my twin brother Lyichir. I suppose that given its color scheme it could be part of the Piece Out Collab, though it might be a bit late for that.
Photographer
While out clicking photographs at Jazz @ 5 on Wednesday evening I saw a man with an abundance of Nikon camera gear. As a fellow Nikon shooter, I decided to approach him and ask him who exactly he was shooting for. He informed me that he was in fact the "photographer" for Jazz @ 5, introducing himself as Gary Geiger full-time photographer. We chatted for a bit and learned of one another's paths in the realm of photography, we were similar in the fact that we both shoot Nikon. But this is where he and I do photography differently, I swear by the light that is presented to me (and almost NEVER) use flash but Gary on the other hand is very strobe orientated. It was interesting to get his take on how photography has changed over the last 20 years advancing from 35mm to digital; to even smart phones taking over some of the journalism market. I decided at this point that he would make a perfect entry for my 100 more strangers project and asked if he was willing to participate. At first he was hesitant (for fear he might break the camera) but he then gave me. So thank you Gary for your contribution to society as a fellow photographer keeping the art alive, as well as being a participant in the 100 strangers.
24/100
50mm 1.4g
f1.8 1/125
ISO800
The Cocoa Butter Club Gay Pride Review Hosted by Sadie Sinner the Song Bird at Kurt Geiger luxury British footwear and accessories retailer Shop Westfield's London
Have a look at the larger photo and you'll see the carved lugs and crown.
With the dark blue, it takes a closer look to catch the details.
11. Karl Joseph Geiger (Vienna, 1822 - 1905 ibidem)
Illustration on Franz Schubert's song cycle Die Schöne Müllerin/the Beautiful Miller-Girl
1900
Watercolor, ink, preliminary drawing with pencil, on paper
Purchase from the artist (?), Vienna, 1900
11. Karl Joseph Geiger (Wien 1822 - 1905 ebenda)
Illustration zu Franz Schuberts Lied-Zyklus Die Schöne Müllerin
1900
Aquarell, Tusche, Vorzeichnung mit Bleistift, auf Papier
Ankauf vom Künstler (?), Wien, 1900
On the history of women's studies at the Academy of Fine Arts Vienna
1897
Conservative journalist A.F. Seligmann founded the art school for women and girls and taught there as a single teacher 16 students in the "Curs for head and act". 1898 expands the school: Tina Blau, a former teacher of the Munich artists association conducts 1 January 1898 a "Curs for landscape and still-life", which she held until 1915. Richard Kauffungen was nominated for sculpture, Ludwig Michalek led the "Curs for head and act" as well as an Radierkurs (etching course), Adolf Böhm the course for decorative and applied arts, Fabiani teaches ornamentation and style of teaching as well as "Modern home furnishings", Georg Klimt taught metalwork, Friedrich King wood cutting art and Hans Tichy from 1900 the drawing and painting from the living model. In all these teachers are moderate modern artists from the area of the Secession. The theoretical lectures are held in the company founded by Emil Zuckerkandl and Julius Tandler 1900 "Association of Austrian university lecturers Athenaeum", which had the task to be "an educational institution for members of the female sex". The first school year was completed with 64 students, the school is rapidly expanding, so that it forms 200-300 students annually within a few years. The steady growth is due to the restrictive attitude of the public schools of art (especially the academy) towards women, but also from the indiscriminate admission of which have been blamed all the private schools also on the part of women harshly, and just by women.
1904
The Academy of Fine Arts Vienna one of the many requests for opening the Academy for female students once again is putting the old arguments against that women are rarely equipped with creative spirit in the field of great art and that on the other hand a "proliferation of dilettantism and a pushing back of male members" is to be feared. Just the idea of a joint education had "abhorred" the College. The Academy therefore advocates for the financial support of the art school for women and girls, and rejects the application for opening the academy for women unanimously. The main argument for the impossibility of the joint Aktzeichnens (nude drawing) and the need for a second Aktsaales (nude hall) is increasingly mentioned, which cannot be realized because lack of space and lack of money. Henni Lehmann (Artistic studies of women, Darmstadt 1913) counters the same argument in Germany: "The common nude studies of women and men can not be described as impossible as it is done in many places, without having shown any grievances". The objection of the Quorum of the Berlin University professors that no teacher could be forced to teach women at all in such delicate subjects is countered that the problem was easily solved by entrusting a lady the Aktunterricht (nude drawing) in ladies. Suitable artists were plentiful present. That the life drawing for a long time (until 1937) remained problematic, shows the application of the renowned sculptor Teresa F. Ries of 1931, in which she was offering the Academy her services for the purpose of the management of a yet to be affiliated department, where young girls separated from the young men could work under the direction of a woman. The application was not even put to a vote.
1912
The rector of the Munich Academy also does not believe in the inclusion of students (female ones): "... it is impossible, even with regard to the space conditions, besides the fact that the aspirations of the artists who devote themselves to the arts especially are usually others than that of women..."
1913
No significant change in attitude can be found between the opinions of the Academies from 1904 and those of 1913.
1919
In the report from the College's meeting of the Academy of Fine Arts Vienna to the State Office of Internal Affairs and Teaching is communicated that against the requested admission there were no fundamental objections, but that the Academy is so limited in spatial relationship, that after the experiences of the last entrance exams not even the majority of gifted young artists, capable of studying, could be included, and therefore, in case of the admission of women to the study initially had to be made a considerable expansion. The State Office counters that a further delay in the admission of women to the academic study could not be justified and that approval is to allow at least temporarily in a narrow frame.
1920
The State Office for the Interior and Education officially approved the admission of women to study at the Academy of Fine Arts Vienna (since 1919 women were admitted to all faculties of the University of Vienna, with the exception of the Catholic and Protestant Theological Faculty).
A committee consisting of the professors Bacher, Delug, Schmutzer, Jettmar and Müllner claims that the Academy has never pronounced in principle against women's studies but have always only expressed reservations because of the cramped space and financial situation. As a complete novelty proves that no more concerns are raised with regard to coeducation. Men and women should compete in the entrance examination. In the winter semester 1920/21 will be included 14 women, of course, representing only a small minority in relation to the 250 male students.
1926/1927
In the new study regulations are for the first time mentioned Schüler (M) and Schülerinnen (F).
March 1927
Report of the Academy of Fine and Applied Arts about the experiences regarding the access of women to universities: ..."in past years it was thought for the education of women and girls by the Academy of Women for Liberal and Applied Art, which is also equipped with academic classes and by the State subsidized, sufficiently having taken precautions: during a period of almost seven years of study, it was probably possible to get a clear picture about the access applications of women, and about the degree course ... Of course, the number of female candidates in the painting is strongest, weaker in sculpture, and very low in the architecture. As much already now can be said, that in no way in terms of education in the new admissions the women are left behind the male candidates. During the study period, the female students are not in diligence and seriousness of studying behind their male colleagues. Particularly gratifying can be emphasized that because of the co-education of both sexes in common rooms in the individual schools a win-win situation for everybody was. In the master schools the College was repeatedly able also honouring women with academic prices. Subsuming, it should be emphasized that our experiences with the study of women in the Academy of Fine Arts were quite favorable."
The number of students (Studentinnen) increased from 5 % in the winter semester 1920/1921 till 1939/1940 to about 25 %. After the annexation of Austria to Nazi Germany, the number of students (Studentinnen) decreased. The proportion of female students rose after 1940 naturally, reached during the war years up to 70 % and amounted 1945/1946 to 65%. From 1946/1947 the number of students (Studentinnen) fell sharply again, so 1952/1953 only 20% of the students at the Academy were women. 1963/1964 there were, however, already 41% (278).
2002
Students (Studentinnen): 570 of 936 students
University professors (Universitätsprofessorinnen): 9 out of 29
Ao Univ. (extraordinary female professors) 2 of 12
Univ.Ass. (female university assistant) 18 of 41
Contract teachers (Vertragslehrerinnen): 3 of 7
Lecturer (Lehrbeautragte): 32 of 46
Almut Krapf
www.akbild.ac.at/Portal/organisation/uber-uns/Organisatio...
The Cocoa Butter Club Gay Pride Review Hosted by Sadie Sinner the Song Bird at Kurt Geiger luxury British footwear and accessories retailer Shop Westfield's London