View allAll Photos Tagged Grounding
I put in a small brass tube between the bridge and the control cavity area to make it easier to run a grounding wire internally.
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A series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
Dredging equipment and the Ever Given Grounding Monument - where the container-ship 'Ever Given' ran aground in 2021 blocking the canal for 6 days at a cost of $600m in compensation to the Egyptian Government.
this is a patch of trees that runs behind our house. i know this family of trees better than i have ever known another. i watch them bud in the spring, provide shade and lush green in the summer, drop leaves in fall, and stand bare in the winter.
i see these trees bend in the storms. i see them drop limbs when they are no longer useful. i see them cradle baby birds and provide ongoing squirrel amusement.
every other year some of them drop apples, and cherries.
these trees whisper to me... "be strong, but bend...flow...stay rooted at the base of things and you can dance freely without any fear of toppling over. and if you really need to lean... lean on a fellow tree. we will hold each other up in the very strongest of winds."
A series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
A series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
If you are looking for Lightning protection services, You have taken the best decision of installing a lightning protection system to your home. Chemical grounding rod is the best protection you can give your home. It helps carry unexpected electrical charges safely to the ground without harming any other source. Check out the Smart Ground Testing services from Lightning Eliminators & Consultants, Inc. Their results of the ground audit are highly accurate and the engineers give a very practical solution to improve the grounding rod system. Know more about us here: www.lightningprotection.com/
local radio 'grounding'
Space-Time: Convention T, annual music and arts festival, Wysing Arts Centre, 31st August 2013
Photo: Andrew Shires
That tree has been a source of "grounding" to me. I have more in
common with the birds that actually fly above this yard, not the nesting ones. lol
So it's lunch time here. I'm taking a break letting the painting dry a bit and eat a cheese sandwich and some soup....feels like I'm in kindergarten again.
So I have hopes of finishing this today, but I really don't want to rush anything. So it might take a few more days. The next day I have off to devote to painting is Thursday... so it may have to wait on being finished until then.
I'm feeling okay with this piece so far. I have the tendency to not feel confident with a piece until it's finished... and even then I don't really feel that great about it.
I see everything that I wanted to do different. Nothing ever seems to come out of my head the way I want it to.... and thats a little irksome at times.
so yeah ...if not today ... Thursday...
I want to get a new canvas next weekend.
This shot was taken from the end of our dock while we were talking to the sheriff. It unfortunately took them 45 minutes for them to arrive, during which time Mr. Yahoo stumbled up to road and met his wife, who came to pick him up in their car. Hopefully he gets an extra harsh sentence for leaving the scene of an accident.
Grounding Potion - Ginger infused vodka.
The original label is from Johnny Love at Love Manor:
www.flickr.com/photos/lovemanor/2864135339/
I doctored them to fit our infusions.
Yvonne in Green Dress - 1938
Guy Pène Du Bois (American, 1884 - 1958)
Born in Brooklyn, Guy Pène du Bois was named after Guy de Maupassant, a friend of his father, Henri, who came from New Orleans. Throughout his life the artist maintained a strong connection to French culture (he did not speak English until he was nine), grounding his art in the sharp wit and keen alertness to social environment of his Gallic predecessors, Honoré Daumier, Jean-Louis Forain, and Théophile Steinlen. Yet like so many of his generation, Pène du Bois remained confident in the future of art in America, and his themes were inspired by a broad conception of the American scene, including depicting his countrymen abroad. Although he resided in France for some years, he never became a true expatriate.
Pène du Bois began his art studies at the New York School of Art under William Merritt Chase and also took classes from James Carroll Beckwith, Frank Vincent Du Mond, and Kenneth Hayes Miller. But it was the magnetic Robert Henri, with whom he began to study in 1902, who made the most powerful impression on his development, and this teacher's emphatic blending of art and life remained fundamental to Pène du Bois's aesthetic, both as critic and as painter. He made his first trip to Europe in April 1905, returning in July 1906 after his father’s death. Needing to earn a living, he worked as a writer and an editor for a series of newspapers and art periodicals. His writings, spanning over forty years, represent an articulate consideration of realist concerns grounded in the aesthetic of Henri's circle.
The art of Pène du Bois came to maturity during the 1920s. Although he had ended his studies in 1905, the necessity of earning a living as a critic and teacher meant that studio time was often limited. In 1913 John Kraushaar began to handle the artist’s work at his New York gallery, and in 1918 Pène du Bois had his first one-man show at the Whitney Studio Club. In 1920, in an effort to minimize the distractions of New York, he moved to Westport, Connecticut, though the town, with its active social life--F. Scott Fitzgerald was a neighbor--did not turn out to be the quiet painting refuge he had sought, and he continued to work in his New York studio. Not until December 1924, when he sailed for France, could he paint full time, freed from immediate financial concerns. The artist was forty years old.
His six years in France were the most sustained period of work he would ever have. Temporarily relieved from his obligations as a critic and supported by steady sales through Kraushaar Gallery, Pène du Bois could concentrate on his painting. During this period his style changed dramatically, as he abandoned the heavy brushtrokes and dark colors of his earlier works in favor of a broader conception of the human figure, using a lighter palette, simplified volumes, bold patterns, and larger canvases. Seeking his subjects in situations he knew well, his style remained solidly representational yet progressive.
Pène du Bois and his family occupied a rented house in Garnes, a rural village about thirty miles from Paris, where he visited regularly, seeking the companionship of other artists and subjects for his works. He was fascinated by the display of contemporary life and social relations he saw at the Café du Dôme and other public gathering places and closely studied Americans he encountered abroad. His substantially modeled and stylish figures are chic and sophisticated yet ultimately empty and superficial. His was an urbane view characterized by an underlying sharpness; Pène du Bois’s canvases of the 1920s established his reputation as one of America's most trenchant artists.
The stock market crash of October 1929 forced the artist to return to America in April 1930. Throughout the 1930s and 1940s he continued exploring the figural interests that had long occupied him. Outside the studio he continued to write, teach, and exhibit widely. During the Depression he received government sponsorship for several New Deal murals, and he published his autobiography, “Artists Say the Silliest Things”, in 1940. That year he was also made a full member of the National Academy of Design. Increasing health problems throughout the late 1940s sharply curtailed his work, and by 1950 he had effectively ceased painting. Pène du Bois died in Boston, where his daughter Yvonne lived until her death in 1997.
_________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
The Grounding - 2007
Trisha Donelly
USA - 1974
________________________________________________
The Astrup Fearnley Museum of Modern Art is a privately owned contemporary art gallery in Oslo in Norway. It was founded and opened to the public in 1993.[1] The collection's main focus is the American appropriation artists from the 1980s, but it is currently developing towards the international contemporary art scene, with artists like Jeff Koons, Richard Prince, Cindy Sherman, Matthew Barney, Tom Sachs, Doug Aitken, Olafur Eliasson, and Cai Guo-Qiang. The museum gives 6-7 temporary exhibitions each year. Astrup Fearnley Museum of Modern Art collaborates with international institutions and produces exhibitions that travel worldwide.[2] In 2012 the museum moved to two new buildings designed by Renzo Piano in Tjuvholmen.
The museum opened in 1993, and was funded by two philanthropic foundations established by descendants of the Fearnley shipping family, the Thomas Fearnley Foundation and the Heddy and Nils Astrup Foundation.
The two foundations merged in 1995 to become the Thomas Fearnley, Heddy and Nils Astrup Foundation. The Thomas Fearnley Foundation was established by shipping magnate Thomas Fearnley (1880–1961) in 1939; he was the son of shipping magnate Thomas Fearnley (1841–1927) and grandson of romantic painter Thomas Fearnley. The Heddy and Nils Astrup Foundation was named for Nils Ebbessøn Astrup, who was a maternal grandson of Thomas Fearnley (1841–1927).
The museum created a stir in the international art world in 2002 when it purchased the American artist Jeff Koons's monumental sculpture in gilt porcelain of the pop star Michael Jackson with Bubbles, his favourite chimpanzee, for US $5.1 million.
The permanent collection consists of works of Norwegian and International Contemporary Art. The museum collection was originally based on a private collection that goes back thirty years and has significantly developed with the many changes in modern/contemporary art. There has been an interest in German Abstract Expressionism, English modern painting, and the Young British Artists. Presently the collection is orientated towards the young American art scene. It also encompasses works pertaining to the steadily increasing global art community. The main areas of curatorial expertise in the museum are art from the 1960s to the present, including American and European pop-art, post-modern appropriation art of the 1980s and international contemporary art.
Astrup Fearnley Museet is celebrating its thirtieth anniversary in 2023. To mark this significant milestone the museum presents an extensive exhibition featuring iconic works, hidden treasures and recent acquisitions to the Astrup Fearnley Collection, across the museums two buildings. The selected works represent various time periods and highlight a number of key directions that have come to define the identity of the collection and the museum more broadly. The collection includes significant works by Matthew Barney, Paul Chan, Trisha Donnelly, Félix González-Torres, Nan Goldin, Damien Hirst, Jeff Koons, Glenn Ligon, Bjarne Melgaard, Julie Mehretu and Cindy Sherman.
The museum building is designed by renowned Italian architect Renzo Piano, whose other notable museum buildings include Centre Georges Pompidou in Paris and Whitney Museum of American Art in New York.
.
"The collection does not concentrate on specific eras, styles or groups, but reflects an in-depth attention to the work of a wide variety of artists. The museum maintains the vibrancy of the collection by regularly rehanging the exhibitions, placing the works in new constellations and contexts. The presentation on show focuses on a range of practices, often including several works by individual artists, in order to highlight the breadth and depth of the collection. Well-known artworks are juxtaposed with newly purchased pieces that have never been exhibited before. Not selected according to an overall theme, the different works generate a dialogue through their interplay with one other. This exhibition presents a multitude of topics and concepts that may inspire new directions of exploration. The artworks encourage us to examine complex issues and meditate on questions of aesthetics and politics, of identity, sexuality and violence, and of loss, faith and belonging."
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________________________________________________
Our earlier visit to Oslo in September, 2022:
www.flickr.com/photos/ugardener/albums/72177720302453344
...
Aker Brygge and Tjuvholmen
www.visitnorway.com/listings/aker-brygge-wharf/4471/
A bridge connects Aker Brygge to Tjuvholmen ('the thief islet'). Tjuvholmen is not only one of Oslo’s newest quarters, it is also a must-see for all design and architecture aficionados. The area is known for its rich, architectural diversity and the many art installations in between the houses. There are also a lot of galleries on Tjuvholmen, as well as the AstrupFearnley Museum, which situated at the outermost tip of the island, between its sculpture park and a small beach.
2022 Grounding the Green New Deal: A Summit on Design, Policy, and Advocacy (Credit: Allison Shelley/Landscape Architecture Foundation)
Yvonne in Green Dress - 1938
Guy Pène Du Bois (American, 1884 - 1958)
Born in Brooklyn, Guy Pène du Bois was named after Guy de Maupassant, a friend of his father, Henri, who came from New Orleans. Throughout his life the artist maintained a strong connection to French culture (he did not speak English until he was nine), grounding his art in the sharp wit and keen alertness to social environment of his Gallic predecessors, Honoré Daumier, Jean-Louis Forain, and Théophile Steinlen. Yet like so many of his generation, Pène du Bois remained confident in the future of art in America, and his themes were inspired by a broad conception of the American scene, including depicting his countrymen abroad. Although he resided in France for some years, he never became a true expatriate.
Pène du Bois began his art studies at the New York School of Art under William Merritt Chase and also took classes from James Carroll Beckwith, Frank Vincent Du Mond, and Kenneth Hayes Miller. But it was the magnetic Robert Henri, with whom he began to study in 1902, who made the most powerful impression on his development, and this teacher's emphatic blending of art and life remained fundamental to Pène du Bois's aesthetic, both as critic and as painter. He made his first trip to Europe in April 1905, returning in July 1906 after his father’s death. Needing to earn a living, he worked as a writer and an editor for a series of newspapers and art periodicals. His writings, spanning over forty years, represent an articulate consideration of realist concerns grounded in the aesthetic of Henri's circle.
The art of Pène du Bois came to maturity during the 1920s. Although he had ended his studies in 1905, the necessity of earning a living as a critic and teacher meant that studio time was often limited. In 1913 John Kraushaar began to handle the artist’s work at his New York gallery, and in 1918 Pène du Bois had his first one-man show at the Whitney Studio Club. In 1920, in an effort to minimize the distractions of New York, he moved to Westport, Connecticut, though the town, with its active social life--F. Scott Fitzgerald was a neighbor--did not turn out to be the quiet painting refuge he had sought, and he continued to work in his New York studio. Not until December 1924, when he sailed for France, could he paint full time, freed from immediate financial concerns. The artist was forty years old.
His six years in France were the most sustained period of work he would ever have. Temporarily relieved from his obligations as a critic and supported by steady sales through Kraushaar Gallery, Pène du Bois could concentrate on his painting. During this period his style changed dramatically, as he abandoned the heavy brushtrokes and dark colors of his earlier works in favor of a broader conception of the human figure, using a lighter palette, simplified volumes, bold patterns, and larger canvases. Seeking his subjects in situations he knew well, his style remained solidly representational yet progressive.
Pène du Bois and his family occupied a rented house in Garnes, a rural village about thirty miles from Paris, where he visited regularly, seeking the companionship of other artists and subjects for his works. He was fascinated by the display of contemporary life and social relations he saw at the Café du Dôme and other public gathering places and closely studied Americans he encountered abroad. His substantially modeled and stylish figures are chic and sophisticated yet ultimately empty and superficial. His was an urbane view characterized by an underlying sharpness; Pène du Bois’s canvases of the 1920s established his reputation as one of America's most trenchant artists.
The stock market crash of October 1929 forced the artist to return to America in April 1930. Throughout the 1930s and 1940s he continued exploring the figural interests that had long occupied him. Outside the studio he continued to write, teach, and exhibit widely. During the Depression he received government sponsorship for several New Deal murals, and he published his autobiography, “Artists Say the Silliest Things”, in 1940. That year he was also made a full member of the National Academy of Design. Increasing health problems throughout the late 1940s sharply curtailed his work, and by 1950 he had effectively ceased painting. Pène du Bois died in Boston, where his daughter Yvonne lived until her death in 1997.
_________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.