View allAll Photos Tagged Hunger
First 1,000 + views <3
A pebble in the water makes a ripple effect
Every action in this world will bear a consequence
If you wade around forever, you will surely drown
I see what's going down.
Face down in the dirt
She said,This doesn't hurt
She said, I finally had enough ...
Face Down by The Red Jumpsuit Apparatus
Every time a new year comes around people make resolutions. The need for a significant reason for new beginnings; Loose weight, diet, get in shape, be nicer, etc. I agree, these are all good things to aim for in your life; ways to better yourself and evolve. Yet I feel like they are lacking for me again this year, as they always have in the past. I need more, each year passes and I always fail to choose one and I think it's because I simply never found the right resolution for myself. After reading these books, I finally have ...
My resolution is to stand for something, to stand for myself. To shift my own inner powers and take control in ways I never dared to before.
So here's a picture of a Mockingjay; the symbol of hope, revolution, and a better future. Because these are the only things I wish for myself and those I love. To spread hope, start a self-revolution and create a better world for myself.
So here's to new beginnings, have a safe and happy New Year everyone. Thank you to everyone and anyone who supported me in any way.
{Here starts my Hunger Games conceptual series}
One of the most anticpated films coming this March of 2012!! Get ready guys and girl, for the exciting finale of HUNGER GAMES!!
AQUA TEEN HUNGER FORCE WANTS YOU !!! FOR CRIMES AGAINST ANIMANITY.
From left to right: Dana Snyder, Rob Jan and Dave Willis at radio 3RRR FM studios in Melbourne, Australia on the 27th of April, 2009.
Dana (Master Shake) Snyder and Dave (Meatwad) Willis are two of the voice actor/creators of the animated series Aqua Teen Hunger Force from the U.S Cartoon Network's Adult Swim block.
en.wikipedia.org/wiki/Aqua_Teen_Hunger_Force
ORIGINAL PICTURE BY BEN POLLOCK
Some 795 million people in the world do not have enough food to lead a healthy active life. That's about one in nine people on earth.
Asia is the continent with the most hungry people – two-thirds of the total population. The percentage in southern Asia has fallen in recent years but in western Asia, it has increased slightly.
Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) in THE HUNGER GAMES: CATCHING FIRE. Photo credit: Murray Close
Another little build for the library display. Hunger games (not a scene, just some of the elements put together).
Vickie used a Hunger Games track suit from Jef's great 50 cent bin with her handmade shirt. She accessorized with a pair of handcuffs, cowboy hat and a gold purse (also from Jef's bin). I'm not sure why he has Barbies purse
Spin #5 - Archive Image Roulette
Fall Tree - October 2011 - Denver, Colorado, USA
Hunger Strike - Temple Of The Dog
Temple of the Dog (Soundgarden and Pearl Jam)
Hunger Strike - 1991
"I don't mind stealing bread
From the mouths of decadence...
I'm going hungry..."
After reading the first Hunger Games books and quickly making my way through the second, I decided to make a few mocks. This one is based on the part when Katniss and the crew are about to go on tour. I also tried out a different technique for the river, what'd you think?
Leica M2
Leica Summicron 35mm f/2 IV "King of Bokeh"
Ilford FP4+
Ars Imago FD 1+39
5 min 20°C
Scan from negative film
.
Untitled (Hunger 14), Tim Lowly © 1996, tempera on ceramic bowl, 7" x 7" x 4"
This painting is from a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997. Recently, as I was writing some thoughts on my work to a colleague, it occurred that I had not explained publicly my thinking about and reason for making this work. This seems pretty important given the problematic territory that this work wanders into. What follows is an excerpt from my correspondence:
Around 1995 the “special needs” school that our daughter Temma had been attending for 6 years – Lakeview Learning Center – was preparing to close. I was working at the school on a large painting (titled Big Picture) of the classroom for “severely and profoundly disabled” children that Temma was part of. While working on this large painting I was given a collection of miscellaneous photographs documenting the students in their daily life at the school. Also around this time I was offered an exhibition with a gallery in South Korea, the country where I grew up (my parents were medical missionaries). I decided to make work for this show based on the photographs that I had been given of students from Lakeview Learning Center as a way of making present a population that was largely invisible / marginalized in Korea at that time. My goal in making these paintings was to select photographs that (for me) most powerfully expressed the humanity of these children. In making the paintings my intent was to try to represent them as best as I could in accordance to how I perceived them via the photographs: that is, as completely and compellingly human. Despite my ambivalence about using other people’s photographs as sources for paintings, these photographs – apparently taken by the staff of the school - offered a kind of “objective” perspective on the children somewhat fitting for my relative distance from them personally. That said, to the extent that these children were part of a community of which my daughter was a part I felt it was appropriate to make paintings based representing them.
This latter point is important in relation to the fundamental intent of this project. While I was attempting to portray the children in all their individuality evident in the photographic sources, I was doing so with the primary goal of presenting them as a community: a community as evidently diverse and complex (in various respects) as any other.
There is a well-known (in Korea) poem by the Korean Catholic “Minjung” writer Kim Chi Ha that has an essentially Eucharistic refrain: “God is rice”. In allusion to that poem I decided to do a series of 21 paintings on Korean rice bowls (a very commonly used kind of bowl). More specifically, as an allusion to the marginalization of this population I made the paintings on the bottom / underside (typically unseen) surface of the bowls. In using the rice bowl I not only wanted to draw a connection to Kim Chi Ha’s poem, but further to the movement of Minjung Art that had grown in vitality at the ending period of Korea’s long dictatorship (the early ‘80s). The Minjung Art movement (which, especially in the person of the artist Im Ok Sang, had been very influential for me) made the empowerment of the poor and the marginalized their priority. My hope was to situate the subject of the work I was making – at that time still a largely marginalized community - in the context of the Minjung political imperative.
In this work I was attempting to represent these children as faithfully as I could. It might be helpful to unpack my thinking “representation” a bit: Painting, particularly realistic / representational painting is frequently thought of / received in relation to the convention of “mastery”. That is, when one makes a realistic painting it might be understood as an artists’ claim of mastery and, implicitly, as their claim to an authority over the subject represented. I do not have any interest in that way of approaching painting. I am interested in painting that is a kind of conversation with the material used to make it (as opposed to painting as about control or domination of the material). No less importantly, I’m interested in painting as a regarding of the subject in humility: an attempt to represent the subject as honestly, accurately and respectfully as possible. Put another way: painting for me is learning how to make this painting in relation to trying to understand and represent this subject.
Taking that word representation a bit further: it is of course a reasonable question to ask whether one has the right to represent (make or take a picture of) another person – particularly someone who is not able to give consent. And it is reasonable to question whether I – even as the parent of a member of that community and trusted by the staff of that community – have the right to represent the students. But no less important is the other side of this question: the right of each person to be represented (both literally, in the sense of being pictured, and - via metaphoric implication - politically). In the case of this particular population and the particular context in which these paintings were being shown my intention was to make and show these representational paintings of these children as a claim to their right (authority) to be represented: Particularly towards the goal of advocating the presence of members of this population as they existed in that country at that time.
Hunger Games Trilogy Slip Case Softcover Book set at Target Stores $19.99. Pics by Mike Mozart of TheToyChannel and JeepersMedia on YouTube. Hunger Games, Hunger Games: Catching Fire, Hunger Games: Mocking Jay.
::
Dear Students In el3lmya Complex .. xD
Bukra feeeh Something called " Hunger Lunch ,, "
we're gonna sell food for " High Class People :p "
and before I start talking about the thingy
" I'm against discrimination " :p
Oo this whole salfa is just to collect CAS hours plus we wanna chill shway :p
It's gonna be in the theater > outside< Lunch Break :D
so la tfshloona :p xDxD ..
" act like a princess (A) "
'Nd yeah :p ,, Our Resturant Name is " Spectaculaire " (A)
Only For People who were fed by a golden spoon :p
JK JK :p
quoted by me :p
Njoodi ;) .. ya Kafow enti ;) ..
::
The Great Famine or the Great Hunger was a period of mass starvation, disease, and emigration in Ireland between 1845 and 1852. It is sometimes referred to, mostly outside Ireland, as the Irish Potato Famine, because about two-fifths of the population was solely reliant on this cheap crop for a number of historical reasons. During the famine, approximately 1 million people died and a million more emigrated from Ireland, causing the island's population to fall by between 20% and 25%.
'Famine' (1997) was commissioned by Norma Smurfit and presented to the City of Dublin in 1997. The sculpture is a commemorative work dedicated to those Irish people forced to emigrate during the 19th century Irish Famine. The bronze sculptures were designed and crafted by Dublin sculptor Rowan Gillespie and are located on Custom House Quay in Dublin's Docklands.
This location is a particularly appropriate and historic as one of the first voyages of the Famine period was on the 'Perserverance' which sailed from Custom House Quay on St. Patrick's Day 1846. Captain William Scott, a native of the Shetland Isles, was a veteran of the Atlantic crossing, gave up his office job in New Brunswick to take the 'Perserverance' out of Dublin. He was 74 years old. The Steerage fare on the ship was £3 and 210 passengers made the historical journey. They landed in New York on the 18th May 1846. All passengers and crew survived the journey.
In June 2007, a second series of famine sculptures by Rowan Gillespie, was unveiled by President Mary McAleese on the quayside in Toronto's Ireland Park to remember the arrival of these refugees in Canada.
This is only my Flickr sub account for Portrait/Cosplay/People photography. My main account has my best and broadest work.
Main Flickr Account // Facebook // Flickriver Most Interesting
Copyright: Not for any commercial use, web sites or printing without my written consent. Any posting of this image on twitter, facebook or the like are to be a LINK/share to this Flickr page or the my corresponding Facebook image only. Image freely available for personal use only as electronic screen wallpaper or screensaver.
* Only the models pictured in this photo shoot have my permission to print or use this image for non commercial use.
* My models, Please link & share rather than download and repost to your Facebook or sites, thank you.
* Model Mayhem # 3763448