View allAll Photos Tagged Hunger
Now I'm not much of a reader, but I'll admit that The Hunger Games is a great book! Having only just read it, I'm now waiting to read the next two. Plus there's a movie being released...
Anyway, I'm thinking that my next build could be themed around The Hunger Games, maybe? This minifig' I just threw together for Katniss...obviously I'm going to paint the bow silver and probably change the torso and maybe the head/and hair. In fact, when I have more time I'll redo her :P
Don't expect anything soon though, college starts tomorrow so my months of doing basically nothing are over :'(
This is my submission for Hunger magazine's contest.
Please vote for me! I would love you forever haha
www.talenthouse.com/creativeinvites/preview/a832623c1bb19...
Untitled (Hunger 4), 1996, 7" x 7" x 4", tempera on ceramic bowl. Private collection.
This painting is from a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had at Art Space Seoul in Korea in 1997. A couple years ago, 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.
Click the following link for an essay on this and other work included in an exhibition at Art Space Seoul in Seoul, South Korea in 1997.
People who've been following my stream for a while will have seen the sister image of this one. I don't know how I missed this one earlier, but came by it today while organizing my files. The sister image I processed using some funky experimental effects. I left this one as is and did it all natural.
I'm actually extremely influenced to go all natural with little or not effects (cross processing, warming effects, muted looks, yellowed looks etc etc) after going throught boston Globe's "The big Picture" section. Those who haven't seen it should check it out. They collect the best press photos from different sources of worldwide events occuring/affecting us right now, and the quality of the images is mindblowing.
Hope you guys are having a great weekend so far. Happy Independence Day to all my fellow Indian peeps!
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Untitled (Hunger 7), 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.
On our last vacation, I was lucky enough to immerse myself in the Scottish Cospley scene for about two hours. A fantastic experience. Thank you for your patience. More photos will follow on FLICKR soon.
They started their hunger strike the night that OWS was raided by the NYPD at Liberty Park. They are now going on over 15 days and have been arrested multiple times including being arrested after they climbed the fence and entered Duarte Park on December 17, 2011.
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
My custom movie poster and tribute to one of my favorite films, 'Hunger' (2008), directed by Steve McQueen.
This is another attempt to capture the beautifully ornate interior of St Patrick’s Cathedral in Armagh City, taken as a 6 shot panorama.
St Patrick founded his first stone Church in Ireland on the site now occupied by St Patrick’s Church of Ireland Cathedral, known as Sally Hill, in the year 445. When St Patrick took possession of Sally Hill a deer with her fawn allegedly leaped from the bushes. His companions wanted to catch and kill the fawn but the Saint would not allow them. He himself took the animal on his shoulders and carried it, followed by its mother, to Tealach na Licci (Sandy Hill), the site of the present Catholic Cathedral. The incident has been fondly construed as a prophetic reference by Patrick to the building of another Cathedral in his honour 1400 years later.
Archbishop William Crolly (1835-1849) negotiated the current site for the Catholic Cathedral of St Patrick in Armagh from the Earl of Dartrey. The original architect was Thomas J. Duff of Newry. The work of construction lasted from St Patrick’s Day 1840, when the foundation stone was blessed and laid, with occasional intermissions until the year 1904 when the solemn ceremony of consecration took place. One of the longest gaps in construction took place during the years of the Great Famine. With the dreadful spectre of hunger and disease stalking the land, Cathedral funds were understandably diverted to the more pressing cause of famine relief. Indeed the cholera disease claimed the primate himself and in 1849 his body was laid to rest, at his own request, under the sanctuary of his unfinished Cathedral.
Primate Joseph Dixon (1852-1866) declared Easter Monday 1854, ‘Resumption Monday’. Financial contributions for the Cathedral came from across the Atlantic and to raise extra funds Dr Dixon took the step, rare in those days, of organising a great Bazaar. ‘The First Bazaar’ of 1865 became a household word in Armagh, not alone for its material success (over £7,000 was raised, a remarkable sum for the times), but also for the unique character of some of the prizes. Pope Pius IX sent a beautiful ivory carving of Raphael’s ‘Madonna Di Foligno’. The Emperor of Austria sent a table of rare inlaid work specially designed for the occasion, while Napoleon II chose from the Tuileries Staterooms two magnificent vases of Old Sevrés. An interesting relic of the Bazaar is the grandfather clock now standing in the Cathedral Sacristy. This was a prize which has never been claimed!!
When work resumed in 1854 the original architect Thomas Duff had died and the famous Irish neo-Gothic architect, J. J. McCarthy, was appointed to complete the work. He proposed a different design. The original plan had proposed a perpendicular Gothic church. However, since the original plan of Duff had been adopted for Armagh, an architectural renaissance had taken place and there was a growing tendency to favour a return to purer styles of which perpendicular Gothic was seen as a decadent modification. What McCarthy drew up was a continuation design in the old fourteenth century style of decorated Gothic.
Under Archbishop Daniel McGettigan (1870-87) the Cathedral was completed and dedicated on 24 August 1873 attended by an estimated 20,000 people. Prior to the great occasion Dr McGettigan had seen to the construction of the seven-terraced flight of steps leading from the Cathedral gates to the piazza in front of the west door. In the years following the ceremony he continued to make additions. He built the Archbishop’s house in 1876-77 and in 1884-86 the sacristan’s lodge just inside the Cathedral gates.
The adornment of the interior of the Cathedral was completed under Cardinal Michael Logue (1887-1924). At that time the southern transept was still being used as an impoverished sacristy and assembly room for diocesan purposes. Cardinal Logue corrected this undesirable state of affairs which greatly detracted from the symmetrical beauty of the building’s interior by having constructed to the north east of the Cathedral the Synod Hall which houses the present sacristy. At this time the interior of the Cathedral was dull and undecorated. Cardinal Logue issued a pastoral letter, On the National Cathedral, from which grew the famous ‘National Cathedral Bazaar’ of 1900 which realised a record sum of £30,000. It can be said that everything in the inside of the Cathedral, except for the Stations of the Cross and some windows in the Lady Chapel, dates from Cardinal Logue’s time.
At his own expense he went abroad and visited the Cathedrals of Italy. He went to the workshops of Rome and Cararra in his search for precious marbles for the construction of the reredos and pulpit as well as the altars. In an exquisite example of artistic workmanship a magnificent Gothic altar was erected in purest statuary marble. On the front it carried in high relief Leonardo Da Vinci’s Last Supper by the distinguished Roman sculptor, Cesare Aureli, which in the rearrangement of the sanctuary following Vatican II, was transferred to St Patrick’s Church, Stonebridge, in the historic parish of Kilmore, where it still stands.
It was also the achievement of Cardinal Logue to have decorated with mosaic the entire walls from the floor to the groining. The materials used were pottery and glass of various colours in dice-shaped cubes. The ceilings are painted in oils, the artist being Oreste Amici. The stained-glass windows, almost all of which date from Cardinal Logue’s time, are mostly the work of the German firm, Meyer. The great window in the Lady Chapel, which was erected at a cost of £920 by Dr McGettigan, at his own expense, came from Dublin.
It was with fitting pride, with his work of decoration complete, that Cardinal Logue announced 24 July 1904 as the solemn day of consecration. And when Pope Pius X deputed Cardinal Vincent Vannutelli, a distinguished member of the Roman Curia, to represent him at the ceremony in Armagh, Ireland felt herself signally honoured in her ecclesiastical capital.
No restructuring of the Cathedral was contemplated until the Second Vatican Council’s decree on Sacred Liturgy in the 1960s called for the redesigning of sanctuaries. In the competition for the best design, first prize was awarded to architect, Liam McCormick of Derry. By raising, enlarging and opening the sanctuary area the architect, to a great extent, restored the Cathedral to its original form. The new sanctuary area was finished in Wicklow granite and the same material is used in the altar, ambo and tabernacle stand. All these sanctuary furnishings are the work of sculptor Peter McTigue of Dundalk. The new tabernacle door is a product of Kilkenny Design Workshops and the richly coloured sanctuary carpets were manufactured in Killybegs. Thus, as far as possible, Irish workmanship and materials were used. A new crucifix, the Cross of Christ was affixed to the huge pillar to the right of the sanctuary. This was the work of Imogen Stuart and relies heavily on St John’s theology of the life-giving death of Jesus, the structure of the cross reminiscent of the shoots from a sprouting seed, a theme popular in medieval crucifix carvings. The new sanctuary was dedicated on Sunday, 13, 1982.
The 2003 restoration arose out of the necessity for major structural repairs to the Cathedral. To oversee the project, Archbishop Seán Brady appointed a Diocesan committee whose members took the opportunity of reviewing the sanctuary area, of restoring and enhancing the interior decoration and of upgrading existing facilities.
The restoration work was undertaken by the established firm of McAleer & Teague of Dromore, Co. Tyrone, under the supervision of Gregory Architects, Belfast. The firm of Rooney and McConville, also from Belfast, was commissioned to redesign the sanctuary.
In line with tradition pertaining to Cathedrals and in accordance with liturgical norms, the Tabernacle has been relocated to a new Blessed Sacrament Chapel in the South Transept. By doing so, a private space for prayer and meditation has been created.
To the rear of the new altar is the Archbishop’s chair, or ‘Cathedra’, from which the name ‘Cathedral’ comes.
The Lady Chapel, under the Great East Window, has been enhanced as a shrine area and is now known as the Marian Shrine. It is separated from the sanctuary by a new brass screen reminiscent of the marble and brass screen installed by Cardinal Logue.
The Baptistery with its rich imagery in mosaic and stained glass has been restored and is again used for baptisms.
An Evangelarium has been created in the space to the right of the entrance doors. Here the Gospel of the day may be read in quiet contemplation. On the walls are two marble plaques commemorating the consecration of the Cathedral, 20th July 1904.
The total cost of the 2003 restoration amounted to £6 million pounds. In excess of £1 million was grant-aided by the Heritage Lottery Fund and £300,000 from the Environment & Heritage Service. The balance of the cost was generously covered by parishioners and friends throughout the diocese and beyond.
Since the building of the Cathedral was commenced in 1840, thirteen primates, including seven cardinals, have each contributed in his own way to its history. Its commanding site overlooking the City gives it an enduring presence, a reminder to each generation of the sacrifices of those who have gone before. The now restored building is a further realisation of Dr Crolly’s vision of a Great National Cathedral of St Patrick and one worthy of the Primatial See of Armagh.