View allAll Photos Tagged Insignificant
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Since 2009, Daniel Kerkhoff, from Minneapolis, Minnesota, U.S.A., has been creating his own artist-in-residencies in communities in Ghana, Ecuador, and Vietnam.
Embedding himself in a community, he develops multiple connections through creating art (installations), writing poetic journals, making art with children, curating exhibitions, working with artists, assisting art libraries and community libraries, documenting walks and the community, and just being a part of everyday life.
Along with painting, collage, art installations, photography, and writing, his art practice involves connecting, sharing, and
weaving people and places.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Assisting and creating libraries is part of my art practice.
During my art residencies, I continue to bring books and materials, art work, maps, magazines and journals, CDs, DVDs, and photos to the community centers in Adugyama, Ashanti Region Ghana and Sisid-anejo, Cañar, Ecuador. I also give a variety of art books, journals, and materials to fellow artists and art spaces.
In Accra, Ghana, I bring art books and magazines to The Nubuke Foundation and The Center for Contemporary Art, Ghana. In Cuenca, Ecuador, I'm connected to In-Arte Contemporáneo and bring art magazines and information. In Hanoi, I have provided various art publications and books to Cuci Fine Art, Chay Art, and Chaap Collective.
I bring art publications, art work, and music created by friends and colleagues of mine. I document their work in these different communities, creating another form of connection and awareness.
I consider this a weaving project, a form of sharing that can have many on-going effects. –Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Walking the Path, Prints on Prints”
You are invited to walk on my prints, using them as a path.
It’s another way of experiencing art like a stepping stone meditation,
a different awareness may take place on an intentional walk, slower,
deliberate, a winding pathway, your prints touching these prints.
You become, in a way, the performer, the participant, the collaborator,
your soles connecting and becoming a part of these prints, adding steps,
humbling, engaging, liberating, creating another connection.
The title of this series is: "Paper Trail, A4 (All Over the Place)" from "The Quiet and Ugly Artist (Hanoi, 1965-2015)". These prints are collages made from my daily life in Hanoi -- collections of receipts, maps, brochures, business cards, food wrappers and waste.
They are my journal, a record of my consumption and daily activities, stamped with symbols that reflect my connection with Hanoi. They are painted over,
fragments remain revealed, information becomes cloudy, is lost and buried, like memory and history.
I created these collages during my artist-in-residency in Hanoi from
February 6, 2015 to October 26, 2015.
Walking is an important part of my art residencies. I document a familiar route in the community I’m living in by walking slowly, taking photos, and picking up “treasures”.
--Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, a Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Playing Catch, Giving and Receiving”
You are invited to play catch with my prints. Two dimensional prints that hang on the wall are transformed into three dimensional balls, a form of sculpture that is also performance and participatory.
Playing catch is a common past time that's relaxing and connecting. It is an act of giving (throwing) and receiving (catching) involving a ball, and, in this case, prints transformed into a ball (sculpture).
Instead of viewing the stationary print on a wall or a sculpture on the floor, it is viewed moving through time and space, dependent on the participants and their actions.
It is visual, transformative, therapeutic, sharing, interactive, and connecting, simple and playful actions of giving and receiving.
--Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Since 2009, Daniel Kerkhoff, from Minneapolis, Minnesota, U.S.A., has been creating his own artist-in-residencies in communities in Ghana, Ecuador, and Vietnam.
Embedding himself in a community, he develops multiple connections through creating art (installations), writing poetic journals, making art with children, curating exhibitions, working with artists, assisting art libraries and community libraries, documenting walks and the community, and just being a part of everyday life.
Along with painting, collage, art installations, photography, and writing, his art practice involves connecting, sharing, and
weaving people and places.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Assisting and creating libraries is part of my art practice.
During my art residencies, I continue to bring books and materials, art work, maps, magazines and journals, CDs, DVDs, and photos to the community centers in Adugyama, Ashanti Region Ghana and Sisid-anejo, Cañar, Ecuador. I also give a variety of art books, journals, and materials to fellow artists and art spaces.
In Accra, Ghana, I bring art books and magazines to The Nubuke Foundation and The Center for Contemporary Art, Ghana. In Cuenca, Ecuador, I'm connected to In-Arte Contemporáneo and bring art magazines and information. In Hanoi, I have provided various art publications and books to Cuci Fine Art, Chay Art, and Chaap Collective.
I bring art publications, art work, and music created by friends and colleagues of mine. I document their work in these different communities, creating another form of connection and awareness.
I consider this a weaving project, a form of sharing that can have many on-going effects. –Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Walking the Path, Prints on Prints”
You are invited to walk on my prints, using them as a path.
It’s another way of experiencing art like a stepping stone meditation,
a different awareness may take place on an intentional walk, slower,
deliberate, a winding pathway, your prints touching these prints.
You become, in a way, the performer, the participant, the collaborator,
your soles connecting and becoming a part of these prints, adding steps,
humbling, engaging, liberating, creating another connection.
The title of this series is: "Paper Trail, A4 (All Over the Place)" from "The Quiet and Ugly Artist (Hanoi, 1965-2015)". These prints are collages made from my daily life in Hanoi -- collections of receipts, maps, brochures, business cards, food wrappers and waste.
They are my journal, a record of my consumption and daily activities, stamped with symbols that reflect my connection with Hanoi. They are painted over,
fragments remain revealed, information becomes cloudy, is lost and buried, like memory and history.
I created these collages during my artist-in-residency in Hanoi from
February 6, 2015 to October 26, 2015.
Walking is an important part of my art residencies. I document a familiar route in the community I’m living in by walking slowly, taking photos, and picking up “treasures”.
--Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, a Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Playing Catch, Giving and Receiving”
You are invited to play catch with my prints. Two dimensional prints that hang on the wall are transformed into three dimensional balls, a form of sculpture that is also performance and participatory.
Playing catch is a common past time that's relaxing and connecting. It is an act of giving (throwing) and receiving (catching) involving a ball, and, in this case, prints transformed into a ball (sculpture).
Instead of viewing the stationary print on a wall or a sculpture on the floor, it is viewed moving through time and space, dependent on the participants and their actions.
It is visual, transformative, therapeutic, sharing, interactive, and connecting, simple and playful actions of giving and receiving.
--Daniel Kerkhoff, www.danielkerkhoff.com
"Insignificant Matter"
April 13 - 21, 2012
Defibrillator Gallery with The Studio
1136 N. Milwaukee Ave.
Chicago, IL
A vigourous evergreen climbing shrub with dark-green five-lobed leaves and insignificant cream flowers in late summer to early autumn, followed by black berries.
Flower: Cream in summer
Foliage: Dark-green in all seasons
Fruit: Black in autumn; black in winter
Habit: Climbing, trailing
Toxicity: Ingestion may cause severe discomfort; contact may irritate the skin.
Suggested uses: Banks and slopes, beds and borders, city, containers, cottage/informal, drought tolerant, flower arranging, foliage only, ground cover, low maintenance, underplanting, wallside and trellises, wildlife, woodland
Cultivation: Plant in any soil in any aspect. This vigorous plant may be invasive.
Soil types: Chalky, clay, loamy, sandy (will tolerate most soil types)
Soil drainage: Moist but well-drained, well-drained
Soil pH: Acid, alkaline, neutral
Light: Partial shade, full shade, full sun
Aspect: Any
Exposure: Exposed, sheltered
Hardiness: Hardy
5m max. spread
10m max. height
5-10 years to maturity
I'm the one who's there and isn't
The one you listen to without hearing
You look at without seeing
The one you talk to, making her believe she exists
Only to prove her, right after, that it's false
I'm Nothing
I don't matter
I'm the Insignificant
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Since 2009, Daniel Kerkhoff, from Minneapolis, Minnesota, U.S.A., has been creating his own artist-in-residencies in communities in Ghana, Ecuador, and Vietnam.
Embedding himself in a community, he develops multiple connections through creating art (installations), writing poetic journals, making art with children, curating exhibitions, working with artists, assisting art libraries and community libraries, documenting walks and the community, and just being a part of everyday life.
Along with painting, collage, art installations, photography, and writing, his art practice involves connecting, sharing, and
weaving people and places.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Assisting and creating libraries is part of my art practice.
During my art residencies, I continue to bring books and materials, art work, maps, magazines and journals, CDs, DVDs, and photos to the community centers in Adugyama, Ashanti Region Ghana and Sisid-anejo, Cañar, Ecuador. I also give a variety of art books, journals, and materials to fellow artists and art spaces.
In Accra, Ghana, I bring art books and magazines to The Nubuke Foundation and The Center for Contemporary Art, Ghana. In Cuenca, Ecuador, I'm connected to In-Arte Contemporáneo and bring art magazines and information. In Hanoi, I have provided various art publications and books to Cuci Fine Art, Chay Art, and Chaap Collective.
I bring art publications, art work, and music created by friends and colleagues of mine. I document their work in these different communities, creating another form of connection and awareness.
I consider this a weaving project, a form of sharing that can have many on-going effects. –Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Walking the Path, Prints on Prints”
You are invited to walk on my prints, using them as a path.
It’s another way of experiencing art like a stepping stone meditation,
a different awareness may take place on an intentional walk, slower,
deliberate, a winding pathway, your prints touching these prints.
You become, in a way, the performer, the participant, the collaborator,
your soles connecting and becoming a part of these prints, adding steps,
humbling, engaging, liberating, creating another connection.
The title of this series is: "Paper Trail, A4 (All Over the Place)" from "The Quiet and Ugly Artist (Hanoi, 1965-2015)". These prints are collages made from my daily life in Hanoi -- collections of receipts, maps, brochures, business cards, food wrappers and waste.
They are my journal, a record of my consumption and daily activities, stamped with symbols that reflect my connection with Hanoi. They are painted over,
fragments remain revealed, information becomes cloudy, is lost and buried, like memory and history.
I created these collages during my artist-in-residency in Hanoi from
February 6, 2015 to October 26, 2015.
Walking is an important part of my art residencies. I document a familiar route in the community I’m living in by walking slowly, taking photos, and picking up “treasures”.
--Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, a Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Playing Catch, Giving and Receiving”
You are invited to play catch with my prints. Two dimensional prints that hang on the wall are transformed into three dimensional balls, a form of sculpture that is also performance and participatory.
Playing catch is a common past time that's relaxing and connecting. It is an act of giving (throwing) and receiving (catching) involving a ball, and, in this case, prints transformed into a ball (sculpture).
Instead of viewing the stationary print on a wall or a sculpture on the floor, it is viewed moving through time and space, dependent on the participants and their actions.
It is visual, transformative, therapeutic, sharing, interactive, and connecting, simple and playful actions of giving and receiving.
--Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Since 2009, Daniel Kerkhoff, from Minneapolis, Minnesota, U.S.A., has been creating his own artist-in-residencies in communities in Ghana, Ecuador, and Vietnam.
Embedding himself in a community, he develops multiple connections through creating art (installations), writing poetic journals, making art with children, curating exhibitions, working with artists, assisting art libraries and community libraries, documenting walks and the community, and just being a part of everyday life.
Along with painting, collage, art installations, photography, and writing, his art practice involves connecting, sharing, and
weaving people and places.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Assisting and creating libraries is part of my art practice.
During my art residencies, I continue to bring books and materials, art work, maps, magazines and journals, CDs, DVDs, and photos to the community centers in Adugyama, Ashanti Region Ghana and Sisid-anejo, Cañar, Ecuador. I also give a variety of art books, journals, and materials to fellow artists and art spaces.
In Accra, Ghana, I bring art books and magazines to The Nubuke Foundation and The Center for Contemporary Art, Ghana. In Cuenca, Ecuador, I'm connected to In-Arte Contemporáneo and bring art magazines and information. In Hanoi, I have provided various art publications and books to Cuci Fine Art, Chay Art, and Chaap Collective.
I bring art publications, art work, and music created by friends and colleagues of mine. I document their work in these different communities, creating another form of connection and awareness.
I consider this a weaving project, a form of sharing that can have many on-going effects. –Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Walking the Path, Prints on Prints”
You are invited to walk on my prints, using them as a path.
It’s another way of experiencing art like a stepping stone meditation,
a different awareness may take place on an intentional walk, slower,
deliberate, a winding pathway, your prints touching these prints.
You become, in a way, the performer, the participant, the collaborator,
your soles connecting and becoming a part of these prints, adding steps,
humbling, engaging, liberating, creating another connection.
The title of this series is: "Paper Trail, A4 (All Over the Place)" from "The Quiet and Ugly Artist (Hanoi, 1965-2015)". These prints are collages made from my daily life in Hanoi -- collections of receipts, maps, brochures, business cards, food wrappers and waste.
They are my journal, a record of my consumption and daily activities, stamped with symbols that reflect my connection with Hanoi. They are painted over,
fragments remain revealed, information becomes cloudy, is lost and buried, like memory and history.
I created these collages during my artist-in-residency in Hanoi from
February 6, 2015 to October 26, 2015.
Walking is an important part of my art residencies. I document a familiar route in the community I’m living in by walking slowly, taking photos, and picking up “treasures”.
--Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, a Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Playing Catch, Giving and Receiving”
You are invited to play catch with my prints. Two dimensional prints that hang on the wall are transformed into three dimensional balls, a form of sculpture that is also performance and participatory.
Playing catch is a common past time that's relaxing and connecting. It is an act of giving (throwing) and receiving (catching) involving a ball, and, in this case, prints transformed into a ball (sculpture).
Instead of viewing the stationary print on a wall or a sculpture on the floor, it is viewed moving through time and space, dependent on the participants and their actions.
It is visual, transformative, therapeutic, sharing, interactive, and connecting, simple and playful actions of giving and receiving.
--Daniel Kerkhoff, www.danielkerkhoff.com
This picture reminds me of just how small and insignificant we are within nature and yet we humans are the only ones who can appreciate its beauty. When I stand in some of the most beautiful places on earth I am just overwhelmed with a sense of awe and wonder. And it is this sense of awe and wonder I often try (and fail) to portray through my pictures.
Taken with a 50mm FLE on Acros. Developed in D76 and scanned with Epson V500.
"The greenest green you've ever seen" – In the mountains of Yunnan Province, things seem to grow spectacularly well, probably because of the purity of the environment. The potatoes we ate in Xianggelila just exploded with flavor—unquestionably the tastiest 'taters I've ever eaten—and although I never thought I'd describe algae as "beautiful," it was (or is it "they were"?) indeed quite lovely.
Lijiang is a city nestled in the mountains of China's Yunnan Province that, despite a heavy tourist presence, retains a powerful charm and beauty, with its local ethnic minority cultures, its natural splendor, and its relaxed atmosphere.—Ok, now that I've got the requisite tourist industry pablum out of the way, Lijiang is truly one of the most compellingly beautiful and just downright enjoyable places I've ever been, in China or anywhere else, and I can't wait to go again and spend more time there so I can really soak it up. Much of the food has a unique local character, but there's plenty of familiar food for the less adventurous; many of the local people are friendly, open, and less jaded by the modern world than big-city dwellers; the natural beauty of the surrounding mountains is truly stunning and relatively unspoiled; and there's even lively nightlife as well if you need a bit of that. Although some things about Lijiang are a bit touristy, the effect of those characteristics is insignificant in comparison with the pure enjoyment you can get from a stay in there. And it's not hard to find the more authentic local places and experiences if you want to avoid the big crowds of tourists. I miss you, Lijiang, and I'm coming back! You, too, can fall in love with Lijiang on our Yunnan Highlands Local Culture 11-Day Tour.)
Very insignificant in size compared with the male catkin - a barely noticeable reddish tuft, measuring around 2mm across when fully open.
St. Salvator's Cathedral, dedicated to the Risen Savior and to St. Donatian and located in Bruges , is the main church of the Diocese of Bruges .
History
This church was not built to become the city's cathedral. She only assumed this status in 1834. Originally, Sint-Salvator was a Romanesque stone church founded in the 9th century . Then the Sint-Donaaskerk , in the heart of Bruges, on the Burgplein , was one of the most important religious buildings of the city. At the end of the 18th century, Bishop Felix Brenart went into exile. The diocese was abolished and St Donaa's Cathedral was sold as a national asset and demolished.
In 1834, the diocese of Bruges was re-established and the Ghent auxiliary bishop Frans René Boussen became the new bishop of Bruges. The St. Salvator's Church officially became the St. Salvators and St. Donaas Cathedral. However, the building did not quite resemble a cathedral. It was less impressive than the nearby Church of Our Lady . Sint-Salvator therefore had to be adapted to his new status. This was done, among other things, through the internal decoration, in which works of art from the former St. Donaas Cathedral were recovered.
The building
The Romanesque-Gothic west tower (79 m) still has the tuff and sandstone substructure of the Romanesque church from 1127-1166. This is the oldest part of the church. Three echo holes, traces of the Scheldt Gothic , were discovered during repairs in 1992-1993 and reopened.
The outside gives the impression of a sturdy castle. This tall Gothic building has no flying buttresses but heavy buttresses. The lateral pressure of the vaults is absorbed by the western tower, side aisles and transepts; sufficient for the relatively short church nave. The corner turrets of the transepts refer to the Scheldt Gothic.
Characteristic of the High Gothic period are the transepts, completely opened up by the large windows with rich tracery, divided into four parts, along which a gallery runs.
The expansion from 1480 to 1550 created an unusual relationship between the parts of the building. The choir, the transepts and the ambulatory with the five radiating chapels take up more than half of the surface. The Brabant late Gothic style is noticeable on the outside through the large windows with variously refined tracery and the elaborate cornice.
Overview of construction history
Like many other medieval buildings, St. Salvator's Cathedral has often undergone renovations and changes:
9th century: Romanesque chapel
According to tradition, Sint-Elooi built a chapel around 646. Historically, the church was founded in the 9th century by the older parish of Snellegem , which may trace its roots back to Sint-Eloi. The small chapel was elevated to a parish church in 1089.
1127: Romanesque church
After a fire in 1116, construction of a large Romanesque church began in 1127, which was destroyed by another fire in 1166. The lower structure of the tower has been preserved.
1250–1350: Gothic church
The main parts still have characteristics of the Scheldt Gothic, a transitional style between Romanesque and Gothic style. The choir, modeled on that of Tournai, was strongly influenced by French High Gothic.
1480-1550: ambulatory and radiating chapels
After a third fire in 1358, the church was expanded during the restoration. Jan van den Poele built the ambulatory with five radiating chapels in Brabant late Gothic from around 1480.
1834: cathedral
A new chapter building was built next to the south aisle from 1837 onwards. Karel Verschelde 's proposal to demolish the tower and extend the nave of the church by three bays and complete it with a new tower did not go ahead.
1839: fire and new tower
After the fire of 1839, the tower was restored and a higher superstructure built in the neo-Romanesque style (1843-1846), based on a design by the English architect Robert Chantrell , executed by the Bruges architect Pierre Buyck . In 1871 the tower was topped with a spire, designed by architect Eugène Carpentier .
Significant interior embellishment works were carried out, some of which were carried out on the advice of architect Jean Bethune and in neo-Gothic style (1874-1875).
1912-2010
In 1912, the chapter building from 1838 was demolished and new chapter and museum rooms were built according to a design by Adolf Duclos .
In 1935, Bishop Hendrik Lamiroy decided for liturgical reasons to move the rood loft and organ to the back of the church, thereby opening up the choir.
From 1976 onwards, thorough restoration and consolidation of the tower and the external church were carried out for a quarter of a century. Archaeological excavations also took place in the church.
In 2011, the thorough renovation of the church began, with extensive painting and restoration. In 2013, the repairs and refreshing of the nave and the aisles were completed. In 2014, similar work began on the choir, the transept, the ambulatory, the garland chapels and the sacristy, completed in 2017. This was followed by the controversial restoration and duplication of the organ into two organs.
Pulpit
The pulpit in rococo and Louis XVI style was built between 1777 and 1785, according to a design by Hendrik Pulinx . Opinions about the aesthetic quality in the 19th century were not unambiguously positive. For example, Karel Verschelde spoke about “the most precious yet most insignificant piece of art that the church council created in the course of the 18th century”, which has “neither life nor expression”, regretting that “the stiff and insensitive construction style of that time was preferred”. Medard Verkest is also not entirely convinced: “The pulpit is somewhat stiff; it lacks life and grace in conception and yet it is remarkable as a material embodiment. More craftsmen and artists worked on not one piece of furniture in this church; not one has cost more." The pulpit is made of acajou wood and the wood, from the Caribbean, for the tub was supplied by carpenter Andreas Lombaert .
Organs
In 2015, the file was approved for the restoration of the two organs in the cathedral. The file explained the restoration as follows:
The romantic Klais organ will be placed at the back of the rood loft and the baroque Van Eynde organ on a rood loft in front of the choir entrance of the southern transept. Because the pipework of the Van Eynde organ is located in the Klais organ, the restoration of both organs must be done simultaneously.
The restoration of the Van Eynde organ is complex, because the historic interior has suffered a lot of damage due to neglect: for example, the 18th century windchests of the main organ were left outside in the elements for a long time. The restoration of the organ case with its abundant ornamentation and numerous statues also requires intensive and specialized restoration work. The designers declare that Van Eynde's masterpiece will once again be heard in its full sound richness and at a suitable pitch.
A largely new cabinet will be made for the Klais organ in which a symphonic organ will sound: according to the designers, more powerful and mainly more differentiated than in its existing state. The existing Klais organ is one of the most monumental in Flanders, thanks to the imposing Van Eynde case, which forms the central part of it. The new organ case will be slightly larger than the existing case, and will mainly have more depth so that appropriate space is freed up for sounding out the pipes and for maintenance and tuning work. In its new state, the organ will also consist of a main work, a positive, a swell work and a pedal work, together accounting for 55 registers or games. The total number of pipes is 3562, the largest of which will be more than 8 meters long. The design of pipes and cabinet is contemporary.
Main works of art
St. Salvator's Cathedral has many works of art, some of which come from the destroyed predecessor St. Donatian. Most striking are the tapestries from Brussels, which were woven by Jasper van der Borcht in 1731, following the example of the paintings of the Brussels painter Jan van Orley . They were purchased by Bishop Hendrik Jozef van Susteren for Saint Donatianus. Sint-Salvator also owns the original paintings that were made as cardboards for the tapestries.
From the choir you can admire the original 17th century rood loft, which was moved in the twentieth century, and the cathedral organ is also worth mentioning. The image of God the Father in the center of the rood screen is by Artus Quellinus the Younger . The cathedral has 17 paintings by Jacob van Oost . In addition, there is also work by Rogier Van der Weyden , Dirk Bouts , Jan Garemijn , Lanceloot Blondeel , Pieter Pourbus and Hugo van der Goes .
In the church hangs a portrait of Count Charles the Good , murdered in 1127, from St. Donaas Cathedral .
The triptych with the Martyrdom of Saint Hippolytus by Dirk Bouts and his studio hangs in the museum (called treasury) of St. Salvator's Cathedral. Hugo van der Goes painted the founders on the left panel. There is also the Calvary from around 1520.
Art theft
In November 2009 , several masterpieces from the goldsmith's collection were stolen in a spectacular art theft . The thieves broke into the sacristy of the canons and destroyed the secure display cases. The alarm system did not work sufficiently. The stolen pieces are of a difficult to estimate value.
Among the looted pieces are:
the signet ring of Hendrik Lamiroy ;
the pectoral of Hendrik Jozef van Susteren ;
a tower monstrance by Jan (Baptist) Vandamme (1900);
an 18th-century chalice by Jan Baptist Walgrave;
a chalice by François Gheuns (1639 to 1640): inscription, inside the base: + DVDZEELE 16 [coat of arms] 40 PROC HIE;
a reliquary cross by François Gheuns, ca 1624-1625 made of rock crystal, marbled stone, semi-precious stones and enamel;
a chalice donated by the Van Zuylen van Nyevelt family ;
a rock crystal reliquary cross, 18th century (height 38.5 cm);
a relic monstrance of St. Elooi, 15th/16th century;
a ray monstrance, with crystals by Thomas Lyns, 17th century (70 cm);
a neo-Gothic chalice by Bourdon (1896) gilt and enamel, with inscription, engraved: Calicem salutaris accipiam et nomen Domini invocabo;
a ray monstrance by Adriaan Pierins senior, 17th century with precious stones;
a chalice by Antoon Kerckhove with the inscription DEKEN S ... IER + ... STRAETE + ... ROES + PIE ... VS + IA ... ... GREFFIER.
Northern Cranesbill - a very common ground cover in the Sydney area with tiny insignificant looking flowers - until you look closer!
Why?
It’s common for a hoarder to see things that to the average person would seem so insignificant and labeled as “trash” as so much more. If you were to take someone off the street and tell them to look at a pile of junk they would see it as nothing more than a pile of junk. There’s only a select amount of people who will look at that pile of “junk” and see the beauty and purpose and opportunity that collection of things holds. Not a lot of people can understand why this is, how people see things so differently than one another. This photo is an attempt to show people that treasury and value that some people can see within rubbish.
How?
as I said before, most viewers will look at the trashcan within this photo and only see a trashcan. There is a green hue coming from within the trashcan that signifies a sort of disgust that most people have associated with trash cans. Even though there’s a green hue coming from within the trashcan the actual glow on the woman peering in is a Golden hue which tends to be more associated with treasure, signifying that the woman is seeing treasure and value and meaning inside the trashcan.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Since 2009, Daniel Kerkhoff, from Minneapolis, Minnesota, U.S.A., has been creating his own artist-in-residencies in communities in Ghana, Ecuador, and Vietnam.
Embedding himself in a community, he develops multiple connections through creating art (installations), writing poetic journals, making art with children, curating exhibitions, working with artists, assisting art libraries and community libraries, documenting walks and the community, and just being a part of everyday life.
Along with painting, collage, art installations, photography, and writing, his art practice involves connecting, sharing, and
weaving people and places.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Assisting and creating libraries is part of my art practice.
During my art residencies, I continue to bring books and materials, art work, maps, magazines and journals, CDs, DVDs, and photos to the community centers in Adugyama, Ashanti Region Ghana and Sisid-anejo, Cañar, Ecuador. I also give a variety of art books, journals, and materials to fellow artists and art spaces.
In Accra, Ghana, I bring art books and magazines to The Nubuke Foundation and The Center for Contemporary Art, Ghana. In Cuenca, Ecuador, I'm connected to In-Arte Contemporáneo and bring art magazines and information. In Hanoi, I have provided various art publications and books to Cuci Fine Art, Chay Art, and Chaap Collective.
I bring art publications, art work, and music created by friends and colleagues of mine. I document their work in these different communities, creating another form of connection and awareness.
I consider this a weaving project, a form of sharing that can have many on-going effects. –Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Walking the Path, Prints on Prints”
You are invited to walk on my prints, using them as a path.
It’s another way of experiencing art like a stepping stone meditation,
a different awareness may take place on an intentional walk, slower,
deliberate, a winding pathway, your prints touching these prints.
You become, in a way, the performer, the participant, the collaborator,
your soles connecting and becoming a part of these prints, adding steps,
humbling, engaging, liberating, creating another connection.
The title of this series is: "Paper Trail, A4 (All Over the Place)" from "The Quiet and Ugly Artist (Hanoi, 1965-2015)". These prints are collages made from my daily life in Hanoi -- collections of receipts, maps, brochures, business cards, food wrappers and waste.
They are my journal, a record of my consumption and daily activities, stamped with symbols that reflect my connection with Hanoi. They are painted over,
fragments remain revealed, information becomes cloudy, is lost and buried, like memory and history.
I created these collages during my artist-in-residency in Hanoi from
February 6, 2015 to October 26, 2015.
Walking is an important part of my art residencies. I document a familiar route in the community I’m living in by walking slowly, taking photos, and picking up “treasures”.
--Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, a Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Playing Catch, Giving and Receiving”
You are invited to play catch with my prints. Two dimensional prints that hang on the wall are transformed into three dimensional balls, a form of sculpture that is also performance and participatory.
Playing catch is a common past time that's relaxing and connecting. It is an act of giving (throwing) and receiving (catching) involving a ball, and, in this case, prints transformed into a ball (sculpture).
Instead of viewing the stationary print on a wall or a sculpture on the floor, it is viewed moving through time and space, dependent on the participants and their actions.
It is visual, transformative, therapeutic, sharing, interactive, and connecting, simple and playful actions of giving and receiving.
--Daniel Kerkhoff, www.danielkerkhoff.com
ah j-lo.....you totally insignificant whore.....
actually, i could give a damn about her clothing line, or her perfume, or her giant ass, or the fact that she demands 10,000 thread count sheets whenever she's travelling....and i certainly don't give a damn about her acting career. cuz she's dreadful. but i'll say the same thing about her that i said about will smith: ok, did you see "out of sight"? that movie ruled, and she was actually good in it. the only movie she's ever been good in. which proves 2 things: she's about as untalented as my pubic hair clippings, and steven soderberg can direct his ASS off!
Photographs of the hardback and paper back versions of 'The World of An Insignificant Woman' (Advanced Special Edition, 2011).
The First Edition of 'The World of An Insignificant Woman' by Catherine Thackray will be published in 2012 by Sabrina Press (ISBN 978-0-9571345-0-8)
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Since 2009, Daniel Kerkhoff, from Minneapolis, Minnesota, U.S.A., has been creating his own artist-in-residencies in communities in Ghana, Ecuador, and Vietnam.
Embedding himself in a community, he develops multiple connections through creating art (installations), writing poetic journals, making art with children, curating exhibitions, working with artists, assisting art libraries and community libraries, documenting walks and the community, and just being a part of everyday life.
Along with painting, collage, art installations, photography, and writing, his art practice involves connecting, sharing, and weaving people and places.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Assisting and creating libraries is part of my art practice.
During my art residencies, I continue to bring books and materials, art work, maps, magazines and journals, CDs, DVDs, and photos to the community centers in Adugyama, Ashanti Region Ghana and Sisid-anejo, Cañar, Ecuador. I also give a variety of art books, journals, and materials to fellow artists and art spaces.
In Accra, Ghana, I bring art books and magazines to The Nubuke Foundation and The Center for Contemporary Art, Ghana. In Cuenca, Ecuador, I'm connected to In-Arte Contemporáneo and bring art magazines and information. In Hanoi, I have provided various art publications and books to Cuci Fine Art, Chay Art, and Chaap Collective.
I bring art publications, art work, and music created by friends and colleagues of mine. I document their work in these different communities, creating another form of connection and awareness.
I consider this a weaving project, a form of sharing that can have many on-going effects. –Daniel Kerkhoff, www.danielkerkhoff.com
“Playing Catch, Giving and Receiving”
You are invited to play catch with my prints. Two dimensional prints that hang on the wall are transformed into three dimensional balls, a form of sculpture that is also performance and participatory.
Playing catch is a common past time that's relaxing and connecting. It is an act of giving (throwing) and receiving (catching) involving a ball, and, in this case, prints transformed into a ball (sculpture).
Instead of viewing the stationary print on a wall or a sculpture on the floor, it is viewed moving through time and space, dependent on the participants and their actions.
It is visual, transformative, therapeutic, sharing, interactive, and connecting, simple and playful actions of giving and receiving.
--Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Walking the Path, Prints on Prints”
You are invited to walk on my prints, using them as a path.
It’s another way of experiencing art like a stepping stone meditation,
a different awareness may take place on an intentional walk, slower,
deliberate, a winding pathway, your prints touching these prints.
You become, in a way, the performer, the participant, the collaborator,
your soles connecting and becoming a part of these prints, adding steps,
humbling, engaging, liberating, creating another connection.
The title of this series is: "Paper Trail, A4 (All Over the Place)" from "The Quiet and Ugly Artist (Hanoi, 1965-2015)". These prints are collages made from my daily life in Hanoi -- collections of receipts, maps, brochures, business cards, food wrappers and waste.
They are my journal, a record of my consumption and daily activities, stamped with symbols that reflect my connection with Hanoi. They are painted over,
fragments remain revealed, information becomes cloudy, is lost and buried, like memory and history.
I created these collages during my artist-in-residency in Hanoi from
February 6, 2015 to October 26, 2015.
Walking is an important part of my art residencies. I document a familiar route in the community I’m living in by walking slowly, taking photos, and picking up “treasures”.
--Daniel Kerkhoff, www.danielkerkhoff.com
A ghandi quote, trying not to make all the bredth pieces the same but really I'm just reviving some pictures I've taken. I need to get out and shoot and get inspired. My goal is to have all my final pieces by the end of this week so I can print over the weekend and mount next week and have no stress until May when I need it all set up.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Since 2009, Daniel Kerkhoff, from Minneapolis, Minnesota, U.S.A., has been creating his own artist-in-residencies in communities in Ghana, Ecuador, and Vietnam.
Embedding himself in a community, he develops multiple connections through creating art (installations), writing poetic journals, making art with children, curating exhibitions, working with artists, assisting art libraries and community libraries, documenting walks and the community, and just being a part of everyday life.
Along with painting, collage, art installations, photography, and writing, his art practice involves connecting, sharing, and weaving people and places.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Assisting and creating libraries is part of my art practice.
During my art residencies, I continue to bring books and materials, art work, maps, magazines and journals, CDs, DVDs, and photos to the community centers in Adugyama, Ashanti Region Ghana and Sisid-anejo, Cañar, Ecuador. I also give a variety of art books, journals, and materials to fellow artists and art spaces.
In Accra, Ghana, I bring art books and magazines to The Nubuke Foundation and The Center for Contemporary Art, Ghana. In Cuenca, Ecuador, I'm connected to In-Arte Contemporáneo and bring art magazines and information. In Hanoi, I have provided various art publications and books to Cuci Fine Art, Chay Art, and Chaap Collective.
I bring art publications, art work, and music created by friends and colleagues of mine. I document their work in these different communities, creating another form of connection and awareness.
I consider this a weaving project, a form of sharing that can have many on-going effects. –Daniel Kerkhoff, www.danielkerkhoff.com
“Playing Catch, Giving and Receiving”
You are invited to play catch with my prints. Two dimensional prints that hang on the wall are transformed into three dimensional balls, a form of sculpture that is also performance and participatory.
Playing catch is a common past time that's relaxing and connecting. It is an act of giving (throwing) and receiving (catching) involving a ball, and, in this case, prints transformed into a ball (sculpture).
Instead of viewing the stationary print on a wall or a sculpture on the floor, it is viewed moving through time and space, dependent on the participants and their actions.
It is visual, transformative, therapeutic, sharing, interactive, and connecting, simple and playful actions of giving and receiving.
--Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Walking the Path, Prints on Prints”
You are invited to walk on my prints, using them as a path.
It’s another way of experiencing art like a stepping stone meditation,
a different awareness may take place on an intentional walk, slower,
deliberate, a winding pathway, your prints touching these prints.
You become, in a way, the performer, the participant, the collaborator,
your soles connecting and becoming a part of these prints, adding steps,
humbling, engaging, liberating, creating another connection.
The title of this series is: "Paper Trail, A4 (All Over the Place)" from "The Quiet and Ugly Artist (Hanoi, 1965-2015)". These prints are collages made from my daily life in Hanoi -- collections of receipts, maps, brochures, business cards, food wrappers and waste.
They are my journal, a record of my consumption and daily activities, stamped with symbols that reflect my connection with Hanoi. They are painted over,
fragments remain revealed, information becomes cloudy, is lost and buried, like memory and history.
I created these collages during my artist-in-residency in Hanoi from
February 6, 2015 to October 26, 2015.
Walking is an important part of my art residencies. I document a familiar route in the community I’m living in by walking slowly, taking photos, and picking up “treasures”.
--Daniel Kerkhoff, www.danielkerkhoff.com
This relatively insignificant stalagmite, along with a second similar one collected from the cave, may ultimately prove to be (along with a great deal of tenacity) what gets the cave into state ownership. These two stal have provided the most detailed climate record available for the Southeastern U.S., with data covering the past 30,000 years. Anaylized at USF and at the University of New Mexico, the samples from BRC were found to be the purest in calcite content of any previously studied, worldwide.
At the Museum Instrument Museum with Syracuse University’s School of Information Studies, Syracuse University Los Angeles (SULA), and the SU Alumni Club of Arizona
The Austriabrunnen
Austria figure on top of a fountain
I’m not going to lie. The Austriabrunnen on the Freyung square rarely makes an appearance on any tourist top 10 lists. But this small fountain shows how insignificant features within a city like Vienna hide so much historical detail.
Mid-19th century bronze, granite and limestone fountain
Representations of great rivers hint at the power of the Austrian Empire
Brunnen means fountain in German, which makes translating Austriabrunnen into English relatively easy.
It might seem unimaginative to name something for the country it stands in, but the Austrian Empire was still relatively young at the time.
(Also, the authorities in Vienna have never been reluctant to do a bit of patriotic showboating in bronze and stone.)
Five allegorical figures make up the main part of the fountain, which was first revealed to the public in 1846.
The top figure is the personification of the empire. Armed with lance and shield, the berobed Austria looks across the square in the direction of the Hofburg (home to the emperor).
But the four figures lower down offer a more intriguing story. Each represents a river passing through imperial lands. But not just any rivers.
The Elbe, Danube, Po, and Vistula represent some of Europe’s greatest waterways. Each passed through part of the Austrian Empire at the time, and each discharged its waters into a different sea.
As such, the Austriabrunnen encapsulated the extent and influence of the Habsburg monarchy.
The Elbe would have crossed much of the Austrian crown lands of Bohemia on its way to the North Sea
The Danube passed directly through Vienna and Hungary on its way to the Black Sea
The Po skirted the southernmost parts of the Austria-ruled Kingdom of Lombardy-Venetia and emerged into the Adriatic Sea below Venice
On its journey northward to the Baltic Sea, the Vistula marked much of the border of Austria-ruled Galicia with the Kingdom of Poland
The inscription running around the plinth that holds the four river figures reads (my rough translation):
Erected by the citizens of Vienna during the rule of Ferdinand I
The contract for designing the fountain went to Ludwig von Schwanthaler in Munich (outside the empire!), where Ferdinand Miller’s foundry also cast the various bronze figures.
Schwanthaler’s other works include such relatively famous pieces as the Mozart monument in Salzburg (not to be confused with the Vienna equivalent) and the giant Bavaria statue outside Munich’s colonnaded Ruhmeshalle “hall of fame”.
Miller’s work had an even wider impact. He cast, for example, the Columbus doors of the main entrance to the Capitol Building (!) in Washington DC.
The response to the fountain seems to have been positive: the city made Schwanthaler an honorary citizen in 1847 for his watery contribution.
This insignificant enough road might appear to just look like any old B-road in this part of the country and it is. However, it used to be the A90 - the road from Edinburgh to Perth/Dundee/Aberdeen/Inverness and everywhere inbetween.
As sad as it was that the railway had to go in favour of the M90, I think it was the right decision as I can't imagine the chaos and hell this section of road would cause now if it was still one of the most important roads in Scotland.
A beautiful life created in the corner of the railway track, however many do not notice of it. Only a keen one will appreciate this little wonderful plant and not take it for granted.
Lau Ming Yan, Student
Somewhere between the Walmart and other box stores of Napanee and the downtown section we have this old farm. It was a dairy operation not too long ago, but like almost all other small operators the farmer was pushed aside by the big corporate juggernaut farms. Pity. The family farm is just a pleasant memory these days.
the landscape photog_1776-2.psd
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Since 2009, Daniel Kerkhoff, from Minneapolis, Minnesota, U.S.A., has been creating his own artist-in-residencies in communities in Ghana, Ecuador, and Vietnam.
Embedding himself in a community, he develops multiple connections through creating art (installations), writing poetic journals, making art with children, curating exhibitions, working with artists, assisting art libraries and community libraries, documenting walks and the community, and just being a part of everyday life.
Along with painting, collage, art installations, photography, and writing, his art practice involves connecting, sharing, and
weaving people and places.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Assisting and creating libraries is part of my art practice.
During my art residencies, I continue to bring books and materials, art work, maps, magazines and journals, CDs, DVDs, and photos to the community centers in Adugyama, Ashanti Region Ghana and Sisid-anejo, Cañar, Ecuador. I also give a variety of art books, journals, and materials to fellow artists and art spaces.
In Accra, Ghana, I bring art books and magazines to The Nubuke Foundation and The Center for Contemporary Art, Ghana. In Cuenca, Ecuador, I'm connected to In-Arte Contemporáneo and bring art magazines and information. In Hanoi, I have provided various art publications and books to Cuci Fine Art, Chay Art, and Chaap Collective.
I bring art publications, art work, and music created by friends and colleagues of mine. I document their work in these different communities, creating another form of connection and awareness.
I consider this a weaving project, a form of sharing that can have many on-going effects. –Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Walking the Path, Prints on Prints”
You are invited to walk on my prints, using them as a path.
It’s another way of experiencing art like a stepping stone meditation,
a different awareness may take place on an intentional walk, slower,
deliberate, a winding pathway, your prints touching these prints.
You become, in a way, the performer, the participant, the collaborator,
your soles connecting and becoming a part of these prints, adding steps,
humbling, engaging, liberating, creating another connection.
The title of this series is: "Paper Trail, A4 (All Over the Place)" from "The Quiet and Ugly Artist (Hanoi, 1965-2015)". These prints are collages made from my daily life in Hanoi -- collections of receipts, maps, brochures, business cards, food wrappers and waste.
They are my journal, a record of my consumption and daily activities, stamped with symbols that reflect my connection with Hanoi. They are painted over,
fragments remain revealed, information becomes cloudy, is lost and buried, like memory and history.
I created these collages during my artist-in-residency in Hanoi from
February 6, 2015 to October 26, 2015.
Walking is an important part of my art residencies. I document a familiar route in the community I’m living in by walking slowly, taking photos, and picking up “treasures”.
--Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, a Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Playing Catch, Giving and Receiving”
You are invited to play catch with my prints. Two dimensional prints that hang on the wall are transformed into three dimensional balls, a form of sculpture that is also performance and participatory.
Playing catch is a common past time that's relaxing and connecting. It is an act of giving (throwing) and receiving (catching) involving a ball, and, in this case, prints transformed into a ball (sculpture).
Instead of viewing the stationary print on a wall or a sculpture on the floor, it is viewed moving through time and space, dependent on the participants and their actions.
It is visual, transformative, therapeutic, sharing, interactive, and connecting, simple and playful actions of giving and receiving.
--Daniel Kerkhoff, www.danielkerkhoff.com