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
“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
“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
The flowers are insignificant but the fruit has a colourful wing varying from pink to cream. Growing on the roadside of the Eudunda to Morgan road, South Australia.
Ginkgo biloba 'Troll' () 2019 photo - Common Name: Dwarf Ginkgo, Size: 3x3ft., Green Foliage, Insignificant flower, USDA Hardiness Zone 4-10, In Garden Bed D0 for 0 DAYS (Duva). Planted in 2019.
Missouri Botanical Garden: ‘Troll’ is a dwarf shrubby cultivar that matures over time to only 3' tall and as wide. It typically grows in a bushy mound, although it can be trained to grow as a small pyramidal tree. As with species plants, the fan-shaped leaves (biloba means two-lobed) are rich green to blue green during the growing season, but change to bright yellow in fall.
#Ginkgo #DwarfGinkgo
9/25/07 – I honestly can’t believe I made it this far. 25 Days. True, pretty insignificant when compared to day 300. An achievement nonetheless. Especially for me.
For those of you who are afraid that I’m going to get all sentimental and say something like…
… looking back over the last 24 days, I realized (please excuse the blatant self-indulgence) that some of them don’t suck. Actually a few of them are quite good. I wouldn’t say great, not yet…
…or, I’d like to take time and give a shout out to the Flirkr-ites who’ve viewed my stream, commented, added me as a contact. I really appreciate you all taking the time to check me out…
… or, to thank the 365 Days group (for the inspiration…seriously, the fact that you all are doing it kept me going on a couple of days when I felt like throwing in the towel), and the Flickr Group Roulette group (the daily challenges are pushing me creatively, and to take portraits that I would not imagined I’m capable of).
Your fears are well placed. And chances are you read through my entire description. Ha! got you.
“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
Insignificant, maybe stupid to some, but one hell of a fast food meal in month 9 of China life. September, 2008.
May your love of life be the enchantment that turns insignificant things into joys. ~Lance Wubbels
I went out after the haboob to find a good sunset spot, without having to get up to the lake.. Not much success as it started to rain, and I didn't have anything to cover my camera with.. gah... I took a side route, got a quick break in the rain.. haboob to my east.. and this amazing sky to my west... it was getting pretty dang windy, and I had just pulled off the side of the road real quick.. so I grabbed 2 shots and went on my way. Pouring by the time I got home... lol..
Weird little markets are not for everyone… In fact most people just don’t get it… tiny, insignificant, weird little markets; what’s the point? The point is: You’re right… most people don’t give a damn about these little niches. They don’t target or market to them and that means – low competition, underserved niches for in the know marketers – like ‘Mark Bishop (the guy behind this product). …So it might be weird, but the fact is people like Mark make a ton of money doing this. You see; an audience in one of these niches is very likely to tick one of these boxes Embarrassed – Think about it, if you had an embarrassing problem, issue or condition where is the first place you will look… The Internet of course! Desperate – Big date on Friday; you just have to get rid of those Blackheads by then & it’s already Wednesday Weird / odd – This is an actual phrase that’s making Mark money every month: ‘How to make your butt bigger using Fish oil’ Ridiculous… I know, but it’s true – Google the phrase for yourself… you’ll find Mark’s site:http://ift.tt/1l9BXed, about half way down page #1 (UK) The bottom line – these people are more inclined to buy online & they do… they really do; and that means people like Mark make a great deal of money, pointing those people in the right direction. bit.ly/1zVuhER
Jean-Marc Nattier - French, 1685 - 1766
Joseph Bonnier de la Mosson, 1745
West Building, Main Floor — Gallery 53
Jean-Marc Nattier was the son of an insignificant portraitist of the reign of Louis XIV, Marc Nattier (1642-1705), and his wife, the miniaturist Marie Courtois (1655-1703). Born in Paris on March 17, 1685, he was the godchild of the history painter Jean Jouvenet (1644-1717), who was to play a role in his early artistic training. Nattier's mother, a paralytic, had given birth to several children, including a son, Jean Baptiste (1677-1726). In their youth the lives and careers of the two brothers were closely entwined. They learned the practical aspects of painting in their father's studio and attended the drawing and theoretical classes of the Académie royale de peinture et de sculpture, of which Marc Nattier was a member. The two were awarded a yearly stipend from the royal arts administration, the Bâtiments du Roi, and were prize winners in the Académie's student competitions. Their painting styles were remarkably similar, and Jean-Baptiste called himself Nattier l'aîné, while Jean-Marc often signed his early works as Nattier le jeune.
In 1702 Marc Nattier obtained a license to reproduce as engravings the twenty-four paintings comprising the monumental Marie de Médicis cycle by Peter Paul Rubens (1577-1640) in the Palais du Luxembourg. This was an enormous undertaking in which he involved his two sons, who executed the drawings (Paris, Bibliothèque de l'Arsenal) from which the most prominent French engravers of the time--among them Gérard Audran (1640-1703), Gérard Edelinck (1640-1707), Bernard Picart (1673-1733), and Gaspard Duchange (1662-1757)--made their reproductive prints. In 1709, at Jouvenet's instigation, Jean-Marc was offered a scholarship to study in Rome, but he declined the honor in order to further a lucrative career as a portraitist.
Before his death, Marc Nattier had deeded the Luxembourg engraving project to his sons, and in 1710 the prints were issued under the title Galerie du Palais du Luxembourg. Jean-Baptiste's official career as a history painter was launched when he was made an associate member (agréé) of the Académie, and as his diploma piece he painted Joseph and Potiphar's Wife (St. Petersburg, State Hermitage Museum). Around 1712 Jean-Marc made an elaborate drawing (Phoenix Art Museum) after Hyacinthe Rigaud's (1659-1743) famous Portrait of Louis XIV in Coronation Robes (Paris, Musée du Louvre); the sheet was the basis of Pierre Drevet's (1663-1738) reproductive engraving, and for it Nattier received 500 livres and encouragement from the king himself.
Jean-Marc prospered under the Regency. In 1715 his ambitions led him to seek membership in the Académie as a painter of history subjects. For the painting that was to earn him his reception three years later, he was assigned the mythological subject of Apollo Presiding over the Arts of Painting and Sculpture, for which he ultimately substituted Perseus Petrifying Phineus with the Head of the Gorgon (Tours, Musée des Beaux-Arts). In 1717 he was invited to join Peter the Great (r. 1682-1725) in Holland, and while in The Hague he began a portrait of the czar's peasant-born second wife Catherine Alexeyevna (St. Petersburg, State Hermitage Museum) and executed a generic battle piece intended to commemorate Russia's victory over the troops of Charles XII of Sweden at either Lesnaya or Poltava (Moscow, Pushkin State Museum of Fine Arts). He then returned to Paris, where he painted from life a portrait of the czar wearing a suit of armor (Munich, Residenz Museum). The autocrat took serious umbrage at Nattier's refusal to settle in Russia as his court painter. In 1725, the artist sent his full-length military portrait of comte Maurice de Saxe (Dresden, Gemäldegalerie Alte Meister) to the Exposition de la Jeunesse.
Jean-Marc Nattier's practice as a court and society portraitist was firmly established by 1729, when he painted a likeness of Mademoiselle de Clermont (Chantilly, Musée Condé), the sister of the young Louis XV's prime minister, the duc de Bourbon. In this work, he combined portraiture with history painting, presenting his subject in the guise of a water nymph. For several decades his glamorous portraits of women made up as Greco-Roman deities and men outfitted as warriors or fabled heroes were all the rage. His mythological, allegorical, and fancy-dress portraits, set in luxurious interiors or serene landscapes, relied for their effect on sumptuous displays of fabrics and accessories. Moreover, while flattering his sitters, sometimes outrageously, he somehow managed to capture near-perfect likenesses. Such pictures were the staple products of his brush, and he was well within the tradition established by Pierre Mignard (1612-1695, cat. 72), Nicolas de Largillierre (1656-1746), and Jean Raoux (1677-1734). In contemporary minds, such idealized portraiture struck the same chords as the grandiloquent poetry of Voltaire (1694-1778) and the lush strains of the music of Jean Philippe Rameau (1683-1764). Because of their pseudo-mythological resonance, many of Nattier's works were treated as history pictures and replicated in engravings from which he derived income.
At this juncture the artist painted likenesses of two members of the house of Lorraine, Mademoiselle de Lambesc as Minerva and her brother, the comte de Brionne (Lille, Musée des Beaux-Arts, on deposit from the Musée du Louvre). A second portrait of Mademoiselle de Clermont depicting the sitter as a lady of the seraglio served by slaves (London, Wallace Collection) was an outstanding example of the eighteenth-century genre, the Turquerie. He also produced a full-length image of the duc de Richelieu wearing the elaborately decorated costume of a knight of the order of the Saint-Esprit (Lisbon, Museu Calouste Gulbenkian), a masterpiece of post-baroque French portraiture.
In 1734 the chevalier d'Orléans, grand prior of the order of Saint John of Jerusalem, engaged Nattier to complete the decoration of his painting gallery in the Palais du Temple, which Raoux had begun. There Nattier painted a series of six history pictures, the subjects of which have never been fully elucidated but are likely to have included several Muses (perhaps the Thalia and Terpsichore in the California Palace of the Legion of Honor, San Francisco, painted in 1739) and allegorical representations of Justice (Great Britain, private collection), Prudence (formerly collection of baron Maurice de Rothschild) and Fortitude (sale, New York, Christie's, November 2, 2000, no. 237), as well as a large, full-length portrait of his patron the grand prior as a military commander (location unknown).
Nattier became a regular exhibitor at the Salon from 1737 on. The publicity brought him a ceaseless flow of commissions from private and state sources. The famous Madame Geoffrin posed for him as a Sibyl (location unknown); and in contrast, her daughter, the marquise de la Ferté Imbault, is dressed for a masked ball (Tokyo, Fuji Museum). In 1740 the artist painted portraits of two daughters of the marquis de Nesles, both paramours of Louis XV (known from replicas in the Castle of Drottningholm and Versailles), whom he treated as personifications of Silence and Dawn. When shown at Versailles, these likenesses created such a stir that Queen Marie Leszczynska commissioned the artist to paint her daughter Madame Henriette reclining in a landscape and holding a crown of flowers, an attribute of the goddess Flora (Musée des Châteaux de Versailles et de Trianon). This was the first in a long series of portraits of the royal princesses, some done from life at the Abbaye de Fontevrault in Anjou, the works for which Nattier is perhaps best known (also in Versailles). Most of these paintings gave rise to autograph replicas and studio copies that were distributed to members of the royal family, other crowned heads, officers of the diplomatic corps, ministers, courtiers, and favorites of the Bourbon family.
Nattier exhibited seven works at the Salon of 1745, the year he painted a now-lost portrait of Louis XV (replica in St. Petersburg, State Hermitage Museum). In 1745 the artist was promoted to the rank of associate professor at the Académie. At the Salon that year, he showed a number of portraits, including the National Gallery of Art's Joseph Bonnier de la Mosson (1961.9.30). Nattier was soon called to the Château de Fontainebleau to paint the king's new mistress, the marquise de Pompadour, provocatively dressed as Diana, goddess of the hunt (Versailles). The following year he executed a knee-length portrait of Louis XV's son and heir, the Dauphin (replica in Musée de Dijon), clad in armor and standing before the field of the Battle of Fontenoy, a work that earned him the title of Painter in Ordinary to the King. In 1748, the artist sketched from life head studies of Louis XV's children--the twins Élisabeth, Duchess of Parma, and Henriette; Adélaïde; Victoire; and the dauphin, Louis Ferdinand--that were models for future portraits. When the opportunity arose, the fashionable Nattier was also capable of recording his sitters' features with a certain amount of psychological insight. No allegories were necessary to sustain his inspiration when he painted his sympathetic likeness of Marie Leszczynska (Versailles).
In January 1750, the dauphin commissioned Nattier to paint as overdoor decorations for his Grand Cabinet at Versailles portraits of his sisters disguised as the Four Elements (São Paulo, Museu de Arte Assis Chateaubriand), works that were exhibited at the Salon of 1751 along with a portrait of the dauphine Marie Josèphe de Saxe (Versailles). In 1752 the artist was made professor in the Académie.
By the mid-1750s Nattier's reputation was on the wane. His submissions to the Salon of 1755, which included the masterful portraits of Henriette playing the bass viol and the infant duc de Bourgogne (both in Versailles), elicited some vituperative commentary on the part of certain critics, who found his compositions pretentious and his coloring weak. In 1759 he was elected an associate member of the Royal Danish Academy of Fine Art, and as his reception piece he executed a replica of a portrait of his son-in-law, the painter Louis Tocqué (Copenhagen, Royal Museum of Fine Arts). That year he exhibited a magnificent portrait of Madame Adélaïde holding a musical score (Paris, Musée du Louvre) and a Vestal (Raleigh, North Carolina Museum of Art), which aroused the scathing hostility of Diderot. In 1761 the sight of Nattier's posthumous portrait of the Duchess of Parma (Versailles) at the Salon prompted Diderot to exclaim: "Does that man not have a friend who will tell him the truth?" The old and infirm artist found himself in such difficult financial straits that he was obliged to sell his art collection and the contents of his studio. Jean-Marc Nattier died on November 7, 1766, in his eighty-first year, and his remains were entombed the following day in his parish church of Saint-Eustache.
[Joseph Baillio, in French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue, Washington, D.C., 2009: 334-335.]
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Nature pool:
How insignificant are we compared to the magestic power of the universe. To be one with nature is a great affirmation. Love is up there too.
“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 photo portrays the largest amount of casualties in one place. I believe this photo is the most significant in this collection due to the fact that this is taking place after a battle has been waged, and after the bodies have been collected. One can determine this due to the fact that there is a coroner's wagon sitting in the background. However, the way the bodies are positioned is outstanding. Only about six or seven bodies are in the foreground, with the closest one's face being carefully hidden by the rock. In the far background, we can see what looks like another line of soldiers, but it does not appear to be a large amount of them. This photo gives the viewer the impression that a large battle has just taken place, and the bodies are being collected for burial. However, there are only about 20 or so men in the entire photo, and the way the photo is taken, it suggests that there were only 20 or so casualties. The line of dead soldiers in the back is seen as unimportant or insignificant, due to the angle of the photo. However, that line most likely went on for 20 to 30 times what is shown in the photo. Another interesting fact is that there are no living soldiers in the photo. The coroner's are there to pick them up, and have already collected the bodies together in rows, however they are not shown. By doing this, it further creates the sense that these men are simply the cost of victory, and their bodies will be buried, whenever there is time.
Photo taken from Civil War Homepage
Pretty a boring sight to see a coke bottle floating around, but i wonder how many of those are there at the very minute floating around, causing a lot of damage maybe..??
Kinda reminds me of us humans, very small and insignificant compared to the world, but causing such huge damage.. what if we can join in to turn it the other way around?? I am sure it can change a lot..
“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
You might think this is insignificant...look closely and you can just make out the remains of a gas lamp
On further investigation I believe this formed part of the road to Goose Cote where the workhouse for Turton was located. Later this would become De Rothwell's arms and cottages
Celebrating the insignificant launch of Internet Explorer 8 when compared to the much greater celebration of Charis' 11th Birthday
insignificant.....
muddled up inside an old gas can.
Waiting for someone to lift the lid.
But there is
no time for walking down roads
or
painting the windows black
or
taping your voice, to hear someone speak
or
timing your dreams for the day
they come true.
It just doesn't happen like that.
Anymore.
At times I can be the top bloom, basking in the glory of the sun, soaking in all of the light and destined to grow, strive and survive, dominating anything beneath me. Other times I am the bloom underneath..the dark, ominous flower that is always in the shadows, overtaken and made to seem so insignificant and small, eclipsed and covered up....So who is to blame...The one on top, not knowing any better..just sprouting, reaching, becoming the fittest perhaps without realization of what it may be taking away from those around it? Or the one underneath..not taking the chance, the risk or the know how to to share in the light..or to nudge to the side slightly....and not allow anything to take away from it what it needs? Oddly there is always room for them both..and one has what the other needs....always....
My lesson for today is to neither allow myself to ever be overshadowed nor to be so intimidating as to overshadow another...hmmm?
“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