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Park City Mayor Dana Williams performed an original song at TEDxParkCityWomen 2013 - "Invented Here"
Este invento del warhol sorprende, un mojito flambeado que le da un crunchi, crunchi caramelizado al mojito, que además es un sitio de los que no fallan….. Es uno de nuestros puntos de descanso del guerrero en castro urdiales, el ambiente es tranquilo y la música agradable, no veas como sienta el mojito warhol echándolo en uno de sus sofás…. Red social gastronómica: www.onfan.com/es/especialidades/castro-urdiales/warhol-ca...
Quando eu era criança sofri um acidente. Tive que ficar na cama por uma semana. Ficava só olhando, através da porta, o aquário que ficava no corredor. Não conseguia entender como aqueles peixes conseguiam viver em um espaço tão pequeno. Tinha pena. O mundo para mim, que era criança, era imenso. O mundo daqueles peixes me parecia minúsculo e entediante. Todo dia eu olhava estes peixes. Pensei que aquele quarto também era um aquário. Passei a descobrir cada fresta, cada textura, cada detalhe. Me dediquei à tarefa de alargar aquele quarto de hospital, fazer meu mundo ficar maior cada dia. Depois, quando tive alta, fiquei até triste. Os peixes tinham me ensinado a imensidão. Hoje tenho 55 anos. Estou doente e não posso mais andar. Queria voltar a ser peixe. Queria aquele prazer de quando eu tinha 8 anos e conseguia transformar o quarto em um mundo inteiro.
Invented to raise awareness about electronic waste, its (wrong) abundance and its (exciting) creative potential. This BLAST Paul Granjon Wrekshop on 13th April, 2015 at Bournemouth University consisted of two main phases: deconstruction and reconstruction. Participants took apart one or more item(s) of electronic waste and extracted mechanism and components. The selected parts were rewired and integrated in an improvised collective Frankenstein machine featuring programmable electronics. Participants deconstructed different electronic waste items including printers, VCRs, PC towers, keyboards and music instruments, audio units etc.
These images are a collection of graphics to potentially be used by a friend's clothing company. They would be screen printed in a single color, which is why they're mostly black and white right now (the color is decided by the screen-printer).
experiments experiments.
Inventations for the Bal Du Masqué party. Join? Check the eventpage on Facebook: www.facebook.com/event.php?eid=239102667062&ref=mf
The Germans immigrants were the one who introduced box-o-burger in the india which later went on to spread around the world.
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Only Indori could have invented doodh & sev combination.Hit like to agree.
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Alexander Calder - American, 1898 - 1976
Untitled (The Constellation Mobile), 1941
Vertical Constellation with Bomb, 1943
In 1942, Calder invented a new format for his sculpture, producing a series of works that his friends James Johnson Sweeney and Marcel Duchamp would later refer to as constellations. These delicate, medium-sized, open-work constructions are composed of linear wire elements and small, carved biomorphic and geometric forms in painted and unpainted wood. Unlike Calder's mobiles, which are suspended in open space where their individual parts are gently propelled by random air currents, the constellations, including Vertical Constellation with Bomb,are stationary objects that generally sit on a tabletop or hang against a wall. Calder turned to wood in these and other works of the early 1940s partly in response to the scarcity of scrap metal during the war years, although the small forms that are featured in the constellation series originate in certain mobiles of the mid-1930s. Clear affinities with the work of various surrealists, including Joan Miró, Jean Arp, and Yves Tanguy, are found throughout the constellations. Pierre Matisse formalized this comparison in 1943, when he exhibited Calder's constellations at his New York gallery along with recent paintings by Tanguy (who had, by then, become Calder's neighbor in Connecticut). "It was a very weird sensation I experienced," Calder later recalled with regard to the 1943 exhibition, "looking at a show of mine where nothing moved." [1] Vertical Constellation with Bomb appeared in the Pierre Matisse exhibition as well as in Calder's retrospective at the Museum of Modern Art later that year.
While Arp and Miró had also created series of "constellations," only the examples by Arp -- relief sculptures in painted wood, which he had been producing since the 1920s -- would have been known to Calder. As a metaphor for works consisting of small points or shapes distributed in loose but fixed configurations across a field or through space, the image of the "constellation" seems to have had special relevance to certain formal developments in abstraction between the two world wars. Allusions to cosmic space were, however, not new to Calder. Indeed, during the early 1930s, he had created a series of "Sphériques," standing sculptures that resemble orreries; in relation to these works, the artist later described the universe itself, with its "detached bodies floating in space," as "an ideal source of form." [2] With ten wooden elements (including the multicolored, falling "bomb"),Vertical Constellation with Bomb is among the most complex of Calder's constellations. Somewhat more architectonic than other works in the series, it bears a playful but striking resemblance to Alberto Giacometti's The Palace at 4 A.M. (1932 - 1933, The Museum of Modern Art, New York), a delicate construction of linear elements and carved forms (the anthropomorphic figure in Giacometti's sculpture is quite close to Calder's bomb form). The Vertical Constellation is also unusual for the apparent deliberateness with which the artist repeated some of the forms in sets of two or three, varying their dimension and thereby creating the vague impression of diminishing perspective along wire "sight lines."
Alexander Calder is perhaps best known for his large, colorful sculpture, which incorporates elements of humor and chance into uniquely engineered structures. Calder was born outside of Philadelphia to a successful, artistic family. His father and grandfather--both named Alexander Calder--were distinguished sculptors and his mother was a portrait painter. Although he initially studied mechanical engineering, receiving a degree from Stevens Institute of Technology, Hoboken, New Jersey, he eventually enrolled in the Art Students League in New York City (1923-1926) and studied painting with John Sloan and George Luks, among others. While working as a graphic artist on assignment at the zoo and circus, Calder discovered his facility for sketching animals. This subject would become a lifelong passion.
In 1927 Calder went to Paris. Initially he created small, movable wood and wire figures, which he then assembled into a miniature circus, complete with balancing acrobats and a roaring lion. The popularity of "Calder's circus" soon brought him in contact with other artistic innovators. In the early 1930s, inspired by the color and composition of Piet Mondrian's work, Calder created his breakthrough mobiles. At first these abstract sculptures were motorized; later Calder modified his design to allow free-floating movement, powered only by air currents. These signature works incorporated Calder's interests in physics, astronomy, and kinetics, and above all, his sense of play.
By 1933 Calder had returned to the United States, where his abstract-organic sculpture, both mobile and stationary, attracted considerable attention and acclaim. He settled in Connecticut and continued to produce innovative works on both a large and small scale. After 1950 Calder spent part of each year in France. In addition to the monumental sculptures that can be seen in the United States and Europe, Calder applied his whimsical and lyrical sense of design to media as diverse as metal jewelry and theater sets.
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
The #statue of Jean-Baptiste de #Lamarck, who invented the #Evolution #Theory. Charles #Darwin used his work. On the back, the Grand Gallery of Evolution. #jardindesplantes #grandegaleriedelevolution #Museum #musée #Paris5 #Paris #GaredAusterlitz #France
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cherfati: Magnifique,
nuage31: Très intéressant et magnifique photo
nuage31: @7bc
7bc: @nuage31 Tu n'as besoin de rajouter le pseudo que quand le destinataire n'est pas chez lui.
7bc: @zoelyaparis @nuage31 @cherfati Merci pour ces compliments que j'apprécie beaucoup.
cindelliina: Lol your Instagram is like national geographic, interesting and informative . Excellent photos
Herrett_110506_0038
Blue plaque commemorating Jacob Von Hogflume, the fictitious inventor of time travel, Soho, London. Invented by Dave Askwith and Alex Normanton, and documented in their book "Signs of Life", the Von Hogflume sign proclaims to mark the future residence of the 19th century inventor. This sign was one of many subversive signs created and posted throughout London by the duo.
Copyright © Roberto Herrett. All rights reserved.
InVenture Prize finalists - Zack Zalesky (left) and Joseph Hickey (right) have invented Infant Sleep Solutions, or iSleep, a baby soothing platform that reproduces the motions and vibrations of a car ride in the comfort and safety of your own home.
via Painters' Table - Contemporary Art Magazine: Daily Painting Links on Artist Blogs, Painting Blogs and Art Websites ift.tt/2oMf3yk