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This was just one of the many trees that lined the old street we drove down today. I was so glad I brought my camera for this. :)
Alien She
Photos and Video by Mario Gallucci
Alien She
Sep 3, 2015 – Jan 9, 2016
Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.
Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.
Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.
Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.
Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more
Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.
Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.
Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh
Alien She is presented in two parts:
Museum of Contemporary Craft
724 NW Davis
Portland, OR 97209
511 Gallery @ PNCA
511 NW Broadway
Portland, OR 97209
Both venues are open Tuesday through Saturday from 11am to 6pm.
This monument is in lasting memory of the 190 who answered the call of duty for Canada and to the 54 who laid down their lives in defence of freedom in the Great War. Their names are engraved on the monument erected, April 2, 1920.
A re-lighting of the memorial to Canadian soldiers of Japanese ancestry in World War I took place on August 2, 1985.
1914 — HONOR ROLL — 1918
Japanese killed while serving with Canadian Expeditionary Force
T. Iwamoto MM, Lance Corporal Y. Kamakura MM, Lance Corporal I. Kumagawa, Corporal K. Oura, T. Shirasago MM, Y. Takeeuchi C of St. G, Sergeant F. Tatsuoka
K. Akiyama, N. Asada
L. Ban, C. Fujita, T. Fukui, T. Gyotoku, C. Hamaguchi, S. Hara, K. Harada, C. Hashima, M. Hayashi, H. Inouye, T. Ishihara, R. Ishii, K. Katayama, I. Kojima, H. Koyanage, S. Kuryu, S. Matsubayashi, T. Matsui, T. Matsumura, K. Migita, S. Motohashi, C. Nakamura, H. Narita, E. Nikaido, S. Nishimura, T. Nishioka, S. Omasa, O. Onishi, M. Otani, T. Sato, G. Shibata, T. Shichi, H. Shinomiya, T. Suda, K. Sugimoto, H. Sugitani, K. Tada, T. Takayanagi, Y. Tanaka, K. Tokunaga, T. Tokunaga, S. Tsuchiya, T. Uchinashi, M. Yamada, T. Yamasaki
Japanese who returned with Canadian Expeditionary Force
D. Araki, M. Araki, K. Chiba, S. Chiba, C. Chujo, T. Danjo, T. Date, S. Fuji, T. Fujii, Y. Fukaye, I. Fukushima, B. Furukawa MM, R. Furuya, S. Goto, S. Hamade, T. Hamamatsu, S. Harada, M. Hayashi, Y. Hayashi, T. Hirai, T. Hirota, R. Hoita, K. Horita, T. Hoshizaki, M. Ihara, K. iizuka MM, N. Ikeda, T. Inohara, K. Inouye, T. Inouye MM, Z. Inouye, I. Isogai, H. Isomura, K. Iwasaki, M. Iwasaki, S. Iwashita, S. Izukawa, T. Kaji, O. Kamachi, T. Kamei, S. Kanda, M. Kataoka, K. Kateno, K. Kato, Y. Kawai, K. Kawase, K. Kimoto, S. Kimura, S. Kinoshita, H. Kitagawa, T. Kitagawa, H.S. Kobayashi, R. Kobayashi, S. Kondo, Y. Kubo, Y. Kubodera MM, Corporal S. Kubota, Z. Kubota, K. Kurisu, T. Kuroda, Y. Kuroda, K. Matano, K. Matsuda, N. Matsuda, K. Matsumoto, K. Matsumoto, Z. Matsumoto, T. Maye, T. Mikuriya, Sergeant M. Mitsui MM, T. Miyagawa, S. Miyahara, S. Miyai, E. Miyata, F. Morishige, S. Morooka, M. Motoike, N. Murakami, S. Murata, S. Murata, Y. Murata, S. Muto, E. Nagai, S. Nagano, D. Nagao, K. Nagao, S. Nakagawa, M. Nakamura MM, T. nakamura, Y. Nakamura, K. Nakashima, S. Nakata, M. Nakauchi, T. Namba, T. Naruse, G. Niihara MM, M. Nishijima, K. Nishimura, Y. Nishimura, M. Nishioka, T. Nitsui, T. Nonaka, R. Obayashi, H. Ohashi, N. Okawa, T. Okutake, T. Okutsu, S. Omoto, K. Oseki, T. Otomo, T. Otsubo, K. Saito, Y. Saito, Y. Saito, Y. Sakamoto, M. Sakiyama, J. Sasaki, D. Sato, Lance Coproral S. Sato, Y. Sawada, U. Shibuta, J. Shiga, Z. Shimbashi, J. Shimisu, K. Shinisu, I. Shintani, M. Shishido, Sergeant Y. Shoji, G. Sobuye, K. Sugimoto, Y. Tajino, K. Takahashi, y. Takashima MM, Y. Takeuchi, M. Tamashiro, S. Tanaka, T. Tanaka, T. Tanji, R. Tao, K. Tohana, T. Tomoda, K. Tomoguchi, R. Tonogai, J. Tsubota, T. Tsuge, I. Uegama, S. Ushijima, M. Uyeda, N. Uyeda, K. Uyehara, S. Wada, E. Wakamatsu, G. Watanabe, N. Watanabe, M. Yamamoto, O. Yamamoto, O. Yamamoto MM(2), S. Yamamoto, A. Yamasaki, Z. Yamasaki, H. Yamashita, H. Yano, T. Yasuda, S. Yokomizo, K. Yoshihara, M. Yoshikawa C of St. G, K. Yoshizawa, E. Yukitani
From The Bulletin:
In 1916, 222 Japanese Canadian volunteers enlisted in the Canadian Expeditionary Force (CEF) for military service overseas in the First World War. Through enlisting, they overcame racial barriers and showed their determination to win their citizenship rights through military service. The Japanese Canadian soldiers fought in most of the major engagements of the CEF on the Western Front in Europe in 1917 and 1918. Their valour was recognized in the awarding of 11 Military Medals for Bravery to Japanese Canadian soldiers. Fifty-four, or nearly one-fourth of the Japanese Canadian soldiers were killed on the battlefield or died from wounds sustained in combat, and most of the surviving soldiers were also wounded.
In 1920, following their return to Canada, the Japanese Canadian community erected in Stanley Park, Vancouver, the impressive Japanese Canadian War Memorial. It is a distinctive monument that blends both European and Eastern design traditions. In 1920, the veterans also sought to be granted the provincial franchise, which had been denied to all Japanese Canadians following the British Columbia government’s passage in 1895-96 of exclusionary legislation barring them from the vote. Despite their distinguished war service, many groups in BC reacted negatively to extending the franchise to the Japanese Canadian veterans and forced the government of Premier Oliver to withdraw its amendment to the BC Elections Act that would have granted them the provincial vote.
-- David R. Mitsui
I found another story about one of the men on this list:
1942 began on a solemn note when, on January 14, the Canadian government invoked the War Measures Act. Ottawa announced that all Japanese—Canadian-born or otherwise—would be removed from the west coast to government camps. The Pearl Harbor attack had spooked people all along the Pacific coast of North America, and there were rumors that collaborators might be lurking within Japanese-owned fishing boats in Steveston.
On February 26 all British Columbia’s Japanese were ordered interned, and in March Exhibition Park in Vancouver became an internment camp. It was closed to the public and turned into a “processing centre” for more than 8,000 Japanese Canadians. (After they left Hastings Park would serve as a military facility until 1946 when it would be renamed “Exhibition Park.”)
Soon Japanese- Canadians began to be moved from the west coast to camps in the interior and points east. The government “took into custody” 1,337 of their fishboats, as well as houses and other property. The owners received little or no compensation. Other businesses, radios, cameras and cars were also confiscated. Japanese-language newspapers were suppressed and language schools were closed. Steveston, home to many people of Japanese descent, was particularly hard hit.
A light in a Stanley Park monument built to honor Japanese-Canadian soldiers who had fought bravely and with high casualties for Canada in the First World War was switched off. That monument, surrounded by cherry trees, was a tribute to 196 Japanese-Canadians who had volunteered to fight for Canada. At Vimy Ridge, fought over four days in April, 1917, one of them, Sergeant Masumi Mitsui of Port Coquitlam, led his troop into battle with such distinction that he was awarded the Military Medal for Bravery. Of those 196 volunteers, 145 were killed or wounded. Now, 25 years later, Mitsui was so enraged by the expulsion order he threw his medals down onto the desk of the confiscating officer. His family was moved from their seven-hectare Port Coquitlam chicken farm and new house to an internment camp in Greenwood, northwest of Grand Forks.
The monument’s flame would stay dark for more than 40 years. (In August 1985, Masumi, then 97, would be the honored guest at the relighting of the lantern in the park monument. He died April 22, 1987 at 99.)
-- Chuck Davis
This High Dynamic Range panorama was stitched from 12 hand-held bracketed photographs with PTGUI Pro, tone-mapped with Photomatix, and touched up in Aperture.
Original size: 7010 × 6257 (43.9 MP; 65 MB).
Location: Stanley Park, Vancouver, British Columbia, Canada
Erupting about every 10 - 12 hours up 27m high for about 20 minutes. The water phase is then followed by a noisy steam phase lasting approx 5 hours. Hier schwaechelt er noch etwas...
OLYMPUS DIGITAL CAMERA
True friendship are lasting because true love is eternal.
A friendship in which heart speaks to heart is a gift from God.
*** By Henri Nouwen ***
Installation Views
Lasting Images
October 14, 2013–January 10, 2014
5th Ave at 89th St
New York City
Lasting Images brings together a selection of works from the Guggenheim’s collection of global contemporary art, featuring pieces by Simryn Gill, Sheela Gowda, Joana Hadjithomas and Khalil Joreige, Mona Hatoum, and Doris Salcedo. These works suggest that truly lasting images—those that are most affecting—rarely convey direct messages. Instead, the pieces in this exhibition use ephemeral materials to define spaces for the viewer that invite open-ended contemplation.
Photo: David Heald
To learn more, visit www.guggenheim.org/lastingimages.
A peacock is allowed to roam freely at the WNC Nature Center in Asheville . Last week, as l was taking pictures of this beautiful bird, it suddenly went into a full display ...
Since it was the 1st time l had ever seen this display in person ...and l was only inches away from the bird.., it made a strong impression ....the sequence of images here lasted only a minute ....but it was a minute l will long remember ..
Endless rushing/being busy, and too little quiet/peace time........
Time is flying by quite quickly before one knows it. Life is short. We must treasure the moments that we love and enjoy. Regret is not a good option.
This picture was taken in Vatican Museum, the famous spiral stairs. While using the commonly used technique of slow shutter speed to blur moving individual(s), it was lucky a couple was standing still enjoying their moments. Interesting contrast.
SX-70 Alpha 1 Model 2
Time Zero (exp. 1999)
Though they are free to be real horses not obscured by work,
not pull anything, they must think hard to do nothing but remember
their lovers to run the low hills and dream and eat up green landscape.
- from "Lasting Impressions" by Allan Peterson
I went to the SPCA of Tampa Bay today with my mom. She adopted a Min Pin mix while I was out watching the horses. The owner of this horse and one of the others no longer wanted them so they were surrendered to the SPCA where they will hopefully live out their days in peace.
Adhesives and tapes for bonding, reclosable fasteners: design and package a stronger, lighter, better looking, longer lasting, and less costly product. We deliver a complete line of tapes and specialty products to help you meet the needs of today's challenging industrial manufacturing marketplace. Our solutions include sealing and holding; packaging, bundling and reinforcing; identification; protection; masking, gasket and cushioning; and web processing3M was founded in 1902 at the Lake Superior town of Two Harbors, Minn. Five businessmen set out to mine a mineral deposit for grinding-wheel abrasives. But the deposits proved to be of little value, and the new Minnesota Mining and Manufacturing Co. quickly moved to nearby Duluth to focus on sandpaper products.
Years of struggle ensued until the company could master quality production and a supply chain. New investors were attracted to 3M, such as Lucius Ordway, who moved the company to St. Paul in 1910. Early technical and marketing innovations began to produce successes and, in 1916, the company paid its first dividend of 6 cents a share.
The world's first waterproof sandpaper, which reduced airborne dusts during automobile manufacturing, was developed in the early 1920s.
A second major milestone occurred in 1925 when Richard G. Drew, a young lab assistant, invented masking tape – an innovative step toward diversification and the first of many Scotch® Pressure-Sensitive Tapes.
In the following years, technical progress resulted in Scotch Cellophane Tape for box sealing and soon hundreds of practical uses were discovered.
In the early 1940s, 3M was diverted into defense materials for World War II, which was followed by new ventures, such as Scotchlite™ Reflective Sheeting for highway markings, magnetic sound recording tape, filament adhesive tape and the start of 3M's involvement in the graphic arts field with offset printing plates.
In the 1950s, 3M introduced the Thermo-Fax copying process, Scotchgard™ Fabric Protector, videotape, Scotch-Brite™ Cleaning Pads and several new electro-mechanical products.
Dry-silver microfilm was introduced in the 1960s, along with photographic products, carbonless papers, overhead projection systems, and a rapidly growing health care business of medical and dental products.
Markets further expanded in the 1970s and 1980s into pharmaceuticals, radiology and energy control.
ift.tt/1T5DnCv Two Soviet snipers on the Leningrad Front against the German siege, lasting from 1941-1944. Colorized by Za Rodinu [1019x684] #HistoryPorn #history #retro ift.tt/1Ui3ZFx via Histolines
Alien She
Photos and Video by Mario Gallucci
Alien She
Sep 3, 2015 – Jan 9, 2016
Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.
Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.
Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.
Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.
Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more
Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.
Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.
Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh
Alien She is presented in two parts:
Museum of Contemporary Craft
724 NW Davis
Portland, OR 97209
511 Gallery @ PNCA
511 NW Broadway
Portland, OR 97209
Both venues are open Tuesday through Saturday from 11am to 6pm.
SOOC other than the b&w toning...
sorry if I do more posting than commenting right now, but it is just the state of mind I am in right now... I hate to just rush through your streams just saying ooh and ahh and not taking the time to really dig into the images qualities, so I will try to keep up with everyone, but it will probably be in bursts....
Thanks for all of your comments and faves, they are truly appreciated, each and every one...
Alien She
Photos and Video by Mario Gallucci
Alien She
Sep 3, 2015 – Jan 9, 2016
Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.
Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.
Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.
Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.
Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more
Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.
Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.
Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh
Alien She is presented in two parts:
Museum of Contemporary Craft
724 NW Davis
Portland, OR 97209
511 Gallery @ PNCA
511 NW Broadway
Portland, OR 97209
Both venues are open Tuesday through Saturday from 11am to 6pm.
Alien She
Photos and Video by Mario Gallucci
Alien She
Sep 3, 2015 – Jan 9, 2016
Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.
Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.
Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.
Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.
Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more
Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.
Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.
Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh
Alien She is presented in two parts:
Museum of Contemporary Craft
724 NW Davis
Portland, OR 97209
511 Gallery @ PNCA
511 NW Broadway
Portland, OR 97209
Both venues are open Tuesday through Saturday from 11am to 6pm.
These delicate Black Eyed Susan-like little flowers stand out in the poorly maintained memorial garden out back as beckons of cheer and mid-fall survival.
This cute fish was found in a wordprocessing program/colouring book, enlarged using an overhead projector, and coloured with oil pastels to make it fadeproof and long lasting.
Alien She
Photos and Video by Mario Gallucci
Alien She
Sep 3, 2015 – Jan 9, 2016
Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.
Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.
Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.
Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.
Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more
Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.
Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.
Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh
Alien She is presented in two parts:
Museum of Contemporary Craft
724 NW Davis
Portland, OR 97209
511 Gallery @ PNCA
511 NW Broadway
Portland, OR 97209
Both venues are open Tuesday through Saturday from 11am to 6pm.
The construction in 1906-1907 of the Brooklands Motor Course at Weybridge, Southwest of London, gave S.F.Edge, Napier's top salesman, the opportunity to demonstrate the reliability of his make by driving a Napier on the circuit non-stop for 24 hours, before it was officially opened. As there was no lighting, the track was illuminated with torches during the night. It was an unprecedented achievement: he covered a total distance of 2,537 kilometres (1,582 miles), averaging a speed of 105 km/h (66 mph). The record was to stand for 17 years. Besides, it was the only time a 24-hour race would be held at Brooklands. As the circuit was located in a residential area, the authorities would not allow nighttime racing. 'Double Twelves', two runs lasting twelve hours each, were introduced instead.
The Napier with which Edge set this record no longer exists, but in 1960 Napier enthusiast Derek Grossmark commissioned coachbuilders Caffyns in Worthing to recreate the body on an existing 7.7 litre, 60 hp chassis. The car was later clocked at 135 km/h at the Brighton Speed Trials. Grossman participated in various events over a three-year period and then sold the car. Under new ownership the Napier was used in the opening scenes of the famous film 'Chitty Chitty Bang Bang'.
Hate is more lasting than dislike Quote Meaning
When you dislike someone, you want to stay away from them but when you hate someone, you cannot calm yourself without taking revenge on them. Hate is more intensive emotion compared to dislike.
Main Topic: Hate Quotes
Related Topics: Emotion,...
www.braintrainingtools.org/skills/hate-is-more-lasting-th...
Playing with my variable focal length trick & bulb mode, the sun was peaking in and out from the west, so I think I captured some of that reflecting off the windows across the street.
These petroglyphs were made by the Jordana Mogollon people somewhere between ~600 and 1100 years ago. How long will any of our own photographs survive to show our vision? Will people know of our photography just 100 years from now, let alone thousands? The digital age means many of us have photos that exists only as collection zeros and ones ... and they could all be gone nearly instantly without our due dilligence.
The 'Limelight' Hydrangea I used on Friday were not very long-lasting. I replaced with 'Magical Opal', and used some Italian Rose-hip from the previous week
Third Thursday: Lasting Impressions on March 16, 2017 at The Nelson-Atkins Museum of Art in Kansas City, MO. Photographer / Lauren Frisch Pusateri
Alien She
Photos and Video by Mario Gallucci
Alien She
Sep 3, 2015 – Jan 9, 2016
Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.
Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.
Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.
Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.
Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more
Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.
Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.
Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh
Alien She is presented in two parts:
Museum of Contemporary Craft
724 NW Davis
Portland, OR 97209
511 Gallery @ PNCA
511 NW Broadway
Portland, OR 97209
Both venues are open Tuesday through Saturday from 11am to 6pm.
Made a new shirt and Thalia snatched it up. I'm pretty happy with it but there are some things I would change. Anyway I'm happy to be out of school and back to sewing!
در منزل غم فکنده مفرش مائیم وز آب دو چشم دل پر آتش مائیم
عالم چو ستم کند ستمکش مائیم دست خوش روزگار ناخوش مائیم
رودکی
Sanjeeva Park
Hyderabad - India
shelters for all competition, Capron entry for the “SheltersForAll” competition, SheltersForAll, “SheltersForAll”, sheltersforall.org, Shelters For All, Shelters for the poorest, Shelters For All competition, Shelters For All competition entry, Shelters For All competition entry Greg Capron, “Shelters For All competition” realistic architecture, architecture for the poorest , realistic architecture, arche17.com, , Gregoire Capron, greg_capron@me.com, greg.capron@arche17.com, long lasting shelters for the poorest, green architecture, sustainable architecture, use local materials and skills, simple architecture, shelters for local communities, simple to build and simple to maintain
Scribing from day 5 of the Boston StartingBloc Social Innovation Institute.
The StartingBloc Fellowship begins with the Institute for Social Innovation. The Institute is a five-day transformative experience where leaders get the education, inspiration, and connections that they need to increase their impact.
At the Institute, Candidates (students and young professionals aged 20-29) are provided with the training, education, and networks necessary to accelerate their careers. StartingBloc Educators are experts and leaders in their respective fields, and they work with Candidates to demonstrate how to blend social and economic impact.
During the Institute, Candidates learn about social entrepreneurship, intrapreneurship (working within systems), cross sector partnerships and sustainability. Sessions are led by top academics, corporate innovators, social entrepreneurs, activists and government officials. The curriculum provides a fresh look at global issues and enables our Fellows to affect change at all levels.
As part of the Institute, Candidates also participate in the Social Innovation Competition (SIC) during which they consult on a real social innovation case challenge for a company or organization. Following successful completion of the Institute, Candidates graduate into the Fellowship and join our existing network of 1500 Fellows across the world.
In 2011, the Institutes are bringing together 330 Fellows at three locations: Los Angeles (110 Fellows), Boston (110 Fellows) and New York (110 Fellows).
Los Angeles Institute :: February 17 – 21, 2011
Boston Institute :: March 17 – 21, 2011
New York Institute :: May 26 - 30, 2011
Applications are now closed for the 2011 Institutes. Excited to get a jump on 2012? Leave us your name or nominate a friend to apply. Applications for the 2012 Institutes will open on September 15, 2011.
Rocks in Rila Seven Lakes look stunning. There's just so much going on about them.
Minolta SR-T 101
50mm f/1.7
Fujicolor 200
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