twitter.com/Memoire2cite Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.Les films du MRU -Industrialiser la construction, par le biais de la préfabrication.Cette industrialisation a abouti, dans les années 1950, à un choix politique de l'Etat, la construction massive de G.E. pour résoudre la très forte crise du logement dont souffrait la France www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije Noisy-le-Sec le laboratoire de la reconstruction, 1948 L'album cinématographique de la reconstruction maison préfabriquée production ministère de la Reconstruction et de l'Urbanisme, 1948 L'album cinématographique içi www.dailymotion.com/video/xwytke

   

archipostcard.blogspot.com/search?updated-max=2009-02-13T... -Créteil.un couple à la niaiserie béate exalte les multiples bonheurs de la vie dans les new G.E. www.youtube.com/watch?v=FT1_abIteFE … La Ville bidon était un téléfilm d'1 heure intitulé La Décharge.Mais la censure de ces temps de présidence Pompidou en a interdit la diffusion télévisuelle - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - Hansjörg Schneider BAUNETZWOCHE 87 über Papiermoderne www.baunetz.de/meldungen/Meldungen_BAUNETZWOCHE_87_ueber_... … - ARCHITECTURE le blog de Claude LOTHIER içi leblogdeclaudelothier.blogspot.com/2006/ - - Le balnéaire en cartes postales autour de la collection de David Liaudet, et ses excellents commentaires.. www.dailymotion.com/video/x57d3b8 -Restaurants Jacques BOREL, Autoroute A 6, 1972 Canton d'AUXERRE youtu.be/LRNhNzgkUcY munchies.vice.com/fr/article/43a4kp/jacques-borel-lhomme-... … Celui qu'on appellera le « Napoléon du prêt-à-manger » se détourne d'ailleurs peu à peu des Wimpy, s'engueule avec la maison mère et fait péricliter la franchise ... museedelacartepostale.fr/blog/ -'être agent de gestion locative pour une office H.L.M. en 1958' , les Cités du soleil 1958 de Jean-Claude Sée- les films du MRU içi www.dailymotion.com/video/xgj74q présente les réalisations des HLM en France et la lutte contre l'habitat indigne insalubre museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

   

www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

   

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.

   

Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

   

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

   

Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …

   

Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -

   

Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.

   

www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije l'industrie du bâtiment.

   

la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty

   

la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije Cardem les 60 ans de l'entreprise de démolition française tres prisée des bailleurs pour les 80, 90's (1956 - 2019) toute l'Histoire de l'entreprise içi www.youtube.com/watch?v=Yyf1XGvTZYs - 69 LYON & la Cardem pour la démolition de la barre 230 Quartier la Duchère le 2 juillet 2015, youtu.be/BSwidwLw0NA pic.twitter.com/5XgR8LY7At -34 Béziers - C'était Capendeguy le 27 janv 2008 En quelques secondes, 450 kg d'explosifs ont soufflé la barre HLM de 492 lgts, de 480 m, qui laissera derrière elle 65.000 tonnes de gravas. www.youtube.com/watch?v=rydT54QYX50 … … Les usines Peugeot - Sochaux Montbéliard. 100 ans d'histoire en video www.youtube.com/watch?v=X4w3CxXVAyY … - 42 LOIRE SAINT-ETIENNE MONTREYNAUD LA ZUP Souvenirs avec Mascovich & son clip "la tour de Montreynaud" www.youtube.com/watch?v=p7Zmwn224XE …

   

Villeneuve-la-Garenne, La Caravelle est à mettre au crédit de Jean Dubuisson, l’un des architectes les plus en vue des années 1960, www.dailymotion.com/video/x1re3h5 via @Dailymotion - AMIENS les HLM C'était le 29 juillet 2010, à 11h02. En quelques secondes, cette tour d'habitation s'est effondrée, détruite par implosion. Construite en 1961, la tour avait été vidée de ses habitants quelques années auparavant. www.youtube.com/watch?v=ajz2xk5KBNo … … - Les habitants de Montreynaud parlent de leur quartier et de cette destruction entre nostalgie et soulagement içi en video www.dailymotion.com/video/xmiwfk - Les bâtiments de la région parisienne - Vidéo Ina.fr www.ina.fr/video/CAF96034508/les-batiments-de-la-region-p... … via @Inafr_officiel - Daprinski - George Michael (Plaisir de France remix) www.youtube.com/watch?v=sJeH-nzlj3I

   

Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes

   

Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt

   

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...

   

Official Trailer - the Pruitt-Igoe Myth: an Urban History

   

www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc 1956 en FRANCE - "Un jour on te demanda de servir de guide, à un architecte en voyage d etudes, ensemble vous parcourez la Françe visitant cité jardins, gratte ciel & pavillons d'HLM..." @ les archives filmées du MRU www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Villages de la Françe cité du Soleil

   

Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique.. A la fin des années 1930, sous le Front Populaire, s’amorce une démocratisation des loisirs et du sport. Cette massification des loisirs sportifs, et en particulier de la natation, s’intensifie après-guerre, grâce à la mise en place d’une véritable politique d’Etat en faveur du développement de la pratique sportive, accompagnée par la construction d’équipements de proximité. Cette politique conduit à redéfinir et à rationaliser la conception de la piscine, autant d’un point de vue architectural que fonctionnel.

 

Vers la fin des années 1920, le sport, et en particulier la question de l’équipement sportif, commence à s’imposer au niveau national, comme un objet incontournable de souci et d’action politique. La volonté de créer une structure institutionnelle chargée de concevoir et de contrôler cette politique publique relative au sport s’affirme de plus en plus. Cette idée est en germe depuis l’armistice, comme l’indique la réflexion d’Edouard Herriot, maire de Lyon : « Peut-être arriverons-nous ainsi peu à peu à la constitution d’un grand service central – ministère ou non – de l’Éducation physique » (Édouard Herriot, 1919).

 

Parallèlement, des revendications sociales se font entendre pour une meilleure accessibilité au sport par la classe populaire. Ces requêtes sont entendues par le Front populaire, qui initie une politique de démocratisation de la culture sportive, s’appuyant sur l’invention de notions telles que temps libre et loisirs. Dans le but de diffuser et de mettre en oeuvre cette conception du sport pour tous, est créé en 1937 (à l’occasion d’un remaniement ministériel), un sous-secrétariat d’Etat aux Sports, aux Loisirs et à l’Education physique (rattaché au ministère de l’Education nationale dirigé par Jean Zay), à la tête duquel est placé Léo Lagrange. Ce dernier entreprend une série d’actions, à la fois concrètes et symboliques, comme l’aide à l’équipement communal (dont la nécessité est rendue évidente par les conclusions d’un inventaire national des installations existantes) ou la création d’un Brevet sportif populaire. Cette conception du sport de masse n’obtient cependant pas la faveur de tous. On note d’ailleurs, dans le mouvement sportif national, le rejet d’une politique d’intervention autoritaire des pouvoirs publics. Si les actions du Front Populaire sont stoppées par la déclaration de la guerre, elles ont toutefois conduit à une véritable prise de conscience de l’enjeu politique sportif au niveau national.

 

Sous le régime de Vichy (juin 1940-juin 1944), est créé un Commissariat Général à l’Education Générale et Sportive (CGEGS), qui s’appuie sur le sport pour diffuser l’idéologie du gouvernement, prônant des valeurs de discipline, de redressement moral, physique et intellectuel et de retour à l’ordre. Dans ces années, où le sport est surtout un outil de propagande, s’esquissent toutefois de nouvelles prescriptions concernant l’architecture des piscines (qui se doit d’être épurée et rationnelle), et la volonté de rattraper le retard de la France en matière d’équipement sportif par rapport aux autres pays européens.

 

Au sortir de la guerre, la question sportive n’est pas une priorité et la période 1945-1957 se caractérise par une faible intervention publique. Malgré les constructions réalisées grâce à des politiques municipales sociales et volontaristes dans les années 1930, le nombre d’équipements sportifs, et en particulier de piscines couvertes et chauffées, est encore très faible par rapport à la moyenne européenne. Ce sous-équipement va rapidement poser problème, d’autant plus que l’accroissement démographique est en plein essor, entraînant une augmentation de la jeunesse et donc une recrudescence de la pratique sportive, parallèlement à une forte urbanisation. Si l’effort est d’abord porté vers la reconstruction (du secteur industriel et du cadre de vie : logements, services administratifs, voirie, etc.), les questions de la jeunesse, du sport, de l’éducation populaire et du plein air travaillent les esprits du gouvernement.

 

Dans les Hauts-de-France, de nombreuses piscines ont subi des dégradations pendant la guerre et nécessitent une rénovation (une grande partie des piscines cheminotes par exemple).

 

Le stade nautique olympique de Tourcoing est complété, en 1951, d’un toit en partie ouvrant, une première du genre, amené à un grand développement dans les deux décennies suivantes. Faute de moyens financiers suffisants (il existe des subventions, mais les moyens alloués à la Jeunesse et aux Sports restent faibles) et d’une volonté politique forte, le nombre de constructions de piscines entre 1945 et 1958 demeure restreint. Ainsi, à Lens, suite à la destruction du stade nautique pendant la guerre, la construction d’une nouvelle piscine est projetée dès l’après-guerre, mais faute de financement, il faut attendre les années 1960 pour que le projet aboutisse.

 

Les quelques installations nautiques nouvelles qui sont réalisées au cours des 1950, sous l’impulsion d’initiatives locales, sont majoritairement découvertes et ne sont donc exploitables que quelques mois dans l’année. Si ces édifices sont aboutis au niveau technique et architectural, ils ne sont pas en mesure de satisfaire les besoins en matière de bassins éducatifs praticables pendant l’année scolaire. Ils répondent plus à une volonté d’offrir à la population un équipement de loisirs sportifs. Il s’agit souvent de la réalisation de projets municipaux d’avant-guerre, n’ayant pas eu l’occasion de voir le jour.

 

Dans ces piscines des années 1950, le double bassin est définitivement adopté et elles répondent aux nouvelles prescriptions édictées dans les années 1940 en matière d’architecture sportive, qui se doit avant tout d’être fonctionnelle et pratique, largement ouverte sur l’extérieur par des baies vitrées, sa beauté résidant essentiellement dans l’harmonie de ses proportions et l’agencement de lignes géométriques pures.

 

Ainsi, dans l’Oise, la ville de Compiègne décide en 1949 (sous le mandat de Jean Legendre), l’édification d’une piscine en bordure de l’Oise, rendue possible grâce aux indemnités des dommages de guerre et de la reconstruction, ainsi qu’à une subvention élevée de la part du Secrétariat d’Etat à l’Enseignement technique, à la Jeunesse et aux Sports. La piscine, conçue par l’architecte-urbaniste de la ville, J. Gossart, est inaugurée le 1er juin 1952. Des bains-douches sont aménagés dans les sous-sols. Il s’agit d’un grand bâtiment blanc rectangulaire en béton armé, inséré sur la berge boisée de l’Oise, s’ouvrant en son centre sur les deux bassins de plein-air de la piscine (25 x 12,5 m et 8 x 12,5 m), avec un plongeoir à double hauteur (3 et 5 mètres). Les baigneurs surplombent l’Oise et évoluent dans un cadre propice à la détente, correspondant bien aux prescriptions d’avant-guerres recommandant la construction d’équipements sportifs et de loisirs en plein air, dans un environnement naturel. Les gradins d’environ 800 places, font également face à l’Oise. L’architecture est simple et fonctionnelle, sans aucun décor ; elle obéit à un modernisme pur et efficace. Elle est remarquable du fait de sa situation en bord de rivière, comme l’était également la piscine découverte de l’Hôtel-Dieu à Pontoise (Val d’Oise) construite en 1961 par l’architecte Jean Letu et aujourd’hui détruite. La piscine de Compiègne, ouverte de mai à septembre, connaît un grand succès, qui ne cesse de croître d’année en année. Fermée dès 1985 car son bassin souffrait de fuites (et remplacée par la piscine Mercières, construite en 1988), elle est aujourd’hui à l’abandon.

 

A Caudry (Nord), le stade nautique municipal est construit en 1951-1952, sur les plans d'Edmond Lancelle (1898-1957), architecte du Cambrésis actif pendant les deux périodes de reconstruction, grâce à la volonté du maire Albert Dhélin (maire de 1947 à 1965). L’architecte est associé à Marc Revaux, ingénieur-conseil spécialisé en construction de piscines. Son architecture semble inspirée de la piscine de Bruay-en-Artois et est similaire à celle du Cateau-Cambrésis, reconstruite en 1954 par la même équipe d’architecte-ingénieur. Elle allie le style Paquebot de l’Art Déco (présence d’oculi en forme de hublots) aux codes du mouvement moderne international des années 1950. Les bassins sont entourés sur deux côtés par les bâtiments des vestiaires, et sur le deuxième grand côté par des gradins surplombés par une terrasse avec buvette (dans l’angle). La forme de U renversé de l’élégant plongeoir associée à la ligne courbe du toboggan qui lui fait face, animent l’orthogonalité des alignements de cabines. Le portique d’entrée, reprenant ces lignes courbes, s’ouvre sur un guichet vitré aux formes dynamiques et sculpturales. La piscine est dominée par une grande tour-horloge, rythmant les séances de natation. On retrouve cette tour-horloge marquant l’entrée de la piscine, à la piscine olympique de la Scarpe à Arras (1955) et au stade nautique de Bapaume (Pas-de-Calais). A Bapaume, le bâtiment abritant l’accueil et les vestiaires est largement vitré et s’ouvre sur les bassins, entourés d’un portique. Son architecte, Emile Cauwet, est spécialiste de l’architecture scolaire (groupe scolaire Ferdinand-Buisson à Boulogne-Billancourt), industrielle et sportive, et prône une esthétique moderniste et fonctionnelle.

 

A Boulogne-sur-Mer (Pas-de-Calais), une piscine municipale est judicieusement intégrée au nouveau casino, bâtiment monumental, manifeste de l’architecture des années 1950, conçu par les architectes Sonrel et Bonhomme, et situé derrière la plage de la station balnéaire. La piscine, localisée au rez-de-chaussée, est vitrée sur deux côtés et donne vue sur la plage. Le bâtiment en béton armé, monté sur pilotis (rappelant l’architecture de Le Corbusier), est décoré sur ses façades extérieures de mosaïques réalisées par l’artiste Françoise Lelong. La façade côté plage s’ouvre par un portique avec terrasse.

 

Ainsi les piscines des années 1950, souvent d’une grande sobriété correspondant aux préceptes architecturaux du mouvement moderne, s’inscrivent dans la continuité des piscines de la fin des années 1930. Il faut attendre les années 1960 pour qu’une nouvelle impulsion soit donnée à l’innovation architecturale dans le domaine des piscines, grâce à la mise en place d’une véritable politique interventionniste de l’Etat en faveur de l’équipement sportif sous la Ve République, dans le cadre de trois lois de programme planifiant la construction d’équipements sportifs et socio-éducatifs. Ce nouveau cadre législatif se traduit par une "mise en administration" du bâti sportif par l’État1.

 

II. Les mesures mises en place entre 1961 et 1976 par l’Etat en faveur de la construction des piscines

 

A partir de la Ve République, le sport et la construction sportive sont désormais perçus comme un service d’intérêt public du ressort de l’Etat. Déterminé, l’Etat entreprend une série de mesures incitatives visant à créer un maillage de piscines publiques praticables en toutes saisons (la plupart des piscines étaient alors découvertes et non chauffées) sur l’ensemble du territoire national. L’objectif principal est que tous les enfants aient accès à un bassin pour apprendre à nager, et qu’ainsi soit enfin mis en application l’apprentissage obligatoire de la natation à l’école (dans les programmes depuis la fin du 19e siècle). La priorité des piscines des années 1960-1970 est donc portée vers la jeunesse et l’éducation.

 

1. Les lois programmes : une nouvelle politique économique en faveur de l’équipement sportif

 

Lors de l’instauration du premier gouvernement de la Ve République, est créé un Haut-commissariat (puis Secrétariat d’Etat) à la Jeunesse et aux Sports (rattaché au ministère de l’Education Nationale), dirigé par Maurice Herzog. Ce dernier souhaite impulser de manière urgente une politique de construction afin de combler le sous-équipement en matière d’édifices à destination de la jeunesse : "Notre objectif, notre seul objectif est de mettre à la disposition de notre jeunesse, les moyens de s’exprimer plus complètement. Nous voulons que des millions de jeunes Français puissent aller au stade, à la piscine, se rencontrer dans les Maisons de Jeunes" (Equipements pour la jeunesse et les sports, 1962). Cette volonté se concrétise le 28 juillet 1961, avec la promulgation, dans le cadre du IVe plan, de la première loi de programme, qui instaure, sur une durée de quatre ans (1962-1965), un plan assurant un financement national durable et concret en faveur des équipements sportifs et socio-éducatifs. Ce plan prend la forme de subventions élevées (représentant généralement entre 20 et 50% du coût total) destinées à aider de nombreuses collectivités locales dans leur projet de constructions sportives. Ces aides se poursuivent et sont même revalorisées lors de la deuxième loi de programme d’équipements sportifs (1966-1970), votée le 2 juillet 1965. La troisième loi (1971-1975), votée le 13 juillet 1971, montre une détermination encore plus forte de l’Etat à augmenter massivement le nombre d’équipements à grande échelle, en particulier dans les nouvelles zones urbaines, et à former des éducateurs, ceci pour favoriser le sport de masse pour tous. Ces années marquent en revanche le début du désengagement financier de l’État, que l’on discerne par la baisse progressive des montants des subventions accordées. Ces subventions sont bien sûr soumises à certaines conditions. Et, pour assurer et contrôler la qualité technique et le respect des normes des piscines construites, les municipalités doivent en faire valider les avant-projets par l’Etat.

 

Certains dossiers de subventions conservés aux Archives nationales montrent que de nombreuses municipalités des Hauts-de-France bénéficient de cette aide dès les années 1960 (par exemple les piscines de Lomme, de Noyon, de Chantilly, de Lens, etc.).

       

Ces lois de programmes d’équipements ne se résument toutefois pas à ces aides financières : l’Etat développe également des mesures permettant d’inciter plus efficacement les collectivités à entreprendre la construction d’une piscine, en facilitant leurs démarches administratives et en réduisant les coûts de construction.

 

2. L’agrément de modèles de piscines : normaliser, encadrer et faciliter la construction

 

Suite à l’application de la première loi de programme, le Haut-Commissariat à la Jeunesse et aux Sports, constate que les prix de revient des équipements sportifs sont fréquemment trop élevés et que les architectes municipaux chargés de ces constructions ne sont la plupart du temps pas qualifiés pour ce type de constructions complexes et techniques. D’où la volonté de normaliser et de rationaliser les équipements sportifs, notamment les piscines, et de contrôler les projets proposés par de plus en plus d’entreprises, de constructeurs ou de bureaux d’études aux collectivités. Dans ce but est créée le 25 mai 1963 une commission spéciale dont la mission est d’agréer, sur le plan technique, des projets-types d’équipements susceptibles d’être réalisés dans toute la France. La commission est composée de treize sièges et se réunit plusieurs fois dans l’année pour donner son avis sur les projets d’architecture présentés à l’agrément. Pour ce faire, elle se base sur les qualités techniques du projet, sur les possibilités d’adaptation de l’architecture aux terrains divers, ainsi que sur les qualifications professionnelles des candidats à l’agrément. A partir de 1967, la commission se montre plus exigeante sur l’esthétique, l’harmonie, et l’originalité architecturale.@ la STAS SIOTAS LOIRE FOREZ SAINTETIENNE @ La Société de transport de l'agglomération stéphanoise (STAS, nom juridique : TPAS) est une entreprise de transport en commun, chargée de la desserte des 53 communes de Saint-Étienne Métropole. Filiale de Transdev, son siège social est situé à Saint-Priest-en-Jarez, avenue Pierre Mendès France. Le réseau stéphanois est connu pour avoir gardé son tramway électrique (la seule en France avec Lille et Marseille) depuis sa création. Il est aussi, avec Lyon et Limoges, l'un des rares réseaux français à avoir conservé des lignes de trolleybus. En 1980, le SIOTAS (Syndicat intercommunal pour l'organisation des transports de l'agglomération stéphanoise) est créé et est chargé d'organiser les transports en commun de l'agglomération stéphanoise sur son périmètre. Le 1er janvier 1981, les CFVE disparaissent au profit de la STAS qui exploite le réseau pour le compte du SIOTAS jusqu'en 1986 ou la STAS est remplacée par les TRAS (Transports urbains de l'agglomération stéphanoise) à la suite de la non-reconduction de la délégation de service public avec le groupe Transexel au profit de Transcet. Les TRAS décident de conserver le nom STAS qui devient le nom commercial du réseau. Depuis les années 2000, les TRAS sont devenus les TPAS à la suite du changement d'actionnaire de la société au profit de Veolia Transport, aujourd'hui fusionné avec Transdev, tandis que le SIOTAS à laissé place à Saint-Étienne Métropole.En 2006, le réseau TVG (Transports de la vallée du Gier) de Saint-Chamond est définitivement intégré au réseau STAS, ainsi que les lignes départementales se retrouvant entièrement dans le nouveau périmètre. Organisé et financé par Saint-Étienne Métropole, la communauté d'agglomération a la responsabilité des transports en commun pour les 43 communes. Le réseau est structuré autour des 3 lignes de tramways, d'une ligne de trolleybus (ligne M3), de 67 lignes de bus qui parcourent l'agglomération de 4 h 5 à minuit dont 7 lignes Métropoles, bus à haut niveau de service, numérotées de 1 à 7 et repérables par la lettre M, 5 lignes de soirées circulant entre 20h et 23h (S1, S3, S6, S7, S9) et de 2 lignes Noctambus (N1 et N2) circulant de 0 h à 5 h en fin de semaine et circulant seulement du centre-ville vers la périphérie.Auparavant le réseau d'autobus s'organisait en deux zones; Grand Saint-Étienne et Grand Gier. Le 31 août 2017, le réseau STAS connaît une importante restructuration. Le réseau de tramway de Saint-Étienne se compose de trois lignes desservant Saint-Étienne et Saint-Priest-en-Jarez avec un réseau organisé principalement sur un axe nord-sud et possédant quasi uniquement des troncs communs. À elles trois, les lignes assurent près de 50 % du trafic. Véritable épine dorsale du réseau, le tram stéphanois arpente la grand rue sur près de 8 km.Le réseau de trolleybus stéphanois compta jusqu'à sept lignes (1, 3, 5, 6, 7, 8 et 10), il fut progressivement démantelé au fil des années et il ne reste depuis 2010 qu'une seule ligne, partiellement exploitée en autobus, la ligne M3. Début 2019, Saint-Etienne Métropole (SEM) investit 18M€ dans son réseau de trolleybus avec l'achat de 22 nouveaux véhicules de la marque Solaris, qui seront mis en service entre 2019 et 2021 sur la ligne M7 (5 en 2019, 5 autres en 2020) puis sur la ligne M3 (12 derniers n'arriveront pas avant 2021).Le réseau d'autobus stéphanois se compose de 69 lignes desservant l'ensemble des 45 communes de Saint-Étienne Métropole .Après 20h, le réseau STAS passe au mode soirée, les lignes de tramways restent les mêmes mais les lignes de bus les plus fréquentées comme les lignes Métropoles, deviennent les lignes de soirée S1, S3, S6, S7 et S9. La ligne S1 remplace la ligne M1 tout le long de la vallée de l'Ondaine, la ligne S3 remplace la ligne M3 secteurs Terrenoire, centre-ville, Tardy et Cotonne et remplace les lignes M4 et 11 dans le secteur Montplaisir, la ligne S6 remplace la ligne M6 dans les secteurs centre-ville, Fauriel, Rond-Point et remplace les lignes M2 et M4 dans les secteurs Marandinière et Métare. La ligne S7 remplace la ligne M7 entre Michon et le centre-ville et enfin la ligne S9 remplace la ligne 9 entre le centre-ville et Montreynaud où elle reprend l'itinéraire de la ligne 8. Ces lignes de soirée circulent généralement à raison de 2 bus par heure mais peuvent être moins fréquentes comme la ligne S9.Entre minuit et 5h du matin, les jeudis, vendredis et samedis soirs, le réseau STAS et la ville de Saint-Étienne mettent en place des lignes de nuit, les lignes N1 et N2, du centre-ville vers la périphérie.La société gère aussi un musée des transports urbains de Saint-Étienne et sa région qui retrace l'évolution du matériel roulant de la CFVE et de la STAS

Elle gère aussi la location de vélos avec un premier emplacement sur le parvis de la gare de Châteaucreux et depuis le 26 juin 2010, les vélocations Vélivert : 400 vélos en location longue durée et 300 vélos en location libre service répartis sur 30 stations (hors stations événementielles) : 28 à Saint-Étienne (pour 200 vélos), une à Saint-Priest-en-Jarez et une à Villars.Il existe quatre espaces transports dans l'agglomération stéphanoise : Place Dorian - St-Étienne ;

Parvis de la gare de Châteaucreux - St-Étienne ; Place du Moulin - St-Chamond ;

Station de tramway (ligne T1) Parc Champirol - St-Priest-en-Jarez. Les quatre lignes de TER gérées par la région Rhône-Alpes peuvent être empruntées par les voyageurs munis d'un abonnement T-Libr.

Les lignes sont :

(le Puy en Velay) Firminy - Saint-Étienne Bellevue - Saint-Étienne Châteaucreux - Rive-de-Gier - (Lyon)

(Firminy) - Saint-Étienne Châteaucreux - Rive de Gier (Lyon)

(Roanne) Saint-Étienne La Terrasse - Saint-Étienne Châteaucreux

(Montbrison) Saint-Étienne La Terrasse - Saint-Étienne Châteaucreux www.leprogres.fr/…/saint-etienne-le-nouveau-reseau-s… [archive]

www.nouveaureseau-stas.fr/…/zoom-sur-les-lignes-met… [archive]

CERTU, Transports collectifs urbains évolution 2007-2012, 2014, p.382

CEREMA, Transports collectifs urbains de province - Evolution 2010-2015, 2016, p.389

« www.saint-etienne-metropole.fr/…/Rapport2016CCSPL_Tr… »(Archive • Wikiwix • Archive.is • Google • Que faire ?)

[PDF] « Rapport d'activité 2017 » [archive], STAS, page 8 (consulté le 3 mars 2019).

« Rapport d'activité 2015 » [archive], sur reseau-stas.fr

www.reseau-stas.fr/…/guide-des-titres-stas-janvier-… [archive]

www.reseau-stas.fr/…/docum…/guidestas-ter2017web.pdf [archive]

www.reseau-stas.fr/…/guide-solidaire-janvier-2017we… [archive]

« Plans du réseau : Pôles de correspondance » [archive], sur www.reseau-stas.fr [archive] (consulté le 16 décembre 2017) Tramway de Saint-Étienne

Trolleybus de Saint-Étienne

Autobus de Saint-Étienne

Saint-Étienne Métropole

Syndicat mixte des transports pour l'aire métropolitaine lyonnaise

Transdev

Transports interurbains de la Loire

American Speedfest 8 Returned to Brands Hatch for another Fantastic American themed weekend Featuring the likes of Euro Nascar Legends and even Angelo American Formula 5000's Racing this weekender event was shaping up to be a good one.

 

The First Day was mostly focused on Qualifying with many of the Races taking Place on the Sunday. Each of the Teams was both busy in the outer Paddock and the Pitlane getting their cars ready for a shakedown session in which they would have to Qualify to see who could be the Fastest and take Pole Position for each of the Races come Sunday.

 

Angelo American Formula 5000

 

The Formula 5000's made a Thunderous return to the Brands Hatch circuit, Built during a time where many Formula 1 cars from the likes of Lotus Williams and McLaren we using Ground Effect and pushing up the speeds of their cars.

 

Formula 5000's took speeds to a whole new level by using V8 Engines to power their cars which were found to be even faster than those Formula 1 cars of that era on the straights of different race tracks. Chevron B37's and McRae GM1'S were amongst the field and Qualifying looked to be very close indeed.

 

In First Place taking Pole Position and The Fastest Lap was (Neil Glover) in his Chevron B37 with a Lap Time of 47.039 with an average speed of 92.44mph. An Insanely Fast Lap Time for Brands Hatches Indy Circuit.

 

In Second Place was (Mark Campfield) in his Chevron B24 with A Lap Time Of 47.694 and an Average Speed of 91.17mph still Impressively quick for Chevron Power.

 

In Third Place was (Greg Thornton) in his Chevron B24 with A Lap Time Of 47.775 with an Average Speed of 91.02mph showing the power of the Chevron Engine through every turn.

 

A Tightly Packed Grid for Sundays Race and it looks like its a Chevron Front Row lockout but who's car will have the power to Triumph over the others? only time will tell.

 

Bernie's Sports And V8's

 

Bernie's V8's were up next and showcased a lot of Impressive V8 Powered Machinery on the grid. Talbot Sunbeams, Austin Healey's and even MGB GT V8 powered Machinery hitting the Track during Qualifying. Lets see what V8 Power can do and which Drivers managed to tame the Beasts and make it into the top three.

 

In First Place Taking Pole Position and the Fastest Lap was the Duo of (Elis Mar/Elis Mat) in their Talbot Sunbeam Lotus with a Lap Time of 54.533 and an Average speed of 79.74mph. Fast and Furious Driving on display once again.

 

In Second Place was (James Plant) in his Austin Healey 106 with a Lap Time of 54.964 and an Average Speed of 79.11mph. Very Quick and Consistent Laps seen from James behind the wheel too.

 

In Third Place was the Duo of (Can/Wilson) in their Aston Martin V8 Vantage with a lap time of 55.397 and an Average speed of 78.49mph. Showing just how much power and Grunt that Aston has.

 

Another Fantastic set of V8 Powered Machines on Display showing the true power of the American Built V8'S and how they changed the game in terms of Racing and Road Going Cars. Who will win the Race on Sunday. Will have to wait and see.

 

Legends Cars Championship

 

Referred to as the Little Pocket Rockets these small Looking Cars may not loo like they have anything Special to offer but just wait until you see what these little Wolves in Sheep's clothing can do once out on the Track.

 

Using Motorbike Engines of 1200cc they Really do show on Track just how lightweight and fast they are and Slip Streaming is commonly a way of being able to Achieve a Faster Lap time by using the Driver in fronts Slip Stream to aid in the Aerodynamics of the Car and Reduce Drag. Lets see what Happened during Qualifying Heat 2

 

In First Place Taking Pole and Setting The Fastest Lap was (Chris Dewey) in his Legend with a Lap Time Of 56.700 with an Average Speed of 76.69mph. Crazy Fast for Something so small and yet very Agile in Control.

 

In Second Place was (Stephen Whitelegg) in his Legend 34 Ford Coupe with a Lap Time of 56.740 and an Average Speed of 76.64mph. First And Second look to be very close together Thanks to the aids in Slip Streaming down the Brabham Straight to gain positions or Fastest Laps.

 

In Third Place was (Miles Rudman) in his Legend 34 Coupe with a Lap Time Of 56.878. Very Close between the Top three and it just goes to show how Important Slip Streaming is to Gain an Advantage in this Qualifying Session.

 

Exciting Stuff Ahead of The

Legends Races on Sunday where One of the Drivers will Win the Race and Take the Victory, Who Will it be? Only Time Will Tell.

 

Nascar Whelen Euro Series-Pro

 

The Main Highlight Event of the Day and the Nascar's with their Thunderous Powered V8 Engines Roared onto the Indy Circuit and with Two Formation Laps Completed to Warm Up the Tyres every car was released to Start Qualifying. Lets See How the Grid Will Shape Up.

 

In First Place to Take Pole and The Fastest Lap was (Alon Day) in his Chevrolet Camaro Caal Racing with a Lap Time of 48.903 and an Average Speed of 88.92mph. I wonder if Marty McFly and Dock Brown were part of their Race Team to Achieve that Impressive Lap Time? Non the Less Amazing Work by Alon Day.

 

In Second Place was (Loris Hezemans) in his Ford Mustang Hedrik's Motorsport) with a Lap Time of 49.000 and an Average Speed of 88.74mph. Another Fast and Consistent Lap From Loris showing the Balance Between Driver and Car.

 

In Third Place was (Nicolo Rocca) in his Chevrolet Camaro DF1 Racing) with A Lap Time of 49.292 and an Average Speed of 88.22mph. All Three Drivers seem to be very close in terms of Lap Times and this will make for some Exciting Racing Come Race Day.

 

Close and Competitive Racing in Nascar-Pro but who will have the Power to Push even Harder and take Home The Victory come Race Day. We will have to wait and See.

 

EuroNascar-2

 

Euro Nascar-2 is A a series of Slightly Lower Tuned Nascar's that Features as a Way of Getting Drivers ready to head to the Big Time Nascar Racing that takes Place at Daytona and Indianapolis.

 

Drivers must First Prove themselves worthy by Starting out from the Bottom and Only The Best Drivers in the World can make it into Nascar's Top Level Racing Teams.

 

Lets See how the Grid Lines up and see who managed to Qualify the Fastest and take Pole Position.

 

In First Place and Taking Pole Position and The Fastest Lap was (Advait DeoDHar) in his Ford Mustang Caal Racing with A Lap Time Of 49.918 and An Average Speed of 87.11mph. A Really Well Controlled Lap and a very Focused Mind to Achieve such a Drive.

 

In Second Place was (Tobias Dauenhauer) in his Ford Mustang Hendriks Motorsport with a Lap Time Of 50.110 and an Average Speed Of 86.78mph. Really Well Done and a very Quick Driver and Car underneath Him.

 

In Third Place was (Justin Kunz ) in his Chevrolet Camaro DF1 Racing with A Lap Time Of 50.161. Very Fast and Consistent with the Top Three all Very Close and Ready to take on the Race and see who can Battle and Fight for a Victory.

 

An Exciting Qualifying Session for both Nascar-Pro and Euro Nascar-2 with Each set of Driver Showing the Speed Power and Machinery of the Great American State. Looking Forward To Seeing what Happens During The Race.

 

Pickup Trucks Championship

 

The Pickup Trucks Returned to Brands Hatch for Another High Speed Weekend of Flat Out Racing around the Indy Circuit. With Light Weight Chassis and Powerful Engines it was shaping up to be a very Large and Competitive Grid for Pickup Trucks.

 

In First Place Taking Pole Position and the Fastest Lap was (Reece Jones) in his Pick Up Truck 2000 with a Lap Time of 52.634 with an Average Speed of 82.61mph.

 

In Second Place was (George Turiccki) in his Pickup Truck 2000 with A Lap Time of 52.706mph and an average speed of 82.50mph.

 

In Third Place was (Mark Willis) in his Pickup Truck 2000 with A Lap Time of 52.976 and an Average Speed of 82.08mph.

 

Three Very Quick and Capable Drivers all Fighting for the Victory In Tomorrow's Race but who will be up to the challenge of Taking 1st Place and Winning. Only One Way To Find Out.

 

Speedfest Silhouettes

 

Formally Known as the Silhouettes the Super Silhouettes Brought with them some fast and impressive Space Frame Machinery to the track.

 

With Aero Packages and Light Weight Monacock Chassis these Monsters were going to be something Amazing to watch Race.

 

But First Lets See how Qualifying Shapes up.

 

In First Place Taking Pole and The Fastest Lap was (Ray Harris in his Ginetta G40r with a Lap Time of 50.564 and an Average speed of 86.00mph. Either Crazy or Insane I would Describe that Incredible Lap of Brands. Amazing Work.

 

In Second Place was (Malcom Blackman) in his Vauxhall Tigra with A Lap Time of 50.805 and an Average Speed of 85.59mph Another Crazy Quick and on the Edge Lap.

 

In Third Place was (Lewis Smith) in his Mercedes SLK with a Lap Time of 51.313 and an Average Speed of 84.74mph. Three Very Fast and Capable Drivers in this Qualifying Session.

 

Incredible Speed and Fast Reflex Driving From Each Driver out there. It will be Exciting to see who can bring home a Victory and push their Machinery past its Limits and into New Territory. Another Race I'm Looking Forward to Seeing.

 

A Brilliant End to the Days Qualifying and seeing all that Machinery out there was Fantastic. Congratulations to all of the Qualifiers who made the Top Three in Every Support Race. Looking Ford To Tomorrow and a Very Fierce Set Of Battles Thought the Day.

Another shot with my Tamron on Vacation. Not bad, but at 100% the come off a little soft. Saving up for my Canon 70-200mm 2.8 IS. AR AR AR ARGGGOOOL.

Sunday 12 July 2015: Ishinca Base Camp (4385m) - Rest day

 

Cordillera Blanca Traverse day 8.

 

Everyone was happy with a rest day. After a late breakfast, Val, Barney, Bertho and I headed back up the Quebrada Ishinca to lovely Laguna Milluacocha with its cairns and Nevado Tocllaraju (6032m) backdrop.

 

Lots of birds, including an Andean Flicker, plus a viscacha on the way back.

 

Afternoon scrabble and coffee in Refugio Ishinca. Lots of people eating in.

 

Read more on about our Cordillera Blanca Traverse with Val Pitkethly on Sparkly Trainers.

 

DSC00125

The No Limits Bike Racing Championship made its formal Return to the World Famous Brands Hatch Grand Prix Circuit for a Very Special 8 Hour Endurance Race.

 

Each and Every Team Had a selection of High Powered Racing Machinery that would along with the Rider take on the Might of Brands Hatches' Grand Prix Circuit for a Gruelling 8 Hours Straight.

 

While Some Teams had as many as Four Riders to make the job a Little Bit Easier other Teams Had decided to go with just Two Riders for 4 Hours Each knowing they Had the Skills and Determination to Keep Racing Hard.

 

The Championship was in is Last Race of the Season here at Brands and Whoever Won this Final Event would take the No Limits Bike Racing Championship Crown.

 

Qualifying was up First and setting the Pace at the Top of the Timings was (Andelle Leathers / RatMally Graphic) on their Kawasaki 998/Kawasaki 1000 Racing Bikes with an Incredible Time of 1.31.846 and a Top Speed of 95.37 to take Pole at The Start of the Race.

 

In Second Place was (Delkevic Racing) Kawasaki 1000/BMW 1000/Kawasaki 1000 Yamaha 1000 Racing Bikes with a Lap Time of 1.31.784 and a Top Speed of 95.34mph.

 

In Third Place was (Earnshaw's Motorcycles) BMW 1000/BMW 1000 Racing Bikes with A Lap Time of 1.32.099 and an Top Speed of 95.11mph.

 

With Qualifying Over and a 11:46am Start Fast Approaching all of the Riders to head out for the First 2 Hours. Just like Old School Le Mans the Riders all Lined Up on the Opposite Side of the Pitlane with their Respective Teams Holding onto the Bikes Ready for them to Blast off into the Distance around the Circuit.

 

A Loud Bang from the Calcian Signalled the Start of an 8 Hour Endurance Race and each Rider Ran Towards their Bikes Fired them Up and Set off onto the Race Track.

 

During the First Hour All Riders Made it through the First Opening Laps without any Problems and already many of them were getting up to Speed while some other Riders Preferred to nurse their Machinery for the First Hour to Avoid anything Breaking or Failing on thease High Powered Machines.

 

As Hour two Approached Everyone was still going strong and The Riders were Each Getting into a Really Good Rhythm of the Grand Prix circuit while other Teams had opted to Head to the pits to swap Riders and Give themselves more of a chance to take Victory with a selection of different Talents and Bikes available.

 

The Start of Hour Three saw a lot of Different Battles Going on thought the field and on the Back Straight there was some Close Wheel to Wheel Action Between Every Rider traveling at Speeds close to Nearly 100mph. Some Riders were Pushing so Hard that Even their Front Wheels Rose into the Air Making for some Epic and Thrilling Moments. An Overtake by Rider Number 97 on 36 was the Highlight so Far.

 

Hour Four and Still Each Rider was not Giving Up on the Chance of Victory with Half of the Endurance Race Completed by Now it was Time for Another Rider Change and with Many Teams Heading for the Pits Once Again Each New Rider Ventured Out onto the Brands Hatch GP Circuit it Beautiful Sunlit Conditions Although thease Must Have Been Playing Havoc with the Visibility for the Riders. Non the Less After Just One Retirement Earlier Due to an Engine Fire and a Marshall that should Have Really Been More Prepared. the Remaining Riders Soldered on.

 

The Fifth Hour was now Upon them and after a Very Hectic and Fast set of Laps Earlier Many Riders were setting down into their Positions to make sure the Bike they were on would Survive to the End. Druids was a Place to witness some Incredible Overtakes During this Time with the Light Levels Lowering and The Riders Really Looking like they were Pushing Hard and Encouraging their Machines to solder onto Victory.

 

Hour Six and with the Light Levels Now Falling even Lower it looked like this Endurance Race would be Ending in Nearly Dark Conditions as the Rider Kept on Going. The Few Retirement's Earlier on during Hour 2 and 3 were now just a Memory in the Surviving Riders Minds who all had One Goal in Mind. Get This Bike to the End of The Race.

 

Hour Seven and by now the Light was Nearly all But Gone with the Last Rays of Sunshine Disappearing Entirely from the Tops of Druids and yet Despite this now disadvantage i terms of Having a lot less light The Riders Still Continued to Push Hard and Fight their was To Victory in the Closing Stages as the Race Reached its Climax.

 

The Final Hour was Finally here and Every Rider who Had Been Concentrating Hard all Day was Now in a Position to Push Hard for that Final Hour of Glory that would mean the Difference Between either a Race Victory or a Race Loss. As The Minuets Slowly Ticked Down and The Last Light of Day Had been Long Extinguished from the Circuit. it was the Team of (Delkevic Racing's Liam Marchant / Gary Johnson / James Edwards and Luke Scott who took a Resounding Victory after 232 Laps and a Gruelling 8 Hour's of Racing 2 For Each of The Riders. Congratulations Delkevic Racing an Incredible Achievement.

 

In Second Place was The Team of (Earnshaw's Motorcycles Jonathan Lodge and James Lodge) after 232 Laps and 4 Hour's Between Them a Super Effort and Very Well Deserved Second Place Battle Through some Very Tough Competitors.

 

In Third Place was (Josh Daley Racing/RC Express by Dafabet Josh Daley and Rob Hodson) after a Very Hard and Gruelling 231 Laps in the Seat of Their Racing Bikes. Amazing Work Josh Daley Racing Incredible Ride and a Very Well Deserved Third Place.

 

An Exceptional Day of Endurance Racing from the No Limits Bike Racing Championship with Delkevic Racing's Liam Marchant / Gary Johnson / James Edwards and Luke Scott Taking The Final Victory of the Season with Datasys Racing Mark Daines / Jeremy Watson / Johnny Panter and Joe Higham taking The Championship for 2021.

 

A Big Congratulations to all of the Riders who took Part in this Event in my Opinion you Made everyone who Races in the Bennet's British Super Bike Championship look like Amateurs. You Guys are the Real Deal and am Really Looking forward to Watching this Epic Race all over Again Next Year. Until Then Keep Racing and Never Give Up Hope of One Day Standing on the Top Step of the Podium.

      

American Speedfest 8 Returned to Brands Hatch for another Fantastic American themed weekend Featuring the likes of Euro Nascar Legends and even Angelo American Formula 5000's Racing this weekender event was shaping up to be a good one.

 

The First Day was mostly focused on Qualifying with many of the Races taking Place on the Sunday. Each of the Teams was both busy in the outer Paddock and the Pitlane getting their cars ready for a shakedown session in which they would have to Qualify to see who could be the Fastest and take Pole Position for each of the Races come Sunday.

 

Angelo American Formula 5000

 

The Formula 5000's made a Thunderous return to the Brands Hatch circuit, Built during a time where many Formula 1 cars from the likes of Lotus Williams and McLaren we using Ground Effect and pushing up the speeds of their cars.

 

Formula 5000's took speeds to a whole new level by using V8 Engines to power their cars which were found to be even faster than those Formula 1 cars of that era on the straights of different race tracks. Chevron B37's and McRae GM1'S were amongst the field and Qualifying looked to be very close indeed.

 

In First Place taking Pole Position and The Fastest Lap was (Neil Glover) in his Chevron B37 with a Lap Time of 47.039 with an average speed of 92.44mph. An Insanely Fast Lap Time for Brands Hatches Indy Circuit.

 

In Second Place was (Mark Campfield) in his Chevron B24 with A Lap Time Of 47.694 and an Average Speed of 91.17mph still Impressively quick for Chevron Power.

 

In Third Place was (Greg Thornton) in his Chevron B24 with A Lap Time Of 47.775 with an Average Speed of 91.02mph showing the power of the Chevron Engine through every turn.

 

A Tightly Packed Grid for Sundays Race and it looks like its a Chevron Front Row lockout but who's car will have the power to Triumph over the others? only time will tell.

 

Bernie's Sports And V8's

 

Bernie's V8's were up next and showcased a lot of Impressive V8 Powered Machinery on the grid. Talbot Sunbeams, Austin Healey's and even MGB GT V8 powered Machinery hitting the Track during Qualifying. Lets see what V8 Power can do and which Drivers managed to tame the Beasts and make it into the top three.

 

In First Place Taking Pole Position and the Fastest Lap was the Duo of (Elis Mar/Elis Mat) in their Talbot Sunbeam Lotus with a Lap Time of 54.533 and an Average speed of 79.74mph. Fast and Furious Driving on display once again.

 

In Second Place was (James Plant) in his Austin Healey 106 with a Lap Time of 54.964 and an Average Speed of 79.11mph. Very Quick and Consistent Laps seen from James behind the wheel too.

 

In Third Place was the Duo of (Can/Wilson) in their Aston Martin V8 Vantage with a lap time of 55.397 and an Average speed of 78.49mph. Showing just how much power and Grunt that Aston has.

 

Another Fantastic set of V8 Powered Machines on Display showing the true power of the American Built V8'S and how they changed the game in terms of Racing and Road Going Cars. Who will win the Race on Sunday. Will have to wait and see.

 

Legends Cars Championship

 

Referred to as the Little Pocket Rockets these small Looking Cars may not loo like they have anything Special to offer but just wait until you see what these little Wolves in Sheep's clothing can do once out on the Track.

 

Using Motorbike Engines of 1200cc they Really do show on Track just how lightweight and fast they are and Slip Streaming is commonly a way of being able to Achieve a Faster Lap time by using the Driver in fronts Slip Stream to aid in the Aerodynamics of the Car and Reduce Drag. Lets see what Happened during Qualifying Heat 2

 

In First Place Taking Pole and Setting The Fastest Lap was (Chris Dewey) in his Legend with a Lap Time Of 56.700 with an Average Speed of 76.69mph. Crazy Fast for Something so small and yet very Agile in Control.

 

In Second Place was (Stephen Whitelegg) in his Legend 34 Ford Coupe with a Lap Time of 56.740 and an Average Speed of 76.64mph. First And Second look to be very close together Thanks to the aids in Slip Streaming down the Brabham Straight to gain positions or Fastest Laps.

 

In Third Place was (Miles Rudman) in his Legend 34 Coupe with a Lap Time Of 56.878. Very Close between the Top three and it just goes to show how Important Slip Streaming is to Gain an Advantage in this Qualifying Session.

 

Exciting Stuff Ahead of The

Legends Races on Sunday where One of the Drivers will Win the Race and Take the Victory, Who Will it be? Only Time Will Tell.

 

Nascar Whelen Euro Series-Pro

 

The Main Highlight Event of the Day and the Nascar's with their Thunderous Powered V8 Engines Roared onto the Indy Circuit and with Two Formation Laps Completed to Warm Up the Tyres every car was released to Start Qualifying. Lets See How the Grid Will Shape Up.

 

In First Place to Take Pole and The Fastest Lap was (Alon Day) in his Chevrolet Camaro Caal Racing with a Lap Time of 48.903 and an Average Speed of 88.92mph. I wonder if Marty McFly and Dock Brown were part of their Race Team to Achieve that Impressive Lap Time? Non the Less Amazing Work by Alon Day.

 

In Second Place was (Loris Hezemans) in his Ford Mustang Hedrik's Motorsport) with a Lap Time of 49.000 and an Average Speed of 88.74mph. Another Fast and Consistent Lap From Loris showing the Balance Between Driver and Car.

 

In Third Place was (Nicolo Rocca) in his Chevrolet Camaro DF1 Racing) with A Lap Time of 49.292 and an Average Speed of 88.22mph. All Three Drivers seem to be very close in terms of Lap Times and this will make for some Exciting Racing Come Race Day.

 

Close and Competitive Racing in Nascar-Pro but who will have the Power to Push even Harder and take Home The Victory come Race Day. We will have to wait and See.

 

EuroNascar-2

 

Euro Nascar-2 is A a series of Slightly Lower Tuned Nascar's that Features as a Way of Getting Drivers ready to head to the Big Time Nascar Racing that takes Place at Daytona and Indianapolis.

 

Drivers must First Prove themselves worthy by Starting out from the Bottom and Only The Best Drivers in the World can make it into Nascar's Top Level Racing Teams.

 

Lets See how the Grid Lines up and see who managed to Qualify the Fastest and take Pole Position.

 

In First Place and Taking Pole Position and The Fastest Lap was (Advait DeoDHar) in his Ford Mustang Caal Racing with A Lap Time Of 49.918 and An Average Speed of 87.11mph. A Really Well Controlled Lap and a very Focused Mind to Achieve such a Drive.

 

In Second Place was (Tobias Dauenhauer) in his Ford Mustang Hendriks Motorsport with a Lap Time Of 50.110 and an Average Speed Of 86.78mph. Really Well Done and a very Quick Driver and Car underneath Him.

 

In Third Place was (Justin Kunz ) in his Chevrolet Camaro DF1 Racing with A Lap Time Of 50.161. Very Fast and Consistent with the Top Three all Very Close and Ready to take on the Race and see who can Battle and Fight for a Victory.

 

An Exciting Qualifying Session for both Nascar-Pro and Euro Nascar-2 with Each set of Driver Showing the Speed Power and Machinery of the Great American State. Looking Forward To Seeing what Happens During The Race.

 

Pickup Trucks Championship

 

The Pickup Trucks Returned to Brands Hatch for Another High Speed Weekend of Flat Out Racing around the Indy Circuit. With Light Weight Chassis and Powerful Engines it was shaping up to be a very Large and Competitive Grid for Pickup Trucks.

 

In First Place Taking Pole Position and the Fastest Lap was (Reece Jones) in his Pick Up Truck 2000 with a Lap Time of 52.634 with an Average Speed of 82.61mph.

 

In Second Place was (George Turiccki) in his Pickup Truck 2000 with A Lap Time of 52.706mph and an average speed of 82.50mph.

 

In Third Place was (Mark Willis) in his Pickup Truck 2000 with A Lap Time of 52.976 and an Average Speed of 82.08mph.

 

Three Very Quick and Capable Drivers all Fighting for the Victory In Tomorrow's Race but who will be up to the challenge of Taking 1st Place and Winning. Only One Way To Find Out.

 

Speedfest Silhouettes

 

Formally Known as the Silhouettes the Super Silhouettes Brought with them some fast and impressive Space Frame Machinery to the track.

 

With Aero Packages and Light Weight Monacock Chassis these Monsters were going to be something Amazing to watch Race.

 

But First Lets See how Qualifying Shapes up.

 

In First Place Taking Pole and The Fastest Lap was (Ray Harris in his Ginetta G40r with a Lap Time of 50.564 and an Average speed of 86.00mph. Either Crazy or Insane I would Describe that Incredible Lap of Brands. Amazing Work.

 

In Second Place was (Malcom Blackman) in his Vauxhall Tigra with A Lap Time of 50.805 and an Average Speed of 85.59mph Another Crazy Quick and on the Edge Lap.

 

In Third Place was (Lewis Smith) in his Mercedes SLK with a Lap Time of 51.313 and an Average Speed of 84.74mph. Three Very Fast and Capable Drivers in this Qualifying Session.

 

Incredible Speed and Fast Reflex Driving From Each Driver out there. It will be Exciting to see who can bring home a Victory and push their Machinery past its Limits and into New Territory. Another Race I'm Looking Forward to Seeing.

 

A Brilliant End to the Days Qualifying and seeing all that Machinery out there was Fantastic. Congratulations to all of the Qualifiers who made the Top Three in Every Support Race. Looking Ford To Tomorrow and a Very Fierce Set Of Battles Thought the Day.

Grounding: States of Gender

Gita Hashemi

Curated by Soheila Esfahani

Exhibition: January 9 – 29, 2026

Thursday, January 8 from 4–6PM

artLAB Gallery, JLVAC

 

Reproducing an Iranian woman’s auto-ethnography in a visually-striking immersive installation, Grounding was created over an 8-day livestreamed durational performance in February 2017. Heralding the global #Me-Too movement and the #WomanLifeFreedom uprising in Iran, in this installation Gita Hashemi puts gender-based violence and disparity – in fact, the very construction of gender itself – in sharp focus and places the audience fully immersed in it.

 

Grounding combines life writing with live writing – what Hashemi calls “embodied writing,” using Persian calligraphy only to break its traditional limits. Rather than transcribing sacred text or classical poetry (formal writing by men and about men) on intimate-sized gilded manuscript paper to be owned, here Hashemi writes and records in public – on her hands and knees and marking her own reactions in red ink thus making the labour and our witnessing of it inseparable from the artwork – on massive scrolls and in colloquial language, a woman’s highly intimate stories, what remains absented from formal discourse. The artist’s original statement reads:

 

“The narrative has been emerging through conversations between us about how being women has affected our lives . . . Writing the self in a public space is an act of liberation when it reveals what we are trained, co-opted, forced, or acculturated to hide. In talking and then writing about intimately personal and sometimes traumatic experiences, Zahra and I have had to overcome many inhibitions. We entered each other’s lives as witness. Therefore, the process has been not only revealing but healing.”

 

Grounding addresses the politics of gender in contemporary Iran and beyond:

 

“This piece started with the dream of a space where writing could fully intertwine with embodied gestures and performative expression to explore the potentials of written word in creating visual-emotional landscapes. While I was dreaming, voices and images from the outside world infiltrated in my dreamscape: There is the man who is now president saying “grab [women] by the pussy” and the over-exposed image of an imported made-up doll standing beside him. There is the campus rapist walking free, and the radio host acquitted of sexual assault. There were Pussy Riot in Russia, masses of women in rallies against rape in India, and Women’s March on Washington. There, is the Islamic State, and here, in the “West,” and around the globe is the state of poverty that increasing numbers of women are pushed into, courtesy of neo-liberalism and politics of austerity.”

 

Grounding was selected as the monographic exhibition of the year in 2017 by the Ontario Association of Art Galleries. The jury cited the work for “representations of freedom and gender that transgress geographical, political, and cultural boundaries.” It was originally created at Carlton University Art Gallery as part of Open Space Lab, curated by Anna Khimasia.

 

This installation at the artLAB includes the original scrolls written in 2017. The video combines the footage shot on days 1 and 2 of the livestreamed performance (the first 6 scrolls), played here at 2-20x normal speed.

 

Exhibition text by Mina Rastgu.

 

Read the review: “Grounding: States of Gender”: Persian calligraphy documents memoir of womanhood in Iran. Written by Incé Husain. Antler River Media Co-op

 

With generous support from: Department of Visual Arts, Faculty of Arts & Humanities, Centre for Research on Migration and Ethnic Relations, Department of Languages and Cultures, Department of Gender, Sexuality & Women's Studies.

 

artLAB Gallery

JL Visual Arts Centre

Western University

London, Ontario, Canada

 

© 2026; Department of Visual Arts; Western University

Mignot, Louis (1831–1870)

 

The Old Bog Hole

Oil on pressed board

9 7/8 x 14 inches

1856

 

Though Southern by birth, Louis Rémy Mignot’s legacy rests in his aesthetic and personal alliances with the Hudson River School. Best remembered for breathtaking landscapes of upstate New York and tropical vistas of South America, Mignot studied and worked with the luminaries of his day, including Frederic Edwin Church, Andreas Schelfhout, Eastman Johnson, Thomas Rossiter, and James McNeill Whistler. Born in Charleston, South Carolina, Mignot was the son of a successful French Catholic immigrant merchant. Much of his youth was spent in the care of a wealthy doting grandfather, presumably the father of Mignot’s deceased mother. Upon the death of his father, who had disapproved of the young man’s artistic inclinations, Mignot traveled to the Netherlands in 1848 to study at the Academy of Fine Arts at The Hague under Andreas Schelfhout, one of the leading Dutch landscape artists of the time. Largely a studio artist, Schelfhout relied heavily on plein air sketches of hillsides that he later perfected into his famous winter scenes, a technique Mignot adopted during his South American travels.

 

After nearly six years in Holland, Mignot returned to the United States in 1855, settling in New York, where he deliberately aligned himself with the Hudson River School. While his early reputation was built on snowy landscapes, Mignot quickly gained respect for his depiction of traditional Hudson River School subject matter. His ability to capture the dramatic topography of the Catskills earned the regard of Church, with whom Mignot shared a studio address. In 1857, Church invited Mignot to accompany him on his second expedition to South America. During their four-month trip, Church focused on the Andes, which frequent many of his masterpieces, while Mignot felt a stronger draw to the low-horizon river scenes of Ecuador, perhaps due to the terrain’s resemblance to his boyhood home in the South Carolina Lowcountry. Their sketchbooks replete with drawings, Church and Mignot returned to New York to create finished studio works. As a result, many of Mignot’s hazy, atmospheric paintings from this period do not necessarily depict specific locations, but rather are composites of a variety of views.

 

Even as his star ascended—including election to the National Academy of Design in 1858, membership in prestigious professional organizations such as the Century Association, and representation in important group exhibitions—Mignot’s Southern affinities in the midst of growing regional tensions prompted him to resume his travels abroad in 1862. He and his wife established a home in London, where Mignot eventually exhibited at the Royal Academy and the British Institution. Critical acclaim followed, praising Mignot’s talent as “a mind fired by a wide range of sympathies, and whether it was the superb splendor of the tropical scenery of the Rio Bamba, in South America, the sublime maddening rush of iris-circled water at Niagara, or the fairy-like grace, the exquisite and ethereal loveliness, of new-fallen snow, he was equally happy in rendering the varied aspects of nature.” Though some paintings of this time reflect European artistic and literary influences, he continued to draw on tropical and Hudson River subject matter for his canvases, work that was still popular in American exhibitions and galleries.

 

Always influenced by his most recent mentors and colleagues, Mignot, whose personal and artistic sensibilities have been described as “chameleon like,” was increasingly drawn to Paris in the late 1860s. Dividing his time between that city and London, he was represented in the 1867 Paris Exposition Universelle and at the Paris Salon in 1870. His last trip to Paris was cut short by the outbreak of the Franco-Prussian War. In a desperate attempt to flee the city ahead of incoming German troops, Mignot contracted smallpox and died, at the age of 39, shortly after returning to England.

 

Though only one extant work testifies to Mignot’s activity in the South—a scene of Mount Vernon—the South Carolinian’s paintings can be found in several Southern institutions including the North Carolina Museum of Art, Ogden Museum of Southern Art, and Greenville County Museum of Art, as well as important national collections such as the Detroit Institute of Arts, Fine Arts Museums of San Francisco, Metropolitan Museum of Art, and National Academy of Design.

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All the Small Things

TJC Gallery, Spartanburg SC

February 19, 2025 – April 4, 2025

 

thejohnsoncollection.org/all-the-small-things/

 

Size matters in art. The scale of a work when seen in person can be an essential ingredient in its visual impact. And the received canon of fine art in the West has a clear bias for BIG things—from the monumental statuary of antiquity to the massive canvases in the contemporary art scene. Indeed, for the past four hundred years, artists have been highly incentivized to “go big,” as larger works commanded more prestige. Within the hierarchy of art genres inherited from the seventeenth century and the standardized measurements that evolved in the art industries of the nineteenth century, the largest canvases and commissions have traditionally been reserved for imposing landscapes and full-length portraits. Against this grain, the present exhibition celebrates the wondrous world of small art—in this case, paintings of no more than twenty inches.

 

Why might an artist work on a small scale? For some the motivation may be economic. Larger paintings mean more material costs, from more paint to bigger frames and heftier shipping prices. Thus, the size of an artwork potentially reveals unequal financial challenges faced by, for instance, women artists, self-taught artists, or artists of color. At the same time, the cheaper costs of smaller works make them well-suited for preliminary studies (as with Aaron Douglas’s The Toiler) or for trial efforts with new styles and techniques (such as Theodoros Stamos’s experiments with abstraction in Flow). Smaller art is more portable, making it ideal for artists working in the plein-air tradition or those working rapidly for tourist markets. Finally, although petite paintings have historically been relegated to subjects considered mundane or insignificant, these small works can instead confer an intimacy and humanity for the artist and viewer alike.

 

_______________________________________

See also: www.flickr.com/photos/ugardener/albums/72177720322921517/

 

THE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer.'

 

__________________________________________

 

"If you’re looking for a vibe, this is where you’ll find it. Spartanburg is one of South Carolina’s most established, respected, progressive, and diverse art communities with everything from the fine arts—ballet, symphonies, and opera—to the cutting edge—street performers, graffiti, and dance mobs.

 

Experience the Cultural District

Downtown Spartanburg has even been designated as a cultural district by the South Carolina Arts Commission. Within the cultural district, you can walk to and enjoy world-class art galleries, studios, music venues, breweries, culinary arts, local literature publishers, coffee shops, libraries, museums, and more. Regardless of when you visit, you’re likely to encounter live music in the streets, featuring jazz, rock ‘n’ roll, or beach music.

 

Come experience how we put the art in SpARTanburg."

 

www.visitspartanburg.com/things-to-do/arts/

The No Limits Bike Racing Championship made its formal Return to the World Famous Brands Hatch Grand Prix Circuit for a Very Special 8 Hour Endurance Race.

 

Each and Every Team Had a selection of High Powered Racing Machinery that would along with the Rider take on the Might of Brands Hatches' Grand Prix Circuit for a Gruelling 8 Hours Straight.

 

While Some Teams had as many as Four Riders to make the job a Little Bit Easier other Teams Had decided to go with just Two Riders for 4 Hours Each knowing they Had the Skills and Determination to Keep Racing Hard.

 

The Championship was in is Last Race of the Season here at Brands and Whoever Won this Final Event would take the No Limits Bike Racing Championship Crown.

 

Qualifying was up First and setting the Pace at the Top of the Timings was (Andelle Leathers / RatMally Graphic) on their Kawasaki 998/Kawasaki 1000 Racing Bikes with an Incredible Time of 1.31.846 and a Top Speed of 95.37 to take Pole at The Start of the Race.

 

In Second Place was (Delkevic Racing) Kawasaki 1000/BMW 1000/Kawasaki 1000 Yamaha 1000 Racing Bikes with a Lap Time of 1.31.784 and a Top Speed of 95.34mph.

 

In Third Place was (Earnshaw's Motorcycles) BMW 1000/BMW 1000 Racing Bikes with A Lap Time of 1.32.099 and an Top Speed of 95.11mph.

 

With Qualifying Over and a 11:46am Start Fast Approaching all of the Riders to head out for the First 2 Hours. Just like Old School Le Mans the Riders all Lined Up on the Opposite Side of the Pitlane with their Respective Teams Holding onto the Bikes Ready for them to Blast off into the Distance around the Circuit.

 

A Loud Bang from the Calcian Signalled the Start of an 8 Hour Endurance Race and each Rider Ran Towards their Bikes Fired them Up and Set off onto the Race Track.

 

During the First Hour All Riders Made it through the First Opening Laps without any Problems and already many of them were getting up to Speed while some other Riders Preferred to nurse their Machinery for the First Hour to Avoid anything Breaking or Failing on thease High Powered Machines.

 

As Hour two Approached Everyone was still going strong and The Riders were Each Getting into a Really Good Rhythm of the Grand Prix circuit while other Teams had opted to Head to the pits to swap Riders and Give themselves more of a chance to take Victory with a selection of different Talents and Bikes available.

 

The Start of Hour Three saw a lot of Different Battles Going on thought the field and on the Back Straight there was some Close Wheel to Wheel Action Between Every Rider traveling at Speeds close to Nearly 100mph. Some Riders were Pushing so Hard that Even their Front Wheels Rose into the Air Making for some Epic and Thrilling Moments. An Overtake by Rider Number 97 on 36 was the Highlight so Far.

 

Hour Four and Still Each Rider was not Giving Up on the Chance of Victory with Half of the Endurance Race Completed by Now it was Time for Another Rider Change and with Many Teams Heading for the Pits Once Again Each New Rider Ventured Out onto the Brands Hatch GP Circuit it Beautiful Sunlit Conditions Although thease Must Have Been Playing Havoc with the Visibility for the Riders. Non the Less After Just One Retirement Earlier Due to an Engine Fire and a Marshall that should Have Really Been More Prepared. the Remaining Riders Soldered on.

 

The Fifth Hour was now Upon them and after a Very Hectic and Fast set of Laps Earlier Many Riders were setting down into their Positions to make sure the Bike they were on would Survive to the End. Druids was a Place to witness some Incredible Overtakes During this Time with the Light Levels Lowering and The Riders Really Looking like they were Pushing Hard and Encouraging their Machines to solder onto Victory.

 

Hour Six and with the Light Levels Now Falling even Lower it looked like this Endurance Race would be Ending in Nearly Dark Conditions as the Rider Kept on Going. The Few Retirement's Earlier on during Hour 2 and 3 were now just a Memory in the Surviving Riders Minds who all had One Goal in Mind. Get This Bike to the End of The Race.

 

Hour Seven and by now the Light was Nearly all But Gone with the Last Rays of Sunshine Disappearing Entirely from the Tops of Druids and yet Despite this now disadvantage i terms of Having a lot less light The Riders Still Continued to Push Hard and Fight their was To Victory in the Closing Stages as the Race Reached its Climax.

 

The Final Hour was Finally here and Every Rider who Had Been Concentrating Hard all Day was Now in a Position to Push Hard for that Final Hour of Glory that would mean the Difference Between either a Race Victory or a Race Loss. As The Minuets Slowly Ticked Down and The Last Light of Day Had been Long Extinguished from the Circuit. it was the Team of (Delkevic Racing's Liam Marchant / Gary Johnson / James Edwards and Luke Scott who took a Resounding Victory after 232 Laps and a Gruelling 8 Hour's of Racing 2 For Each of The Riders. Congratulations Delkevic Racing an Incredible Achievement.

 

In Second Place was The Team of (Earnshaw's Motorcycles Jonathan Lodge and James Lodge) after 232 Laps and 4 Hour's Between Them a Super Effort and Very Well Deserved Second Place Battle Through some Very Tough Competitors.

 

In Third Place was (Josh Daley Racing/RC Express by Dafabet Josh Daley and Rob Hodson) after a Very Hard and Gruelling 231 Laps in the Seat of Their Racing Bikes. Amazing Work Josh Daley Racing Incredible Ride and a Very Well Deserved Third Place.

 

An Exceptional Day of Endurance Racing from the No Limits Bike Racing Championship with Delkevic Racing's Liam Marchant / Gary Johnson / James Edwards and Luke Scott Taking The Final Victory of the Season with Datasys Racing Mark Daines / Jeremy Watson / Johnny Panter and Joe Higham taking The Championship for 2021.

 

A Big Congratulations to all of the Riders who took Part in this Event in my Opinion you Made everyone who Races in the Bennet's British Super Bike Championship look like Amateurs. You Guys are the Real Deal and am Really Looking forward to Watching this Epic Race all over Again Next Year. Until Then Keep Racing and Never Give Up Hope of One Day Standing on the Top Step of the Podium.

      

American Speedfest 8 Returned to Brands Hatch for another Fantastic American themed weekend Featuring the likes of Euro Nascar Legends and even Angelo American Formula 5000's Racing this weekender event was shaping up to be a good one.

 

The First Day was mostly focused on Qualifying with many of the Races taking Place on the Sunday. Each of the Teams was both busy in the outer Paddock and the Pitlane getting their cars ready for a shakedown session in which they would have to Qualify to see who could be the Fastest and take Pole Position for each of the Races come Sunday.

 

Angelo American Formula 5000

 

The Formula 5000's made a Thunderous return to the Brands Hatch circuit, Built during a time where many Formula 1 cars from the likes of Lotus Williams and McLaren we using Ground Effect and pushing up the speeds of their cars.

 

Formula 5000's took speeds to a whole new level by using V8 Engines to power their cars which were found to be even faster than those Formula 1 cars of that era on the straights of different race tracks. Chevron B37's and McRae GM1'S were amongst the field and Qualifying looked to be very close indeed.

 

In First Place taking Pole Position and The Fastest Lap was (Neil Glover) in his Chevron B37 with a Lap Time of 47.039 with an average speed of 92.44mph. An Insanely Fast Lap Time for Brands Hatches Indy Circuit.

 

In Second Place was (Mark Campfield) in his Chevron B24 with A Lap Time Of 47.694 and an Average Speed of 91.17mph still Impressively quick for Chevron Power.

 

In Third Place was (Greg Thornton) in his Chevron B24 with A Lap Time Of 47.775 with an Average Speed of 91.02mph showing the power of the Chevron Engine through every turn.

 

A Tightly Packed Grid for Sundays Race and it looks like its a Chevron Front Row lockout but who's car will have the power to Triumph over the others? only time will tell.

 

Bernie's Sports And V8's

 

Bernie's V8's were up next and showcased a lot of Impressive V8 Powered Machinery on the grid. Talbot Sunbeams, Austin Healey's and even MGB GT V8 powered Machinery hitting the Track during Qualifying. Lets see what V8 Power can do and which Drivers managed to tame the Beasts and make it into the top three.

 

In First Place Taking Pole Position and the Fastest Lap was the Duo of (Elis Mar/Elis Mat) in their Talbot Sunbeam Lotus with a Lap Time of 54.533 and an Average speed of 79.74mph. Fast and Furious Driving on display once again.

 

In Second Place was (James Plant) in his Austin Healey 106 with a Lap Time of 54.964 and an Average Speed of 79.11mph. Very Quick and Consistent Laps seen from James behind the wheel too.

 

In Third Place was the Duo of (Can/Wilson) in their Aston Martin V8 Vantage with a lap time of 55.397 and an Average speed of 78.49mph. Showing just how much power and Grunt that Aston has.

 

Another Fantastic set of V8 Powered Machines on Display showing the true power of the American Built V8'S and how they changed the game in terms of Racing and Road Going Cars. Who will win the Race on Sunday. Will have to wait and see.

 

Legends Cars Championship

 

Referred to as the Little Pocket Rockets these small Looking Cars may not loo like they have anything Special to offer but just wait until you see what these little Wolves in Sheep's clothing can do once out on the Track.

 

Using Motorbike Engines of 1200cc they Really do show on Track just how lightweight and fast they are and Slip Streaming is commonly a way of being able to Achieve a Faster Lap time by using the Driver in fronts Slip Stream to aid in the Aerodynamics of the Car and Reduce Drag. Lets see what Happened during Qualifying Heat 2

 

In First Place Taking Pole and Setting The Fastest Lap was (Chris Dewey) in his Legend with a Lap Time Of 56.700 with an Average Speed of 76.69mph. Crazy Fast for Something so small and yet very Agile in Control.

 

In Second Place was (Stephen Whitelegg) in his Legend 34 Ford Coupe with a Lap Time of 56.740 and an Average Speed of 76.64mph. First And Second look to be very close together Thanks to the aids in Slip Streaming down the Brabham Straight to gain positions or Fastest Laps.

 

In Third Place was (Miles Rudman) in his Legend 34 Coupe with a Lap Time Of 56.878. Very Close between the Top three and it just goes to show how Important Slip Streaming is to Gain an Advantage in this Qualifying Session.

 

Exciting Stuff Ahead of The

Legends Races on Sunday where One of the Drivers will Win the Race and Take the Victory, Who Will it be? Only Time Will Tell.

 

Nascar Whelen Euro Series-Pro

 

The Main Highlight Event of the Day and the Nascar's with their Thunderous Powered V8 Engines Roared onto the Indy Circuit and with Two Formation Laps Completed to Warm Up the Tyres every car was released to Start Qualifying. Lets See How the Grid Will Shape Up.

 

In First Place to Take Pole and The Fastest Lap was (Alon Day) in his Chevrolet Camaro Caal Racing with a Lap Time of 48.903 and an Average Speed of 88.92mph. I wonder if Marty McFly and Dock Brown were part of their Race Team to Achieve that Impressive Lap Time? Non the Less Amazing Work by Alon Day.

 

In Second Place was (Loris Hezemans) in his Ford Mustang Hedrik's Motorsport) with a Lap Time of 49.000 and an Average Speed of 88.74mph. Another Fast and Consistent Lap From Loris showing the Balance Between Driver and Car.

 

In Third Place was (Nicolo Rocca) in his Chevrolet Camaro DF1 Racing) with A Lap Time of 49.292 and an Average Speed of 88.22mph. All Three Drivers seem to be very close in terms of Lap Times and this will make for some Exciting Racing Come Race Day.

 

Close and Competitive Racing in Nascar-Pro but who will have the Power to Push even Harder and take Home The Victory come Race Day. We will have to wait and See.

 

EuroNascar-2

 

Euro Nascar-2 is A a series of Slightly Lower Tuned Nascar's that Features as a Way of Getting Drivers ready to head to the Big Time Nascar Racing that takes Place at Daytona and Indianapolis.

 

Drivers must First Prove themselves worthy by Starting out from the Bottom and Only The Best Drivers in the World can make it into Nascar's Top Level Racing Teams.

 

Lets See how the Grid Lines up and see who managed to Qualify the Fastest and take Pole Position.

 

In First Place and Taking Pole Position and The Fastest Lap was (Advait DeoDHar) in his Ford Mustang Caal Racing with A Lap Time Of 49.918 and An Average Speed of 87.11mph. A Really Well Controlled Lap and a very Focused Mind to Achieve such a Drive.

 

In Second Place was (Tobias Dauenhauer) in his Ford Mustang Hendriks Motorsport with a Lap Time Of 50.110 and an Average Speed Of 86.78mph. Really Well Done and a very Quick Driver and Car underneath Him.

 

In Third Place was (Justin Kunz ) in his Chevrolet Camaro DF1 Racing with A Lap Time Of 50.161. Very Fast and Consistent with the Top Three all Very Close and Ready to take on the Race and see who can Battle and Fight for a Victory.

 

An Exciting Qualifying Session for both Nascar-Pro and Euro Nascar-2 with Each set of Driver Showing the Speed Power and Machinery of the Great American State. Looking Forward To Seeing what Happens During The Race.

 

Pickup Trucks Championship

 

The Pickup Trucks Returned to Brands Hatch for Another High Speed Weekend of Flat Out Racing around the Indy Circuit. With Light Weight Chassis and Powerful Engines it was shaping up to be a very Large and Competitive Grid for Pickup Trucks.

 

In First Place Taking Pole Position and the Fastest Lap was (Reece Jones) in his Pick Up Truck 2000 with a Lap Time of 52.634 with an Average Speed of 82.61mph.

 

In Second Place was (George Turiccki) in his Pickup Truck 2000 with A Lap Time of 52.706mph and an average speed of 82.50mph.

 

In Third Place was (Mark Willis) in his Pickup Truck 2000 with A Lap Time of 52.976 and an Average Speed of 82.08mph.

 

Three Very Quick and Capable Drivers all Fighting for the Victory In Tomorrow's Race but who will be up to the challenge of Taking 1st Place and Winning. Only One Way To Find Out.

 

Speedfest Silhouettes

 

Formally Known as the Silhouettes the Super Silhouettes Brought with them some fast and impressive Space Frame Machinery to the track.

 

With Aero Packages and Light Weight Monacock Chassis these Monsters were going to be something Amazing to watch Race.

 

But First Lets See how Qualifying Shapes up.

 

In First Place Taking Pole and The Fastest Lap was (Ray Harris in his Ginetta G40r with a Lap Time of 50.564 and an Average speed of 86.00mph. Either Crazy or Insane I would Describe that Incredible Lap of Brands. Amazing Work.

 

In Second Place was (Malcom Blackman) in his Vauxhall Tigra with A Lap Time of 50.805 and an Average Speed of 85.59mph Another Crazy Quick and on the Edge Lap.

 

In Third Place was (Lewis Smith) in his Mercedes SLK with a Lap Time of 51.313 and an Average Speed of 84.74mph. Three Very Fast and Capable Drivers in this Qualifying Session.

 

Incredible Speed and Fast Reflex Driving From Each Driver out there. It will be Exciting to see who can bring home a Victory and push their Machinery past its Limits and into New Territory. Another Race I'm Looking Forward to Seeing.

 

A Brilliant End to the Days Qualifying and seeing all that Machinery out there was Fantastic. Congratulations to all of the Qualifiers who made the Top Three in Every Support Race. Looking Ford To Tomorrow and a Very Fierce Set Of Battles Thought the Day.

American Speedfest 8 Returned to Brands Hatch for another Fantastic American themed weekend Featuring the likes of Euro Nascar Legends and even Angelo American Formula 5000's Racing this weekender event was shaping up to be a good one.

 

The First Day was mostly focused on Qualifying with many of the Races taking Place on the Sunday. Each of the Teams was both busy in the outer Paddock and the Pitlane getting their cars ready for a shakedown session in which they would have to Qualify to see who could be the Fastest and take Pole Position for each of the Races come Sunday.

 

Angelo American Formula 5000

 

The Formula 5000's made a Thunderous return to the Brands Hatch circuit, Built during a time where many Formula 1 cars from the likes of Lotus Williams and McLaren we using Ground Effect and pushing up the speeds of their cars.

 

Formula 5000's took speeds to a whole new level by using V8 Engines to power their cars which were found to be even faster than those Formula 1 cars of that era on the straights of different race tracks. Chevron B37's and McRae GM1'S were amongst the field and Qualifying looked to be very close indeed.

 

In First Place taking Pole Position and The Fastest Lap was (Neil Glover) in his Chevron B37 with a Lap Time of 47.039 with an average speed of 92.44mph. An Insanely Fast Lap Time for Brands Hatches Indy Circuit.

 

In Second Place was (Mark Campfield) in his Chevron B24 with A Lap Time Of 47.694 and an Average Speed of 91.17mph still Impressively quick for Chevron Power.

 

In Third Place was (Greg Thornton) in his Chevron B24 with A Lap Time Of 47.775 with an Average Speed of 91.02mph showing the power of the Chevron Engine through every turn.

 

A Tightly Packed Grid for Sundays Race and it looks like its a Chevron Front Row lockout but who's car will have the power to Triumph over the others? only time will tell.

 

Bernie's Sports And V8's

 

Bernie's V8's were up next and showcased a lot of Impressive V8 Powered Machinery on the grid. Talbot Sunbeams, Austin Healey's and even MGB GT V8 powered Machinery hitting the Track during Qualifying. Lets see what V8 Power can do and which Drivers managed to tame the Beasts and make it into the top three.

 

In First Place Taking Pole Position and the Fastest Lap was the Duo of (Elis Mar/Elis Mat) in their Talbot Sunbeam Lotus with a Lap Time of 54.533 and an Average speed of 79.74mph. Fast and Furious Driving on display once again.

 

In Second Place was (James Plant) in his Austin Healey 106 with a Lap Time of 54.964 and an Average Speed of 79.11mph. Very Quick and Consistent Laps seen from James behind the wheel too.

 

In Third Place was the Duo of (Can/Wilson) in their Aston Martin V8 Vantage with a lap time of 55.397 and an Average speed of 78.49mph. Showing just how much power and Grunt that Aston has.

 

Another Fantastic set of V8 Powered Machines on Display showing the true power of the American Built V8'S and how they changed the game in terms of Racing and Road Going Cars. Who will win the Race on Sunday. Will have to wait and see.

 

Legends Cars Championship

 

Referred to as the Little Pocket Rockets these small Looking Cars may not loo like they have anything Special to offer but just wait until you see what these little Wolves in Sheep's clothing can do once out on the Track.

 

Using Motorbike Engines of 1200cc they Really do show on Track just how lightweight and fast they are and Slip Streaming is commonly a way of being able to Achieve a Faster Lap time by using the Driver in fronts Slip Stream to aid in the Aerodynamics of the Car and Reduce Drag. Lets see what Happened during Qualifying Heat 2

 

In First Place Taking Pole and Setting The Fastest Lap was (Chris Dewey) in his Legend with a Lap Time Of 56.700 with an Average Speed of 76.69mph. Crazy Fast for Something so small and yet very Agile in Control.

 

In Second Place was (Stephen Whitelegg) in his Legend 34 Ford Coupe with a Lap Time of 56.740 and an Average Speed of 76.64mph. First And Second look to be very close together Thanks to the aids in Slip Streaming down the Brabham Straight to gain positions or Fastest Laps.

 

In Third Place was (Miles Rudman) in his Legend 34 Coupe with a Lap Time Of 56.878. Very Close between the Top three and it just goes to show how Important Slip Streaming is to Gain an Advantage in this Qualifying Session.

 

Exciting Stuff Ahead of The

Legends Races on Sunday where One of the Drivers will Win the Race and Take the Victory, Who Will it be? Only Time Will Tell.

 

Nascar Whelen Euro Series-Pro

 

The Main Highlight Event of the Day and the Nascar's with their Thunderous Powered V8 Engines Roared onto the Indy Circuit and with Two Formation Laps Completed to Warm Up the Tyres every car was released to Start Qualifying. Lets See How the Grid Will Shape Up.

 

In First Place to Take Pole and The Fastest Lap was (Alon Day) in his Chevrolet Camaro Caal Racing with a Lap Time of 48.903 and an Average Speed of 88.92mph. I wonder if Marty McFly and Dock Brown were part of their Race Team to Achieve that Impressive Lap Time? Non the Less Amazing Work by Alon Day.

 

In Second Place was (Loris Hezemans) in his Ford Mustang Hedrik's Motorsport) with a Lap Time of 49.000 and an Average Speed of 88.74mph. Another Fast and Consistent Lap From Loris showing the Balance Between Driver and Car.

 

In Third Place was (Nicolo Rocca) in his Chevrolet Camaro DF1 Racing) with A Lap Time of 49.292 and an Average Speed of 88.22mph. All Three Drivers seem to be very close in terms of Lap Times and this will make for some Exciting Racing Come Race Day.

 

Close and Competitive Racing in Nascar-Pro but who will have the Power to Push even Harder and take Home The Victory come Race Day. We will have to wait and See.

 

EuroNascar-2

 

Euro Nascar-2 is A a series of Slightly Lower Tuned Nascar's that Features as a Way of Getting Drivers ready to head to the Big Time Nascar Racing that takes Place at Daytona and Indianapolis.

 

Drivers must First Prove themselves worthy by Starting out from the Bottom and Only The Best Drivers in the World can make it into Nascar's Top Level Racing Teams.

 

Lets See how the Grid Lines up and see who managed to Qualify the Fastest and take Pole Position.

 

In First Place and Taking Pole Position and The Fastest Lap was (Advait DeoDHar) in his Ford Mustang Caal Racing with A Lap Time Of 49.918 and An Average Speed of 87.11mph. A Really Well Controlled Lap and a very Focused Mind to Achieve such a Drive.

 

In Second Place was (Tobias Dauenhauer) in his Ford Mustang Hendriks Motorsport with a Lap Time Of 50.110 and an Average Speed Of 86.78mph. Really Well Done and a very Quick Driver and Car underneath Him.

 

In Third Place was (Justin Kunz ) in his Chevrolet Camaro DF1 Racing with A Lap Time Of 50.161. Very Fast and Consistent with the Top Three all Very Close and Ready to take on the Race and see who can Battle and Fight for a Victory.

 

An Exciting Qualifying Session for both Nascar-Pro and Euro Nascar-2 with Each set of Driver Showing the Speed Power and Machinery of the Great American State. Looking Forward To Seeing what Happens During The Race.

 

Pickup Trucks Championship

 

The Pickup Trucks Returned to Brands Hatch for Another High Speed Weekend of Flat Out Racing around the Indy Circuit. With Light Weight Chassis and Powerful Engines it was shaping up to be a very Large and Competitive Grid for Pickup Trucks.

 

In First Place Taking Pole Position and the Fastest Lap was (Reece Jones) in his Pick Up Truck 2000 with a Lap Time of 52.634 with an Average Speed of 82.61mph.

 

In Second Place was (George Turiccki) in his Pickup Truck 2000 with A Lap Time of 52.706mph and an average speed of 82.50mph.

 

In Third Place was (Mark Willis) in his Pickup Truck 2000 with A Lap Time of 52.976 and an Average Speed of 82.08mph.

 

Three Very Quick and Capable Drivers all Fighting for the Victory In Tomorrow's Race but who will be up to the challenge of Taking 1st Place and Winning. Only One Way To Find Out.

 

Speedfest Silhouettes

 

Formally Known as the Silhouettes the Super Silhouettes Brought with them some fast and impressive Space Frame Machinery to the track.

 

With Aero Packages and Light Weight Monacock Chassis these Monsters were going to be something Amazing to watch Race.

 

But First Lets See how Qualifying Shapes up.

 

In First Place Taking Pole and The Fastest Lap was (Ray Harris in his Ginetta G40r with a Lap Time of 50.564 and an Average speed of 86.00mph. Either Crazy or Insane I would Describe that Incredible Lap of Brands. Amazing Work.

 

In Second Place was (Malcom Blackman) in his Vauxhall Tigra with A Lap Time of 50.805 and an Average Speed of 85.59mph Another Crazy Quick and on the Edge Lap.

 

In Third Place was (Lewis Smith) in his Mercedes SLK with a Lap Time of 51.313 and an Average Speed of 84.74mph. Three Very Fast and Capable Drivers in this Qualifying Session.

 

Incredible Speed and Fast Reflex Driving From Each Driver out there. It will be Exciting to see who can bring home a Victory and push their Machinery past its Limits and into New Territory. Another Race I'm Looking Forward to Seeing.

 

A Brilliant End to the Days Qualifying and seeing all that Machinery out there was Fantastic. Congratulations to all of the Qualifiers who made the Top Three in Every Support Race. Looking Ford To Tomorrow and a Very Fierce Set Of Battles Thought the Day.

Howard Finster, T - Born Valley Head, AL 1916-

died Rome, GA 2001

 

HE LORD WILL DELIVER HIS PEOPLE ACROSS JORDAN, 1976, enamel on fiberboard, 30 1⁄8 x 29 5⁄8 in.

 

n 1976, after some four decades of preaching, Howard Finster responded to a vision in which God directed him to "paint sacred art." Finster believed that pictures would help people grasp the enormity of the Word of God. His painted sermons on life, death, salvation, and damnation eventually covered almost every inch of Paradise Garden, his four-acre art environment in Summerville, Georgia.

 

His concerns about a world of suffering and destruction drove Finster to create the artworks he called "signposts to salvation." In this triptych, he depicts trials encountered in the Bible's Book of Revelations, conveying his belief that no matter what problems loomed, God would protect and deliver the faithful.

 

Because Finster realized that his congregation did not remember his sermons even minutes after he had finished, he published religious songs and poetry in local newspapers in the 1930s and hosted a radio prayer show in the late 1930s and early 1940s. He claims God charged him to illustrate his religious visions in 1976 when "A warm feeling came over me to paint sacred art."

 

Finster began building his everchanging environmental sculpture, Paradise Garden, on swampy land behind his house in the early 1960s. Composed of walkways and constructions made from cast-off pieces of technology, the Garden assembles individual monuments to human inventors into an all-encompassing "Memorial to God." Much of the building material in the garden was accumulated from Finster's television and bicycle repair businesses and his twenty-one other trades.

____________________________________

 

"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.

 

During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.

 

What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.

 

It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.

 

Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.

 

It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.

 

But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.

 

There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.

 

This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.

 

From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.

 

This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.

 

Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.

 

That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.

 

Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.

 

Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.

 

In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.

 

By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."

 

www.artnews.com/art-news/reviews/smithsonian-american-art...

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Wallows performs on the American Express stage on the second day of Austin City Limits festival, Oct. 8, 2022.

Grounding: States of Gender

Gita Hashemi

Curated by Soheila Esfahani

Exhibition: January 9 – 29, 2026

Thursday, January 8 from 4–6PM

artLAB Gallery, JLVAC

 

Reproducing an Iranian woman’s auto-ethnography in a visually-striking immersive installation, Grounding was created over an 8-day livestreamed durational performance in February 2017. Heralding the global #Me-Too movement and the #WomanLifeFreedom uprising in Iran, in this installation Gita Hashemi puts gender-based violence and disparity – in fact, the very construction of gender itself – in sharp focus and places the audience fully immersed in it.

 

Grounding combines life writing with live writing – what Hashemi calls “embodied writing,” using Persian calligraphy only to break its traditional limits. Rather than transcribing sacred text or classical poetry (formal writing by men and about men) on intimate-sized gilded manuscript paper to be owned, here Hashemi writes and records in public – on her hands and knees and marking her own reactions in red ink thus making the labour and our witnessing of it inseparable from the artwork – on massive scrolls and in colloquial language, a woman’s highly intimate stories, what remains absented from formal discourse. The artist’s original statement reads:

 

“The narrative has been emerging through conversations between us about how being women has affected our lives . . . Writing the self in a public space is an act of liberation when it reveals what we are trained, co-opted, forced, or acculturated to hide. In talking and then writing about intimately personal and sometimes traumatic experiences, Zahra and I have had to overcome many inhibitions. We entered each other’s lives as witness. Therefore, the process has been not only revealing but healing.”

 

Grounding addresses the politics of gender in contemporary Iran and beyond:

 

“This piece started with the dream of a space where writing could fully intertwine with embodied gestures and performative expression to explore the potentials of written word in creating visual-emotional landscapes. While I was dreaming, voices and images from the outside world infiltrated in my dreamscape: There is the man who is now president saying “grab [women] by the pussy” and the over-exposed image of an imported made-up doll standing beside him. There is the campus rapist walking free, and the radio host acquitted of sexual assault. There were Pussy Riot in Russia, masses of women in rallies against rape in India, and Women’s March on Washington. There, is the Islamic State, and here, in the “West,” and around the globe is the state of poverty that increasing numbers of women are pushed into, courtesy of neo-liberalism and politics of austerity.”

 

Grounding was selected as the monographic exhibition of the year in 2017 by the Ontario Association of Art Galleries. The jury cited the work for “representations of freedom and gender that transgress geographical, political, and cultural boundaries.” It was originally created at Carlton University Art Gallery as part of Open Space Lab, curated by Anna Khimasia.

 

This installation at the artLAB includes the original scrolls written in 2017. The video combines the footage shot on days 1 and 2 of the livestreamed performance (the first 6 scrolls), played here at 2-20x normal speed.

 

Exhibition text by Mina Rastgu.

 

Read the review: “Grounding: States of Gender”: Persian calligraphy documents memoir of womanhood in Iran. Written by Incé Husain. Antler River Media Co-op

 

With generous support from: Department of Visual Arts, Faculty of Arts & Humanities, Centre for Research on Migration and Ethnic Relations, Department of Languages and Cultures, Department of Gender, Sexuality & Women's Studies.

 

artLAB Gallery

JL Visual Arts Centre

Western University

London, Ontario, Canada

 

© 2026; Department of Visual Arts; Western University

Douglas, Aaron (1899–1979)

 

The Toiler

Oil or tempera on board

8 3/4 x 6 5/8 inches

Circa 1935

 

thejohnsoncollection.org/aaron-douglas-the-toiler/

 

Originally from Topeka, Kansas, Aaron Douglas earned his Bachelor of Fine Arts degree from the University of Nebraska and briefly worked as a high school art teacher. Feeling that he had a higher calling, Douglas moved to New York City in 1925 and became a part of the exciting cultural movement inspired by the teachings of Alain Locke, an African American philosopher and social activist. The New Negro Movement emphasized self-respect and pride among African Americans, and the enormous creative outpouring that resulted became known as the Harlem Renaissance.

 

When Douglas arrived in Harlem, he was painting in an academic style based on European traditions. His contemporaries encouraged him to look to traditional African art and motifs as he developed his aesthetic voice. Through his study with the German modernist Winold Reiss, Douglas developed his penchant for strong lines and clean edges. Douglas's mature style combined simple African imagery with geometric patterning and angular silhouettes. The starkness of the figures combined with the complex compositional design contributed to the emotional impact of his work. During the 1920s, Douglas also illustrated many Afro-centric books and magazines and painted murals for Harlem businesses. His best-known mural series, Aspects of Negro Life (1934), a large four-paneled pictorial history, was painted for the Countee Cullen Branch of the New York Public Library in Harlem (now known as the Schomburg Center for Research in Black Culture). He also executed murals for Fisk University and the Harlem YMCA. Throughout his career, Douglas strove to capture the complexity and grand scope of the African American experience.

 

In 1931, Douglas received a grant to study in Paris. While there, he took classes at the Académie Scandinave and began to work in a more naturalistic style, including portraits and landscapes. A 1937 Julius Rosenwald Foundation fellowship funded brief residencies at three historically Black schools: Tuskegee Institute, Dillard University, and Fisk University. This experience served to strengthen his dedication to promoting social change for his fellow African Americans, and he actively sought to obtain WPA recognition for Black artists throughout the Depression. A second Rosenwald grant supported travel to Haiti and other Caribbean islands the following year. In 1944, Douglas received a master’s degree from the Teachers College at Columbia University.

 

Douglas later accepted a full-time professorship at Fisk and remained a member of the faculty until his retirement in 1966. His broad campus influence was especially evident in the inter-disciplinary activities of the university’s Van Vechten Gallery. Throughout his tenure, he clearly and consistently exhorted students to be global ambassadors of African American culture. Fisk, along with Spelman College in Atlanta and Hampton University in Virginia, was one of a handful of HBCUs that displayed the Harmon Foundation’s traveling African American art exhibitions between 1928 and 1933. When the foundation dispersed its assets in 1967, the art inventory was divided between four institutions: the National Portrait Gallery, the Smithsonian American Art Museum, Hampton, and Fisk. Many credit Aaron Douglas with the gift to Fisk, which numbered approximately two hundred objects.

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All the Small Things

TJC Gallery, Spartanburg SC

February 19, 2025 – April 4, 2025

 

thejohnsoncollection.org/all-the-small-things/

 

Size matters in art. The scale of a work when seen in person can be an essential ingredient in its visual impact. And the received canon of fine art in the West has a clear bias for BIG things—from the monumental statuary of antiquity to the massive canvases in the contemporary art scene. Indeed, for the past four hundred years, artists have been highly incentivized to “go big,” as larger works commanded more prestige. Within the hierarchy of art genres inherited from the seventeenth century and the standardized measurements that evolved in the art industries of the nineteenth century, the largest canvases and commissions have traditionally been reserved for imposing landscapes and full-length portraits. Against this grain, the present exhibition celebrates the wondrous world of small art—in this case, paintings of no more than twenty inches.

 

Why might an artist work on a small scale? For some the motivation may be economic. Larger paintings mean more material costs, from more paint to bigger frames and heftier shipping prices. Thus, the size of an artwork potentially reveals unequal financial challenges faced by, for instance, women artists, self-taught artists, or artists of color. At the same time, the cheaper costs of smaller works make them well-suited for preliminary studies (as with Aaron Douglas’s The Toiler) or for trial efforts with new styles and techniques (such as Theodoros Stamos’s experiments with abstraction in Flow). Smaller art is more portable, making it ideal for artists working in the plein-air tradition or those working rapidly for tourist markets. Finally, although petite paintings have historically been relegated to subjects considered mundane or insignificant, these small works can instead confer an intimacy and humanity for the artist and viewer alike.

 

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See also: www.flickr.com/photos/ugardener/albums/72177720322921517/

 

THE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer.'

 

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"If you’re looking for a vibe, this is where you’ll find it. Spartanburg is one of South Carolina’s most established, respected, progressive, and diverse art communities with everything from the fine arts—ballet, symphonies, and opera—to the cutting edge—street performers, graffiti, and dance mobs.

 

Experience the Cultural District

Downtown Spartanburg has even been designated as a cultural district by the South Carolina Arts Commission. Within the cultural district, you can walk to and enjoy world-class art galleries, studios, music venues, breweries, culinary arts, local literature publishers, coffee shops, libraries, museums, and more. Regardless of when you visit, you’re likely to encounter live music in the streets, featuring jazz, rock ‘n’ roll, or beach music.

 

Come experience how we put the art in SpARTanburg."

 

www.visitspartanburg.com/things-to-do/arts/

twitter.com/Memoire2cite #Architecture #sociale #logement #social #Memoire2cite Les 30 Glorieuses . com et la carte postale.De grandes barres d’immeubles, appelées les grands ensembles, sont le symbole de nos banlieues. Entrée Libre revient sur le phénomène de destruction de ces bâtiments qui reflètent aujourd’hui la misere www.youtube.com/watch?v=mCqHBP5SBiM twitter.com/Memoire2cite/status/1121877386491043840/photo... Avril 1993, 6 ans après l'implosion de la tour DEBUSSY des 4000, 30% seulement des travaux de rénovation ont été réalisés et le chômage frappe toujours 1/3 des hbts. C'est un échec. A Mantes la Jolie, 6 mois après la destruction des 4 tours du Val Fourré, www.youtube.com/watch?v=ta4kj05KJOM … Banlieue 89, Bacalan à Bordeaux 1986 - Un exemple de rénovation urbaine et réhabilitation de l'habitat dans un des quartiers de Bordeaux La Cité Claveau à BACALAN. A l'initiative du mouvementla video içi www.youtube.com/watch?v=IN0JtGBaA1o … L'assoçiation de ROLLAND CASTRO @ Le Plan Banlieue 89 - mode d'emploi - Archive INA - La video içi. TRANSFORMER LES PAYSAGES URBAINS AVEC UNE APPROCHE CULTURELLE www.youtube.com/watch?v=Aw-_f-bT2TQ … SNCF les EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi.

 

www.youtube.com/watch?v=lDEQOsdGjsg … Içi la DATAR en 1000 clichés missionphotodatar.cget.gouv.fr/accueil - Notre Paris, 1961, Réalisation : André Fontaine, Henri Gruel Les archives filmées de la cinémathèque du ministère de 1945 à nos jours içi www.dailymotion.com/video/xgis6v?playlist=x34ije

 

31 TOULOUSE - le Mirail 1962 réalisation : Mario Marret construction de la ville nouvelle Toulouse le Mirail, commentée par l'architecte urbaniste Georges Candilis le film www.dailymotion.com/video/xn4t4q?playlist=x34ije Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.Les films du MRU - Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije …

 

archipostcard.blogspot.com/search?updated-max=2009-02-13T... -Créteil.un couple à la niaiserie béate exalte les multiples bonheurs de la vie dans les new G.E. www.youtube.com/watch?v=FT1_abIteFE … La Ville bidon était un téléfilm d'1 heure intitulé La Décharge.Mais la censure de ces temps de présidence Pompidou en a interdit la diffusion télévisuelle - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - Hansjörg Schneider BAUNETZWOCHE 87 über Papiermoderne www.baunetz.de/meldungen/Meldungen_BAUNETZWOCHE_87_ueber_... … - ARCHITECTURE le blog de Claude LOTHIER içi leblogdeclaudelothier.blogspot.com/2006/ - - Le balnéaire en cartes postales autour de la collection de David Liaudet, et ses excellents commentaires.. www.dailymotion.com/video/x57d3b8 -Restaurants Jacques BOREL, Autoroute A 6, 1972 Canton d'AUXERRE youtu.be/LRNhNzgkUcY munchies.vice.com/fr/article/43a4kp/jacques-borel-lhomme-... … Celui qu'on appellera le « Napoléon du prêt-à-manger » se détourne d'ailleurs peu à peu des Wimpy, s'engueule avec la maison mère et fait péricliter la franchise ...

 

museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive

 

le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

 

www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

 

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.

 

Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye

 

www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

 

Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …

 

Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -

 

Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.

 

www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije l'industrie du bâtiment.

 

la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty

 

la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije Cardem les 60 ans de l'entreprise de démolition française tres prisée des bailleurs pour les 80, 90's (1956 - 2019) toute l'Histoire de l'entreprise içi www.youtube.com/watch?v=Yyf1XGvTZYs - 69 LYON & la Cardem pour la démolition de la barre 230 Quartier la Duchère le 2 juillet 2015, youtu.be/BSwidwLw0NA pic.twitter.com/5XgR8LY7At -34 Béziers - C'était Capendeguy le 27 janv 2008 En quelques secondes, 450 kg d'explosifs ont soufflé la barre HLM de 492 lgts, de 480 m, qui laissera derrière elle 65.000 tonnes de gravas. www.youtube.com/watch?v=rydT54QYX50 … … Les usines Peugeot - Sochaux Montbéliard. 100 ans d'histoire en video www.youtube.com/watch?v=X4w3CxXVAyY … - 42 LOIRE SAINT-ETIENNE MONTREYNAUD LA ZUP Souvenirs avec Mascovich & son clip "la tour de Montreynaud" www.youtube.com/watch?v=p7Zmwn224XE …

 

- Villeneuve-la-Garenne, La Caravelle est à mettre au crédit de Jean Dubuisson, l’un des architectes les plus en vue des années 1960, www.dailymotion.com/video/x1re3h5 via @Dailymotion - AMIENS les HLM C'était le 29 juillet 2010, à 11h02. En quelques secondes, cette tour d'habitation s'est effondrée, détruite par implosion. Construite en 1961, la tour avait été vidée de ses habitants quelques années auparavant. www.youtube.com/watch?v=ajz2xk5KBNo … … - Les habitants de Montreynaud parlent de leur quartier et de cette destruction entre nostalgie et soulagement içi en video www.dailymotion.com/video/xmiwfk - Les bâtiments de la région parisienne - Vidéo Ina.fr www.ina.fr/video/CAF96034508/les-batiments-de-la-region-p... … via @Inafr_officiel - Daprinski - George Michael (Plaisir de France remix) www.youtube.com/watch?v=sJeH-nzlj3I

 

immerssion dans le monde du logement social, l'univers des logements sociaux, des H.B.M au H.L.M - Retour sur l'histoire du logement collectif d'apres guerre - En Françe, sur l’ensemble du territoire avant, 4 millions d’immeubles étaient vétustes, dont 500.000 à démolir; au total 10% des logements étaient considérés comme insalubres et 40% réputés d’une qualité médiocre, et surpeuplés. C’est pour ces raisons que, à partir de 1954, le Ministre à la Reconstruction et au Logement évalue le besoin en logements à 2.000.660, devenant ainsi une priorité nationale. Quelques années plus tard à l’appel de l’Abbé Pierre, le journaliste Gilbert Mathieu, en avril 1957 publiait dans le quotidien Le Monde une série d’articles sur la situation dramatique du logement : Logement, notre honte et dénonçant le nombre réduit de logements et leur impitoyable état. Robert Doisneau, Banlieue après-guerre, 1943-1949 /Le mandat se veut triple : reconstruire le parc immobilier détruit durant les bombardements essentiellement du printemps/été 1944, faire face à l’essor démographique et enfin résorber l’habitat insalubre notamment les bidonvilles et les cités de transit. Une ambition qui paraît, dès le début, très élevée, associée à l’industrialisation progressive de la nation entre autre celle du secteur de la construction (voir le vidéo de l’INA du 17 juillet 1957 intitulée La crise du logement, un problème national. Cela dit, l’effort pour l’État français était d’une ampleur jamais vue ailleurs. La double nécessité de construire davantage et vite, est en partie la cause de la forme architecturale excentrique qui constituera les Grands Ensembles dans les banlieues françaises. Cinq caractéristiques permettent de mieux comprendre ce terme : la rupture avec le tissu urbain ancien, un minimum de mille logements, une forme collective (tours, barres) de quatre jusqu’à vingt niveaux, la conception d’appartements aménagés et équipés et enfin une gestion destinée pour la plupart à des bailleurs de logement social.

 

Pour la banlieue parisienne leur localisation s’est opérée majoritairement dans la périphérie, tandis que dans les autres cas, plus de la moitié a été construite dans le centre ville, le plus souvent à la limite des anciens faubourgs.

 

Architecture d’Aujourd’hui n° 46, 1953 p. 58-55

 

C’est le triomphe de l’urbanisme fonctionnel et rationaliste cher à Le Corbusier. Entre 1958 et 1973, cent quatre-vingt-quinze Zones à Urbaniser en Priorité (ZUP) sont créées, comprenant deux millions de logements, essentiellement de type populaire en Habitations à Loyer Modéré (HLM), mais pas exclusivement, remplaçant ainsi les anciennes Habitations à Bon Marché (HBM) crées en 1894. Selon le décret du 27 mars 1954 qui en fixe les conditions d’attribution, les bénéficiaires de la législation n’ont pas changé, ce sont toujours des « personnes peu fortunées vivant principalement de leur salaire », selon la loi Strauss de 1906. En 1953, tous les HLM voient leur surface maximale se réduire, en passant de 71 à 65 mètres carrés pour un quatre pièces. L’accès au logement des familles modestes se fera donc au détriment de la qualité et quantité de l’espace habité pour des familles nombreuses. À ce propos, le sociologue Thierry Oblet a bien montré comment se sont articulées les pensées des architectes et des ingénieurs modernistes, avec leur souci planificateur d’un État interventionniste[8] grâce à l’hégémonie du béton, de la ligne droite et de la standardisation de la construction.

 

Les exemples de cette architecture restent nombreux : de la Cité de 4000 (pour 4000 logements) à la Courneuve en Seine-Saint-Denis (93) aux logements de 15 étages aux balcons pétales, appelés « Chou-fleur » à Créteil en Val-de Marne (94) dessinés au début des années 70 par l’architecte Gérard Grandval. De la Cité des nuages à Nanterre dans les Hauts-de-Seine (92) à la Grande borne construite entre 1967 et 1971 sur le territoire des communes de Grigny et Viry-Châtillon, dans l’Essonne (91) en passant par la Noé à Chanteloup-les-Vignes dans le département des Yvelines (78) scénario du célèbre film La Haine[9] de Kassovits.

 

Récemment, plusieurs expositions photographiques se sont

 

concentrées sur cette nouvelle figure de l’urbanisme fonctionnaliste français de l’après-guerre. Par exemple Toit&Moi, 100 ans de logement social (2012), Les Grands ensembles 1960-2010 (2012) produite par l’école supérieure d’arts & médias de Caen/Cherbourg, selon un projet du Ministère de la Culture et de la Communication. Enfin l’exposition Photographie à l’œuvre, (2011-2012) d’Henri Salesse, photographe du service de l’inventaire du Ministère de la Reconstruction et de l’Urbanisme et Voyage en périphérie (2012) de Cyrus Cornut.

 

Il s’agissait là non seulement d’un progrès matériel, mais aussi démocratique, donnant ainsi à chaque citoyen, la possibilité d’accéder à son petit appartement doté de tous les conforts de l’époque. La recherche d’économie et de rapidité dans la conduite des chantiers portent à l’utilisation du béton comme matériel privilégié et à des plans architecturaux aussi simples que possible avec la réalisation de logements standardisés, dont les barres et les tours deviennent les figures principales : Au mitan des années cinquante, apparurent d’étranges formes urbaines. Des immeubles d’habitation de plus en plus longs et de plus en plus hauts, assemblés en blocs qui ne s’intégraient pas aux villes existantes. Ces blocs s’en différenciaient ostensiblement et parfois comme systématiquement, s’en isolaient. Ils semblaient faire ville à part. Surtout ils ne ressemblaient pas à ce qu’on avait l’habitude d’appeler ville. Et leur architecture aussi, qui était tellement déroutante. On les a nommés » grands ensembles. Cité de l’Abreuvoir, Bobigny (93), 2003 (Inventaire général du Patrimoine, Région Ile de France / Stéphane Asseline)

 

Bref, entre 1946 et 1975 le parc immobilier français passe de 12,7 millions à 21 millions de logements. Environ 8 millions de ceux-ci sont neufs, construits entre 1953-1975 – dont la moitié sous forme de grands ensembles – et près de 80 % des logements grâce à une aide de l’État avec des crédits publics. Le nombre de logements sociaux passe de moins de 500.000 à près de 3 millions, dont 43 % en région parisienne, où la demande est la plus forte[11]. Ce qui témoigne d’un effort énorme. Secrétariat d’État à la Reconstruction et au Logement, Supplément du logement en 1954, cité par Bachmann, C. Le Guennec, N., Violences urbaines…Op.cit, p.24. Alors que l’hiver 1954 est particulièrement rigoureux, l’abbé Pierre lance un appel en faveur des sans-logis et déshérités et organise des collectes de vêtements et de nourriture pour les plus démunis. Cela nous rappelle également que les inégalités sociales restaient particulièrement importantes à l’époque, malgré les débuts de la croissance économique, et que la crise du logement n’était pas encore complètement résolue. Danièle Voldman, La reconstruction des villes françaises de 1940 à 1954 : histoire d’une politique, Paris, L’Harmattan, 1997. Les Actualités françaises, La crise du logement, un problème national, 17 juillet, 1957, in fresques.ina.fr/…/la-crise-du-logement-un-probleme-n…, consulté le 20/02/2014. C’est l’urbaniste Marcel Rotival dans un numéro d’Architecture d’Aujourd’hui de juin 1935 (vol.1, n°6, juin 1935, p.57) qui propose pour la première fois cette terminologie pour désigner les Habitations à Bon Marché (HBM) et leur transformation en Habitations à Loyer Modéré (HLM), par la loi du 21 juillet 1951: « Nous espérons, un jour, sortir des villes comme Paris, non seulement par l’avenue des Champs Elysées, la seule réalisation de tenue sans laquelle Paris n’existerait pas, mais sortir par Belleville, par Charonne, par Bobigny, etc., et trouver harmonieusement disposés le long de larges autostrades, au milieu de grands espaces boisés, de parcs, de stades, de grandes cités claires, bien orientées, lumineusement éclairées par le soleil. » Largement reprise depuis les années 1950 dans le jargon administratif et public, elle apparaît pour la première fois dans un texte officiel qu’en 1973 avec la Circulaire Guichard, alors Ministre de l’Aménagement du territoire, de l’Equipement, du Logement et du tourisme. Celui-ci met un terme à la politique initiée après-guerre afin « d’empêcher la réalisation des formes d’urbanisation désignées généralement sous le nom de “grands ensembles”, peu conforme aux aspirations des habitants et sans justification économique sérieuse ». Paradoxalement, le terme de grands ensembles s’officialise donc au moment même où ils son mis en question. ZUP est un acronyme qui signifie Zone à Urbaniser en Priorité. Elles ont été créées par le décret N°58-1464 du 31 décembre 1958, afin de planifier et d’encadrer sur le territoire national, le développement urbain pour répondre à la carence de logements face à l’accroissement démographique et favoriser enfin la résorption de l’habitat insalubre. Oblet, Thierry, Gouverner la ville. Les voies urbaines de la démocratie moderne, Paris, PUF, 2003. En particulier par l’intermédiaire de la Société centrale de construction et de la Société centrale pour l’équipement du territoire, créées au milieu des années 1950 en tant que filiales de la Caisse des dépôts et consignations.

 

Kassovitz, Mathieu, La Haine, France, 1995.

 

Cornu, Marcel, Libérer la ville, Bruxelles, Casterman, 1977, p.60. Annie Fourcaut « Les banlieues populaires ont aussi une histoire », Projet 4/2007 (n° 299), pp. 7-15.

 

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...

 

Official Trailer - the Pruitt-Igoe Myth: an Urban History

 

www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc …

 

Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po …

 

DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..

 

passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document … explosion des tours Gauguin Destruction par implosion des Tours Gauguin (quartier de La Bastide) de Limoges le dimanche 28 novembre 2010 à 11 heures. Limoges 28/11/2010 youtu.be/cd0ln4Nqqbs …

The No Limits Bike Racing Championship made its formal Return to the World Famous Brands Hatch Grand Prix Circuit for a Very Special 8 Hour Endurance Race.

 

Each and Every Team Had a selection of High Powered Racing Machinery that would along with the Rider take on the Might of Brands Hatches' Grand Prix Circuit for a Gruelling 8 Hours Straight.

 

While Some Teams had as many as Four Riders to make the job a Little Bit Easier other Teams Had decided to go with just Two Riders for 4 Hours Each knowing they Had the Skills and Determination to Keep Racing Hard.

 

The Championship was in is Last Race of the Season here at Brands and Whoever Won this Final Event would take the No Limits Bike Racing Championship Crown.

 

Qualifying was up First and setting the Pace at the Top of the Timings was (Andelle Leathers / RatMally Graphic) on their Kawasaki 998/Kawasaki 1000 Racing Bikes with an Incredible Time of 1.31.846 and a Top Speed of 95.37 to take Pole at The Start of the Race.

 

In Second Place was (Delkevic Racing) Kawasaki 1000/BMW 1000/Kawasaki 1000 Yamaha 1000 Racing Bikes with a Lap Time of 1.31.784 and a Top Speed of 95.34mph.

 

In Third Place was (Earnshaw's Motorcycles) BMW 1000/BMW 1000 Racing Bikes with A Lap Time of 1.32.099 and an Top Speed of 95.11mph.

 

With Qualifying Over and a 11:46am Start Fast Approaching all of the Riders to head out for the First 2 Hours. Just like Old School Le Mans the Riders all Lined Up on the Opposite Side of the Pitlane with their Respective Teams Holding onto the Bikes Ready for them to Blast off into the Distance around the Circuit.

 

A Loud Bang from the Calcian Signalled the Start of an 8 Hour Endurance Race and each Rider Ran Towards their Bikes Fired them Up and Set off onto the Race Track.

 

During the First Hour All Riders Made it through the First Opening Laps without any Problems and already many of them were getting up to Speed while some other Riders Preferred to nurse their Machinery for the First Hour to Avoid anything Breaking or Failing on thease High Powered Machines.

 

As Hour two Approached Everyone was still going strong and The Riders were Each Getting into a Really Good Rhythm of the Grand Prix circuit while other Teams had opted to Head to the pits to swap Riders and Give themselves more of a chance to take Victory with a selection of different Talents and Bikes available.

 

The Start of Hour Three saw a lot of Different Battles Going on thought the field and on the Back Straight there was some Close Wheel to Wheel Action Between Every Rider traveling at Speeds close to Nearly 100mph. Some Riders were Pushing so Hard that Even their Front Wheels Rose into the Air Making for some Epic and Thrilling Moments. An Overtake by Rider Number 97 on 36 was the Highlight so Far.

 

Hour Four and Still Each Rider was not Giving Up on the Chance of Victory with Half of the Endurance Race Completed by Now it was Time for Another Rider Change and with Many Teams Heading for the Pits Once Again Each New Rider Ventured Out onto the Brands Hatch GP Circuit it Beautiful Sunlit Conditions Although thease Must Have Been Playing Havoc with the Visibility for the Riders. Non the Less After Just One Retirement Earlier Due to an Engine Fire and a Marshall that should Have Really Been More Prepared. the Remaining Riders Soldered on.

 

The Fifth Hour was now Upon them and after a Very Hectic and Fast set of Laps Earlier Many Riders were setting down into their Positions to make sure the Bike they were on would Survive to the End. Druids was a Place to witness some Incredible Overtakes During this Time with the Light Levels Lowering and The Riders Really Looking like they were Pushing Hard and Encouraging their Machines to solder onto Victory.

 

Hour Six and with the Light Levels Now Falling even Lower it looked like this Endurance Race would be Ending in Nearly Dark Conditions as the Rider Kept on Going. The Few Retirement's Earlier on during Hour 2 and 3 were now just a Memory in the Surviving Riders Minds who all had One Goal in Mind. Get This Bike to the End of The Race.

 

Hour Seven and by now the Light was Nearly all But Gone with the Last Rays of Sunshine Disappearing Entirely from the Tops of Druids and yet Despite this now disadvantage i terms of Having a lot less light The Riders Still Continued to Push Hard and Fight their was To Victory in the Closing Stages as the Race Reached its Climax.

 

The Final Hour was Finally here and Every Rider who Had Been Concentrating Hard all Day was Now in a Position to Push Hard for that Final Hour of Glory that would mean the Difference Between either a Race Victory or a Race Loss. As The Minuets Slowly Ticked Down and The Last Light of Day Had been Long Extinguished from the Circuit. it was the Team of (Delkevic Racing's Liam Marchant / Gary Johnson / James Edwards and Luke Scott who took a Resounding Victory after 232 Laps and a Gruelling 8 Hour's of Racing 2 For Each of The Riders. Congratulations Delkevic Racing an Incredible Achievement.

 

In Second Place was The Team of (Earnshaw's Motorcycles Jonathan Lodge and James Lodge) after 232 Laps and 4 Hour's Between Them a Super Effort and Very Well Deserved Second Place Battle Through some Very Tough Competitors.

 

In Third Place was (Josh Daley Racing/RC Express by Dafabet Josh Daley and Rob Hodson) after a Very Hard and Gruelling 231 Laps in the Seat of Their Racing Bikes. Amazing Work Josh Daley Racing Incredible Ride and a Very Well Deserved Third Place.

 

An Exceptional Day of Endurance Racing from the No Limits Bike Racing Championship with Delkevic Racing's Liam Marchant / Gary Johnson / James Edwards and Luke Scott Taking The Final Victory of the Season with Datasys Racing Mark Daines / Jeremy Watson / Johnny Panter and Joe Higham taking The Championship for 2021.

 

A Big Congratulations to all of the Riders who took Part in this Event in my Opinion you Made everyone who Races in the Bennet's British Super Bike Championship look like Amateurs. You Guys are the Real Deal and am Really Looking forward to Watching this Epic Race all over Again Next Year. Until Then Keep Racing and Never Give Up Hope of One Day Standing on the Top Step of the Podium.

      

Ken Ohara, Japanese, born Tokyo, Japan 1942

 

ONE, 1970, printed 1998, gelatin silver print, image: 20 7⁄8 × 18 1⁄8 in.

 

For the monumental portrait series Grain, Ken Ohara prepared ninety-five-by-seventy-eight-inch sheets enlarged from the negatives made for his portrait series ONE (on view nearby). Wishing to experiment with scale in works that referenced the earlier series, he cut the sheets into eight-by-ten-inch panels and recomposed them as grids, forming one large portrait. The seams separating the panels were made using reflective silver tape.

 

While serving the practical function of adhering the paper prints to their transparent coverings, the tape also performs a perceptual trick by seeming to appear or disappear. Depending on your distance from Grain P-128, you might see the singular portrait, or you might see the parts that make it a photographic object: paper and silver.

____________________________________

 

"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.

 

During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.

 

What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.

 

It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.

 

Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.

 

It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.

 

But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.

 

There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.

 

This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.

 

From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.

 

This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.

 

Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.

 

That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.

 

Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.

 

Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.

 

In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.

 

By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."

 

www.artnews.com/art-news/reviews/smithsonian-american-art...

..

Malone, Blondelle (1877–1951)

 

Newport

Oil on canvas

12 1/8 x 20 1/8 inches

1907

 

After three years of studies at Converse College, Blondelle Malone wrote to her parents: “I have finally decided on art as a profession and I mean to work at it as hard as I can and see if I can be an artist some day. Think this way of girls going to school and getting married nonsense.” Upon her arrival in New York, the South Carolinian matriculated at the Art Students League. It was while visiting a former League classmate in Rhode Island that she later executed this plein air painting. Illuminated by pale sunshine, a low stone wall and thin row of trees create a strong diagonal in the otherwise horizontal composition. Both the loose brushwork and atmospheric mood are characteristic of Impressionist landscapes. The lavender field flowers reflect Malone’s penchant for floral scenes, works that led to her moniker as “the garden artist of America.”

 

s published in:

Central to Their Lives: Southern Women Artists in the Johnson Collection

 

As exhibited in:

The League of Extraordinary Artists, 2024, Richardson Family Art Museum, Wofford College, Spartanburg, South Carolina

 

Central to Their Lives: Southern Women Artists in the Johnson Collection, 2018–2021, Georgia Museum of Art, Athens; Mississippi Musuem of Art, Jackson; Huntington Museum of Art, West Virginia; Dixon Gallery and Gardens, Memphis, Tennessee; Gibbes Museum of Art, Charleston, South Carolina; Wofford College, Spartanburg, South Carolina; Taubman Museum of Art, Roanoke, Virginia.

 

Blondelle Octavia Edwards Malone lived an interesting and independent life and came into contact with some of the era's most noted artists. She was born into a prosperous family near Bostwick, Georgia, and spent her childhood in Columbia, South Carolina. In 1892, she entered Converse College in Spartanburg, where she studied art. In 1897, desperate to expand her horizons, she went to New York and enrolled at the Art Students League where she took classes with noted impressionists William Merritt Chase, John Henry Twachtman, and Robert Blum. She spent the summer of 1899 in the artists’s colony of Cos Cob, Connecticut, where she continued study with Twachtman and gained exposure to other Connecticut impressionists whose work greatly informed her development.

 

At the request of her parents, she briefly returned home to South Carolina, but eventually convinced them to let her return to New York where she resumed studies with Twachtman, and began to gain some recognition with book cover designs. Again she was persuaded to return home, but only for a brief period before she left for California, and then went on to visit Japan, for one year; and to Europe. She initially visited Italy in 1904 and spent an extended period in Venice. She also traveled in France, England, Holland, and Ireland. In France, she sought out prominent artists, such as Auguste Rodin and Mary Cassatt, as well as dignitaries and aristocrats. The highlight of her sojourn, however, was a visit in December 1904 with the artist she held in the highest esteem—Claude Monet, who lived in Giverny. She gained his acquaintance, solicited a critique of her work, and was allowed to paint in his famed garden. She also encountered other American expatriates working in the area, including Frederick MacMonnies and Theodore Butler.

 

While in Europe, Malone grew more serious about her art, exhibiting in some notable venues and dedicating herself to working in a modified impressionistic approach. She is best known for colorful floral landscapes. Her carefree existence came to an abrupt end when she received word from her father in December 1915 that her mother had died and that she must return home. She acquired a home and studio in Aiken, South Carolina, in 1916, but in 1920, she moved back to New York. After her father passed away in 1930, she purchased property in Alexandria, Virginia, became active in historic preservation, and continued painting into the 1940s. In her last years plagued with health problems, Malone returned to Columbia, South Carolina, where she lived out the remainder of her life in a nursing home until her death in 1951. She left a sizable bequest to the Columbia Museum of Art; her work is also represented in the permanent collection of the Morris Museum of Art.

___________________________________

 

All the Small Things

TJC Gallery, Spartanburg SC

February 19, 2025 – April 4, 2025

 

thejohnsoncollection.org/all-the-small-things/

 

Size matters in art. The scale of a work when seen in person can be an essential ingredient in its visual impact. And the received canon of fine art in the West has a clear bias for BIG things—from the monumental statuary of antiquity to the massive canvases in the contemporary art scene. Indeed, for the past four hundred years, artists have been highly incentivized to “go big,” as larger works commanded more prestige. Within the hierarchy of art genres inherited from the seventeenth century and the standardized measurements that evolved in the art industries of the nineteenth century, the largest canvases and commissions have traditionally been reserved for imposing landscapes and full-length portraits. Against this grain, the present exhibition celebrates the wondrous world of small art—in this case, paintings of no more than twenty inches.

 

Why might an artist work on a small scale? For some the motivation may be economic. Larger paintings mean more material costs, from more paint to bigger frames and heftier shipping prices. Thus, the size of an artwork potentially reveals unequal financial challenges faced by, for instance, women artists, self-taught artists, or artists of color. At the same time, the cheaper costs of smaller works make them well-suited for preliminary studies (as with Aaron Douglas’s The Toiler) or for trial efforts with new styles and techniques (such as Theodoros Stamos’s experiments with abstraction in Flow). Smaller art is more portable, making it ideal for artists working in the plein-air tradition or those working rapidly for tourist markets. Finally, although petite paintings have historically been relegated to subjects considered mundane or insignificant, these small works can instead confer an intimacy and humanity for the artist and viewer alike.

 

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See also: www.flickr.com/photos/ugardener/albums/72177720322921517/

 

THE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer.'

 

__________________________________________

 

"If you’re looking for a vibe, this is where you’ll find it. Spartanburg is one of South Carolina’s most established, respected, progressive, and diverse art communities with everything from the fine arts—ballet, symphonies, and opera—to the cutting edge—street performers, graffiti, and dance mobs.

 

Experience the Cultural District

Downtown Spartanburg has even been designated as a cultural district by the South Carolina Arts Commission. Within the cultural district, you can walk to and enjoy world-class art galleries, studios, music venues, breweries, culinary arts, local literature publishers, coffee shops, libraries, museums, and more. Regardless of when you visit, you’re likely to encounter live music in the streets, featuring jazz, rock ‘n’ roll, or beach music.

 

Come experience how we put the art in SpARTanburg."

 

www.visitspartanburg.com/things-to-do/arts/

American Speedfest 8 Returned to Brands Hatch for another Fantastic American themed weekend Featuring the likes of Euro Nascar Legends and even Angelo American Formula 5000's Racing this weekender event was shaping up to be a good one.

 

The First Day was mostly focused on Qualifying with many of the Races taking Place on the Sunday. Each of the Teams was both busy in the outer Paddock and the Pitlane getting their cars ready for a shakedown session in which they would have to Qualify to see who could be the Fastest and take Pole Position for each of the Races come Sunday.

 

Angelo American Formula 5000

 

The Formula 5000's made a Thunderous return to the Brands Hatch circuit, Built during a time where many Formula 1 cars from the likes of Lotus Williams and McLaren we using Ground Effect and pushing up the speeds of their cars.

 

Formula 5000's took speeds to a whole new level by using V8 Engines to power their cars which were found to be even faster than those Formula 1 cars of that era on the straights of different race tracks. Chevron B37's and McRae GM1'S were amongst the field and Qualifying looked to be very close indeed.

 

In First Place taking Pole Position and The Fastest Lap was (Neil Glover) in his Chevron B37 with a Lap Time of 47.039 with an average speed of 92.44mph. An Insanely Fast Lap Time for Brands Hatches Indy Circuit.

 

In Second Place was (Mark Campfield) in his Chevron B24 with A Lap Time Of 47.694 and an Average Speed of 91.17mph still Impressively quick for Chevron Power.

 

In Third Place was (Greg Thornton) in his Chevron B24 with A Lap Time Of 47.775 with an Average Speed of 91.02mph showing the power of the Chevron Engine through every turn.

 

A Tightly Packed Grid for Sundays Race and it looks like its a Chevron Front Row lockout but who's car will have the power to Triumph over the others? only time will tell.

 

Bernie's Sports And V8's

 

Bernie's V8's were up next and showcased a lot of Impressive V8 Powered Machinery on the grid. Talbot Sunbeams, Austin Healey's and even MGB GT V8 powered Machinery hitting the Track during Qualifying. Lets see what V8 Power can do and which Drivers managed to tame the Beasts and make it into the top three.

 

In First Place Taking Pole Position and the Fastest Lap was the Duo of (Elis Mar/Elis Mat) in their Talbot Sunbeam Lotus with a Lap Time of 54.533 and an Average speed of 79.74mph. Fast and Furious Driving on display once again.

 

In Second Place was (James Plant) in his Austin Healey 106 with a Lap Time of 54.964 and an Average Speed of 79.11mph. Very Quick and Consistent Laps seen from James behind the wheel too.

 

In Third Place was the Duo of (Can/Wilson) in their Aston Martin V8 Vantage with a lap time of 55.397 and an Average speed of 78.49mph. Showing just how much power and Grunt that Aston has.

 

Another Fantastic set of V8 Powered Machines on Display showing the true power of the American Built V8'S and how they changed the game in terms of Racing and Road Going Cars. Who will win the Race on Sunday. Will have to wait and see.

 

Legends Cars Championship

 

Referred to as the Little Pocket Rockets these small Looking Cars may not loo like they have anything Special to offer but just wait until you see what these little Wolves in Sheep's clothing can do once out on the Track.

 

Using Motorbike Engines of 1200cc they Really do show on Track just how lightweight and fast they are and Slip Streaming is commonly a way of being able to Achieve a Faster Lap time by using the Driver in fronts Slip Stream to aid in the Aerodynamics of the Car and Reduce Drag. Lets see what Happened during Qualifying Heat 2

 

In First Place Taking Pole and Setting The Fastest Lap was (Chris Dewey) in his Legend with a Lap Time Of 56.700 with an Average Speed of 76.69mph. Crazy Fast for Something so small and yet very Agile in Control.

 

In Second Place was (Stephen Whitelegg) in his Legend 34 Ford Coupe with a Lap Time of 56.740 and an Average Speed of 76.64mph. First And Second look to be very close together Thanks to the aids in Slip Streaming down the Brabham Straight to gain positions or Fastest Laps.

 

In Third Place was (Miles Rudman) in his Legend 34 Coupe with a Lap Time Of 56.878. Very Close between the Top three and it just goes to show how Important Slip Streaming is to Gain an Advantage in this Qualifying Session.

 

Exciting Stuff Ahead of The

Legends Races on Sunday where One of the Drivers will Win the Race and Take the Victory, Who Will it be? Only Time Will Tell.

 

Nascar Whelen Euro Series-Pro

 

The Main Highlight Event of the Day and the Nascar's with their Thunderous Powered V8 Engines Roared onto the Indy Circuit and with Two Formation Laps Completed to Warm Up the Tyres every car was released to Start Qualifying. Lets See How the Grid Will Shape Up.

 

In First Place to Take Pole and The Fastest Lap was (Alon Day) in his Chevrolet Camaro Caal Racing with a Lap Time of 48.903 and an Average Speed of 88.92mph. I wonder if Marty McFly and Dock Brown were part of their Race Team to Achieve that Impressive Lap Time? Non the Less Amazing Work by Alon Day.

 

In Second Place was (Loris Hezemans) in his Ford Mustang Hedrik's Motorsport) with a Lap Time of 49.000 and an Average Speed of 88.74mph. Another Fast and Consistent Lap From Loris showing the Balance Between Driver and Car.

 

In Third Place was (Nicolo Rocca) in his Chevrolet Camaro DF1 Racing) with A Lap Time of 49.292 and an Average Speed of 88.22mph. All Three Drivers seem to be very close in terms of Lap Times and this will make for some Exciting Racing Come Race Day.

 

Close and Competitive Racing in Nascar-Pro but who will have the Power to Push even Harder and take Home The Victory come Race Day. We will have to wait and See.

 

EuroNascar-2

 

Euro Nascar-2 is A a series of Slightly Lower Tuned Nascar's that Features as a Way of Getting Drivers ready to head to the Big Time Nascar Racing that takes Place at Daytona and Indianapolis.

 

Drivers must First Prove themselves worthy by Starting out from the Bottom and Only The Best Drivers in the World can make it into Nascar's Top Level Racing Teams.

 

Lets See how the Grid Lines up and see who managed to Qualify the Fastest and take Pole Position.

 

In First Place and Taking Pole Position and The Fastest Lap was (Advait DeoDHar) in his Ford Mustang Caal Racing with A Lap Time Of 49.918 and An Average Speed of 87.11mph. A Really Well Controlled Lap and a very Focused Mind to Achieve such a Drive.

 

In Second Place was (Tobias Dauenhauer) in his Ford Mustang Hendriks Motorsport with a Lap Time Of 50.110 and an Average Speed Of 86.78mph. Really Well Done and a very Quick Driver and Car underneath Him.

 

In Third Place was (Justin Kunz ) in his Chevrolet Camaro DF1 Racing with A Lap Time Of 50.161. Very Fast and Consistent with the Top Three all Very Close and Ready to take on the Race and see who can Battle and Fight for a Victory.

 

An Exciting Qualifying Session for both Nascar-Pro and Euro Nascar-2 with Each set of Driver Showing the Speed Power and Machinery of the Great American State. Looking Forward To Seeing what Happens During The Race.

 

Pickup Trucks Championship

 

The Pickup Trucks Returned to Brands Hatch for Another High Speed Weekend of Flat Out Racing around the Indy Circuit. With Light Weight Chassis and Powerful Engines it was shaping up to be a very Large and Competitive Grid for Pickup Trucks.

 

In First Place Taking Pole Position and the Fastest Lap was (Reece Jones) in his Pick Up Truck 2000 with a Lap Time of 52.634 with an Average Speed of 82.61mph.

 

In Second Place was (George Turiccki) in his Pickup Truck 2000 with A Lap Time of 52.706mph and an average speed of 82.50mph.

 

In Third Place was (Mark Willis) in his Pickup Truck 2000 with A Lap Time of 52.976 and an Average Speed of 82.08mph.

 

Three Very Quick and Capable Drivers all Fighting for the Victory In Tomorrow's Race but who will be up to the challenge of Taking 1st Place and Winning. Only One Way To Find Out.

 

Speedfest Silhouettes

 

Formally Known as the Silhouettes the Super Silhouettes Brought with them some fast and impressive Space Frame Machinery to the track.

 

With Aero Packages and Light Weight Monacock Chassis these Monsters were going to be something Amazing to watch Race.

 

But First Lets See how Qualifying Shapes up.

 

In First Place Taking Pole and The Fastest Lap was (Ray Harris in his Ginetta G40r with a Lap Time of 50.564 and an Average speed of 86.00mph. Either Crazy or Insane I would Describe that Incredible Lap of Brands. Amazing Work.

 

In Second Place was (Malcom Blackman) in his Vauxhall Tigra with A Lap Time of 50.805 and an Average Speed of 85.59mph Another Crazy Quick and on the Edge Lap.

 

In Third Place was (Lewis Smith) in his Mercedes SLK with a Lap Time of 51.313 and an Average Speed of 84.74mph. Three Very Fast and Capable Drivers in this Qualifying Session.

 

Incredible Speed and Fast Reflex Driving From Each Driver out there. It will be Exciting to see who can bring home a Victory and push their Machinery past its Limits and into New Territory. Another Race I'm Looking Forward to Seeing.

 

A Brilliant End to the Days Qualifying and seeing all that Machinery out there was Fantastic. Congratulations to all of the Qualifiers who made the Top Three in Every Support Race. Looking Ford To Tomorrow and a Very Fierce Set Of Battles Thought the Day.

Wied Iż-Żurrieq | Il-Qrendi | MALTA

35°49'8" N 14°27'16" E

 

The Blue Grotto refers to a number of sea caverns on the south east coast of Malta, a short distance off the fishermen's harbour of the Wied iż-Żurrieq limits of Il-Qrendi. Both the Wied Iż-Żurrieq harbour and Blue Grotto sea caves are located on the coastline right opposite to the small uninhabited islet of The island now serves as a bird sanctuary.

 

The location of the caves, combined with the rays of sunlight, lead to the seawater mirroring and showing numerous shades of blue on the cave walls and ceilings. Several caverns also mirror the brilliant phosphorescent colours of the underwater flora and fauna, whilst other caverns show a deep dark shade of blue.

[#Beginning of Shooting Data Section]

Nikon D100

Focal Length: 35mm

Optimize Image:

Color Mode: Mode III (sRGB)

Noise Reduction: OFF

2006/09/05 14:58:15.7

Exposure Mode: Aperture Priority

White Balance: Flash

Tone Comp: Normal

RAW (12-bit)

Metering Mode: Spot

AF Mode: AF-C

Hue Adjustment: 0°

Image Size: Large (3008 x 2000)

1/60 sec - F/22

Flash Sync Mode: Front Curtain

Saturation:

Exposure Comp.: +0.5 EV

Auto Flash Mode: D-TTL

Sharpening: Low

Lens: 24-85mm F/2.8-4 D

Sensitivity: ISO 200

Auto Flash Comp: -1.0 EV

Image Comment:

[#End of Shooting Data Section]

 

I ended Day 8 of SXSW 2016 (Friday, March 18) at ACL Live at the Moody Theatre (310 W. Willie Nelson Blvd.). (Even though my SXSW Gold badge didn't include access to evening Music showcases, the event organizers announced free admission for SXSW Guest Pass holders before 10 p.m.) I arrived early, nabbed a front-row mezzanine seat, and settled in for a great show featuring Fantastic Negrito, Blue October, and The Cult.

 

Here, Fantastic Negrito (stage name of Xavier Amin Dphrepaulezz) performs with his backup band as a rapt audience looks on...

 

Howard Finster, T - Born Valley Head, AL 1916-

died Rome, GA 2001

 

THER SHALL BE EARTH qUAKES, 1976, enamel on fiberboard, 30 x 29 5⁄8 in.

 

n 1976, after some four decades of preaching, Howard Finster responded to a vision in which God directed him to "paint sacred art." Finster believed that pictures would help people grasp the enormity of the Word of God. His painted sermons on life, death, salvation, and damnation eventually covered almost every inch of Paradise Garden, his four-acre art environment in Summerville, Georgia.

 

His concerns about a world of suffering and destruction drove Finster to create the artworks he called "signposts to salvation." In this triptych, he depicts trials encountered in the Bible's Book of Revelations, conveying his belief that no matter what problems loomed, God would protect and deliver the faithful.

 

Because Finster realized that his congregation did not remember his sermons even minutes after he had finished, he published religious songs and poetry in local newspapers in the 1930s and hosted a radio prayer show in the late 1930s and early 1940s. He claims God charged him to illustrate his religious visions in 1976 when "A warm feeling came over me to paint sacred art."

 

Finster began building his everchanging environmental sculpture, Paradise Garden, on swampy land behind his house in the early 1960s. Composed of walkways and constructions made from cast-off pieces of technology, the Garden assembles individual monuments to human inventors into an all-encompassing "Memorial to God." Much of the building material in the garden was accumulated from Finster's television and bicycle repair businesses and his twenty-one other trades.

____________________________________

 

"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.

 

During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.

 

What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.

 

It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.

 

Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.

 

It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.

 

But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.

 

There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.

 

This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.

 

From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.

 

This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.

 

Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.

 

That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.

 

Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.

 

Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.

 

In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.

 

By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."

 

www.artnews.com/art-news/reviews/smithsonian-american-art...

..

A test film of my Minolta MD lens 1:2.8 f=135mm mounted on a Minolta X-700 body, Lyon, France, March 29, 2023 during a 9-km photowalk from my home to the Saône river banks.

 

I own this Minolta lens MD 1:2.8 f=135mm since December 2021 (bought in France for 60€) but I never really used it beside initial technical tests when adapted to one of my two Sony A7 bodies and I never did a film with it. The 135 mm focal length (X2.5 related to the normal 50mm) is a small telephoto lens with te advantages to be still light and compact enough to be used easily hand-held and not too difficult to carry in a photo bag. The lens is equipped with a build-in collapsible shade hood plus a Minolta AC 1B (Skylight) 55mm filter that I kept for the photo session for all the views except some with a circular polarizing filter.

 

For this film, the lens is mounted on one of my two Minolta X-700, the "China" version (assembled in China 1993-1999). The camera was also equipped with its motor drive MD1 and the Minolta multi-function back. The X-700 was loaded with a B&W super-panchromatic Rollei Retro 400S (Agfa Aviphot 400) 36-exposure film.

 

The Agfa Aviphot film used for aerial photography is specially sensitized in the red, up to 780nm in the near IR instead of the regular 650-680 nm limit of a normal panchromatic film. The film provides usually high-definition and high-contrast negative views. What is more, the Agfa Aviphot is coated on a thin and flat polyester base without any base color increasing the contrast as well. However to prevent the halation possible the Agfa Aviphot is coated on the backside with a black and blue anti-halation pigment to inhibit the light back diffusion (halation). The printing from a data back was tested here to print the date on the two-first frames and the time after the last frame while setting the printing LED's intensity to the medium value available (3 diamonds) on the Minolta multi-function back (there are 6 levels of intensity available).

 

Exposures were determined using the TTL system of the Minolta X-700 in the manual mode, privileging the shadow areas.

 

Quai Joseph Gillet, March 29, 2023

69004 Lyon

France

 

After exposures the film was processed using Adox Adonal (strictly equivalent to Agfa Rodinal) developer at dilution 1+25, 20°C for 10min30. The film was then digitalized using a Sony A7 body fitted to a Minolta Slide Duplicator installed on a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5. The RAW files obtained were then processed in LR and finally edited to the final jpeg pictures.

 

All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg accompanied by some documentary smartphone Vivio Y76 color pictures.

via WordPress bit.ly/2ZJ0bD3

 

Home–Categories–Áp suất–Đồng hồ đo chênh áp–Đồng hồ đo chênh áp Dwyer–Series 2-5000 Minihelic® II

 

Mục lục nội dung

 

1.Product Applications. 1

 

2.Specifications. 1

 

3.Features. 1

 

4.Accessories. 1

 

5.Models & Ordering. 1

 

5.1. Đồng hồ đo chênh áp 2-50XX. 2-51XX. 1

 

5.2. Đồng hồ đo chênh áp 2-52XX. 1

 

5.3. Đồng hồ đo chênh áp 2-5000-XXX-MM… 2

 

5.4. Đồng hồ đo chênh áp 2-5000-XXX-PA.. 2

 

5.5. Đồng hồ đo chênh áp 2-5000-X-KPA.. 2

 

5.6. Đồng hồ đo chênh áp 2-5XXX-NPT. 2

 

5.7. Đồng hồ đo chênh áp 2-52XX-NPT. 2

 

5.8. Đồng hồ đo chênh áp 2-5000-XX-MM-NPT. 2

 

5.9. Đồng hồ đo chênh áp 2-5000-XXX-PA-NPT. 3

 

5.10. Đồng hồ đo chênh áp 2-5000-X-KPA-NPT. 3

   

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Room Positive Pressure SensingLocal Indication on Filter StatusFace Velocity on Fume HoodDuct PressuresCabinet Air-PurgingMedical Respiratory EquipmentAir SamplersElectronic Air Cooling SystemsLaminar Flow Hoods

 

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2.Specifications

 

Service:

 

Air and compatible gases.

 

Wetted Materials:

 

Consult factory.

 

Housing:

 

Glass filled nylon; polycarbonate lens.

 

Accuracy:

 

±5% of FS at 70°F (21.1°C).

 

Pressure Limits:

 

30 psig (2.067 bar) continuous to either pressure connection.

 

Temperature Limits:

 

20 to 120°F (-6.67 to 48.9°C).

 

Mounting Orientation:

 

Diaphragm in vertical position. Consult factory for other position orientations.

 

Process Connections:

 

Barbed, for 3/16" ID tubing (standard); 1/8" male NPT (optional).

 

Weight:

 

6 oz (170.1g).

 

Agency Approvals:

 

Meets the technical requirements of EU Directive 2011/65/EU (RoHS II).

   

CAUTION: FOR USE ONLY WITH AIR OR COMPATIBLE NON-CORROSIVE GASES.

 

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3.Features

 

Removable lens and rear-housing provides easy, cost-effective servicing

 

Accuracy and value provides an excellent solution for OEM and user applications

 

Durable housing materials make it well-suited for rough environments and total high pressure

 

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4.Accessories

 

Model Number

 

Description

 

A-434

 

Portable kit for Series 2-5000 Minihelic® II gage.

 

A-609

 

Air filter kit for Series 2-5000 Minihelic® II gage.

 

A-497

 

Mounting bracket for the Series 2-5000 Minihelic® II Differential Pressure Gage

 

A-489

 

4" 303 SS straight static pressure tip with flange.

 

A-362

 

Stand-hang bracket, aluminum, for Minihelic® II gage.

 

A-480

 

Plastic static pressure tip.

 

A-302F-A

 

303 SS Static pressure tip with mounting flange, for 3/16" I.D. rubber or plastic tubing. 4" insertion depth, includes mounting screws

 

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5.Models & Ordering

 

5.1. Đồng hồ đo chênh áp 2-50XX. 2-51XX

 

Thang đo: Inches of Water – Kết nối: Barbed

 

Model

 

Description

 

2-5000-0

 

Differential pressure gage, range 0-0.5" w.c.

 

2-5001

 

Differential pressure gage, range 0-1.0" w.c.

 

2-5002

 

Differential pressure gage, range 0-2.0" w.c.

 

2-5003

 

Differential pressure gage, range 0-3.0" w.c.

 

2-5005

 

Differential pressure gage, range 0-5.0" w.c.

 

2-5010

 

Differential pressure gage, range 0-10" w.c.

 

2-5020

 

Differential pressure gage, range 0-20" w.c.

 

2-5040

 

Differential pressure gage, range 0-40" w.c.

 

2-5060

 

Differential pressure gage, range 0-60" w.c.

 

2-5100

 

Differential pressure gage, range 0-100" w.c.

 

>>Quay lại mục lục

 

5.2. Đồng hồ đo chênh áp 2-52XX

 

Thang đo: PSI – Kết nối: Barbed

 

Model

 

Description

 

2-5205

 

Differential pressure gage, range 0-5 psi.

 

2-5210

 

Differential pressure gage, range 0-10 psi.

 

2-5215

 

Differential pressure gage, range 0-15 psi.

 

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5.3. Đồng hồ đo chênh áp 2-5000-XXX-MM

 

Thang đo: MM of Water

 

Model

 

Description

 

2-5000-100MM

 

Differential pressure gage, range 0-100 mm w.c.

 

2-5000-25MM

 

Differential pressure gage, range 0-25 mm w.c.

 

2-5000-50MM

 

Differential pressure gage, range 0-50 mm w.c.

 

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5.4. Đồng hồ đo chênh áp 2-5000-XXX-PA

 

Thang đo: Pascals – Kết nối: Barbed

 

Model

 

Description

 

2-5000-125PA

 

Differential pressure gage, range 0-125 Pa.

 

2-5000-250PA

 

Differential pressure gage, range 0-250 Pa.

 

2-5000-500PA

 

Differential pressure gage, range 0-500 Pa.

 

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5.5. Đồng hồ đo chênh áp 2-5000-X-KPA

 

Thang đo: Kilopascals – Kết nối: Barbed

 

Model

 

Description

 

2-5000-1KPA

 

Differential pressure gage, range 0-1 kPa.

 

2-5000-3KPA

 

Differential pressure gage, range 0-3 kPa.

 

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5.6. Đồng hồ đo chênh áp 2-5XXX-NPT

 

Thang đo: Inches of Water – Kết nối: NPT

 

Model

 

Description

 

2-5000-0-NPT

 

Differential pressure gage, range 0-0.5" w.c., 1/8" male NPT connection.

 

2-5001-NPT

 

Differential pressure gage, range 0-1.0" w.c., 1/8" male NPT connection.

 

2-5002-NPT

 

Differential pressure gage, range 0-2.0" w.c., 1/8" male NPT connection.

 

2-5003-NPT

 

Differential pressure gage, range 0-3.0" w.c., 1/8" male NPT connection.

 

2-5005-NPT

 

Differential pressure gage, range 0-5.0" w.c., 1/8" male NPT connection.

 

2-5010-NPT

 

Differential pressure gage, range 0-10" w.c., 1/8" male NPT connection.

 

2-5020-NPT

 

Differential pressure gage, range 0-20" w.c., 1/8" male NPT connection.

 

2-5040-NPT

 

Differential pressure gage, range 0-40" w.c., 1/8" male NPT connection.

 

2-5060-NPT

 

Differential pressure gage, range 0-60" w.c., 1/8" male NPT connection.

 

2-5100-NPT

 

Differential pressure gage, range 0-100" w.c., 1/8" male NPT connection.

 

>>Quay lại mục lục

 

5.7. Đồng hồ đo chênh áp 2-52XX-NPT

 

Thang đo: PSI – KẾt nối: NPT

 

Model

 

Description

 

2-5205-NPT

 

Differential pressure gage, range 0-5 psi, 1/8" male NPT connection.

 

2-5210-NPT

 

Differential pressure gage, range 0-10 psi, 1/8" male NPT connection.

 

2-5215-NPT

 

Differential pressure gage, range 0-15 psi, 1/8" male NPT connection.

 

>>Quay lại mục lục

 

5.8. Đồng hồ đo chênh áp 2-5000-XX-MM-NPT

 

Thang đo: MM of Water – Kết nối: NPT

 

Model

 

Description

 

2-5000-100MM-NPT

 

Differential pressure gage, range 0-100 mm w.c., 1/8" male NPT connection.

 

2-5000-25MM-NPT

 

Differential pressure gage, range 0-25 mm w.c., 1/8" male NPT connection.

 

2-5000-50MM-NPT

 

Differential pressure gage, range 0-50 mm w.c., 1/8" male NPT connection.

 

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5.9. Đồng hồ đo chênh áp 2-5000-XXX-PA-NPT

 

Thang đo: Pascals – Kết nối: NPT

 

Model

 

Description

 

2-5000-125PA-NPT

 

Differential pressure gage, range 0-125 Pa, 1/8" male NPT connection.

 

2-5000-250PA-NPT

 

Differential pressure gage, range 0-250 Pa, 1/8" male NPT connection.

 

2-5000-500PA-NPT

 

Differential pressure gage, range 0-500 Pa, 1/8" male NPT connection.

 

>>Quay lại mục lục

 

5.10. Đồng hồ đo chênh áp 2-5000-X-KPA-NPT

 

Thang đo: Kilopascals – Kết nối: NPT

 

Model

 

Description

 

2-5000-1KPA-NPT

 

Differential pressure gage, range 0-1 kPa, 1/8" male NPT connection.

 

2-5000-3KPA-NPT

 

Differential pressure gage, range 0-3 kPa, 1/8" male NPT connection.

 

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>>Download datasheet<<

 

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Chapman, Conrad (1842–1910)

 

View of Italy

Oil on panel

18 5/8 x 16 1/8 inches

Circa 1875

Now on view: TJC Gallery, Spartanburg, South Carolina

 

As published in: Romantic Spirits: Nineteenth Century Paintings of the South from the Johnson Collection

 

As exhibited in: Romantic Spirits: Nineteenth Century Paintings of the South, 2013–2016, Morris Museum of Art, Augusta, Georgia; Gibbes Museum of Art, Charleston, South Carolina; Montgomery Museum of Fine Arts, Alabama; Telfair Museums, Savannah, Georgia; Greenville County Museum of Art, South Carolina; Blowing Rock Art & History Museum, North Carolina; Columbus Museum of Art, Georgia; Knoxville Museum of Art, Tennessee

 

The son of the artist John Gadsby Chapman, Conrad Wise Chapman was born in Washington, DC, but spent the majority of his youth in Rome, Italy. There, his art education was overseen by his father and nurtured by the extended community of American expatriate artists, notably the sculptors Thomas Crawford and William Wetmore Story and the painters George Loring Brown and Cephas Giovanni Thompson. Though living abroad, young Conrad was deeply versed in Southern tradition, so much so that in 1861 he felt compelled to join the Confederate cause, later writing that a “duty more sacred than even family ties rose to bid me move forward and meet whatever my fate might be.” As a member of Kentucky’s famous “Orphan Brigade,” Chapman suffered a serious head wound during the April 1862 Battle of Shiloh, an injury that would plague him for the rest of his life.

 

During Chapman’s recuperation in the summer of 1862, General P. G. T. Beauregard commissioned him to create a series of works illustrating the siege of Charleston. The resulting group of paintings provided the most detailed images of Confederate forces produced by a painter in the South. In March 1864, Chapman returned to Rome as secretary to Bishop Patrick Neeson Lynch, President Jefferson Davis’ commissioner to the papal states. Although he tried to rejoin Confederate forces in March 1865, a blockade resulted in a lengthy detour to Mexico, where he remained until 1866, painting several large panoramas of the countryside which account for some of his best received work. For the next few years, Chapman worked on commissions and speculation in Rome, Paris and London. While living in London in 1871, he suffered a mental breakdown—perhaps as a result of his war injuries—and was confined to an asylum. The expense of his hospitalization contributed to a sharp decline in the family fortunes. For the balance of his years, Chapman would alternate between periods of mental, physical, professional and financial instability, prompting a series of moves between Mexico and the United States, often relying on the generosity of others to support him.

 

While in Italy, Conrad Chapman, along with his father and brother, enjoyed regular patronage from American tourists who were fascinated by local color and ancient ruins. In response, the family of artists executed landscapes and paintings featuring the terrain and inhabitants of the Roman Campagna and the Appian Way, ideal souvenirs of the rich Italian scene. Though numerous examples of his father and brother’s Campagna scenes survive, few by Conrad are known to exist. View of Italy exhibits the clear light and warm color contrasts between the verdure of the land and the costumes of the peasantry characteristic of the Chapman style.

___________________________________

 

All the Small Things

TJC Gallery, Spartanburg SC

February 19, 2025 – April 4, 2025

 

thejohnsoncollection.org/all-the-small-things/

 

Size matters in art. The scale of a work when seen in person can be an essential ingredient in its visual impact. And the received canon of fine art in the West has a clear bias for BIG things—from the monumental statuary of antiquity to the massive canvases in the contemporary art scene. Indeed, for the past four hundred years, artists have been highly incentivized to “go big,” as larger works commanded more prestige. Within the hierarchy of art genres inherited from the seventeenth century and the standardized measurements that evolved in the art industries of the nineteenth century, the largest canvases and commissions have traditionally been reserved for imposing landscapes and full-length portraits. Against this grain, the present exhibition celebrates the wondrous world of small art—in this case, paintings of no more than twenty inches.

 

Why might an artist work on a small scale? For some the motivation may be economic. Larger paintings mean more material costs, from more paint to bigger frames and heftier shipping prices. Thus, the size of an artwork potentially reveals unequal financial challenges faced by, for instance, women artists, self-taught artists, or artists of color. At the same time, the cheaper costs of smaller works make them well-suited for preliminary studies (as with Aaron Douglas’s The Toiler) or for trial efforts with new styles and techniques (such as Theodoros Stamos’s experiments with abstraction in Flow). Smaller art is more portable, making it ideal for artists working in the plein-air tradition or those working rapidly for tourist markets. Finally, although petite paintings have historically been relegated to subjects considered mundane or insignificant, these small works can instead confer an intimacy and humanity for the artist and viewer alike.

 

_______________________________________

See also: www.flickr.com/photos/ugardener/albums/72177720322921517/

 

THE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer.'

 

__________________________________________

 

"If you’re looking for a vibe, this is where you’ll find it. Spartanburg is one of South Carolina’s most established, respected, progressive, and diverse art communities with everything from the fine arts—ballet, symphonies, and opera—to the cutting edge—street performers, graffiti, and dance mobs.

 

Experience the Cultural District

Downtown Spartanburg has even been designated as a cultural district by the South Carolina Arts Commission. Within the cultural district, you can walk to and enjoy world-class art galleries, studios, music venues, breweries, culinary arts, local literature publishers, coffee shops, libraries, museums, and more. Regardless of when you visit, you’re likely to encounter live music in the streets, featuring jazz, rock ‘n’ roll, or beach music.

 

Come experience how we put the art in SpARTanburg."

 

www.visitspartanburg.com/things-to-do/arts/

Little quick test during a short trip (180° diagonal angle of view...), Paris (France) 2014/07

 

(full backlight, inevitable flares... why not? it's just for test the limits... ;- ) ...)

 

en.wikipedia.org/wiki/Rue_de_la_B%C3%BBcherie

 

- other views, other trip, other year, other camera, same street :

 

www.flickr.com/photos/189793024@N06/51294969174/in/datepo...

 

www.flickr.com/photos/189793024@N06/51294097187/in/datepo...

 

www.flickr.com/photos/189793024@N06/52310527304/in/datepo...

 

- an instant of life, just an instant ...

 

... with my (old but funny / bought early 1990s still used in 2023 ... ** ) lens Canon 15 mm EF * and his camera Canon EOS 5D MkII (each lens has its own body - it's my choice for Digital).

 

** my advice : remain strictly the only user...

 

It's not the perfect lens for Architecture pictures..., but maybe for ambiance or impossible views :

 

www.flickr.com/photos/189793024@N06/51442637033/in/datepo...

 

www.flickr.com/photos/189793024@N06/50600230856/in/datepo...

 

other views, same trip :

 

www.flickr.com/photos/189793024@N06/52296236262/in/datepo...

 

www.flickr.com/photos/189793024@N06/52279471675/in/datepo...

 

www.flickr.com/photos/189793024@N06/52279008713/in/datepo...

 

www.flickr.com/photos/189793024@N06/52294650194/in/datepo...

 

www.flickr.com/photos/189793024@N06/52296389093/in/datepo...

 

* Canon 15mm EF (produced by Canon from 1987 to 2011) :

 

www.dpreview.com/products/canon/lenses/canon_15_2p8

 

global.canon/en/c-museum/product/ef263.html

 

Human picture : (1 body - on manual (always) / 1 lens / 1 human = 1 picture ) 0% AI... / 1% HI... ;- ) ...

  

Warning : it was a beautiful city, but this kind website can be useful (there are many others ...) :

 

secretsofparis.com/practical/health-safety/safety-security/

 

... 2021 ... bad trip ... :

 

www.flickr.com/photos/189793024@N06/51441163580/in/datepo...

 

Corita Kent, Born Fort Dodge, IA 1918-

died Boston, MA 1986

 

yes people like us, 1965, serigraph, 35 1⁄8 × 28 7⁄8 in.

 

yellow submarine, 1967, serigraph, 23 1⁄8 × 35 1⁄4 in.

 

stop the bombing, 1967, serigraph, 15 3⁄4 × 23 1⁄8 in.

____________________________________

 

"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.

 

During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.

 

What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.

 

It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.

 

Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.

 

It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.

 

But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.

 

There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.

 

This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.

 

From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.

 

This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.

 

Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.

 

That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.

 

Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.

 

Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.

 

In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.

 

By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."

 

www.artnews.com/art-news/reviews/smithsonian-american-art...

..

American Speedfest 8 Returned to Brands Hatch for another Fantastic American themed weekend Featuring the likes of Euro Nascar Legends and even Angelo American Formula 5000's Racing this weekender event was shaping up to be a good one.

 

The First Day was mostly focused on Qualifying with many of the Races taking Place on the Sunday. Each of the Teams was both busy in the outer Paddock and the Pitlane getting their cars ready for a shakedown session in which they would have to Qualify to see who could be the Fastest and take Pole Position for each of the Races come Sunday.

 

Angelo American Formula 5000

 

The Formula 5000's made a Thunderous return to the Brands Hatch circuit, Built during a time where many Formula 1 cars from the likes of Lotus Williams and McLaren we using Ground Effect and pushing up the speeds of their cars.

 

Formula 5000's took speeds to a whole new level by using V8 Engines to power their cars which were found to be even faster than those Formula 1 cars of that era on the straights of different race tracks. Chevron B37's and McRae GM1'S were amongst the field and Qualifying looked to be very close indeed.

 

In First Place taking Pole Position and The Fastest Lap was (Neil Glover) in his Chevron B37 with a Lap Time of 47.039 with an average speed of 92.44mph. An Insanely Fast Lap Time for Brands Hatches Indy Circuit.

 

In Second Place was (Mark Campfield) in his Chevron B24 with A Lap Time Of 47.694 and an Average Speed of 91.17mph still Impressively quick for Chevron Power.

 

In Third Place was (Greg Thornton) in his Chevron B24 with A Lap Time Of 47.775 with an Average Speed of 91.02mph showing the power of the Chevron Engine through every turn.

 

A Tightly Packed Grid for Sundays Race and it looks like its a Chevron Front Row lockout but who's car will have the power to Triumph over the others? only time will tell.

 

Bernie's Sports And V8's

 

Bernie's V8's were up next and showcased a lot of Impressive V8 Powered Machinery on the grid. Talbot Sunbeams, Austin Healey's and even MGB GT V8 powered Machinery hitting the Track during Qualifying. Lets see what V8 Power can do and which Drivers managed to tame the Beasts and make it into the top three.

 

In First Place Taking Pole Position and the Fastest Lap was the Duo of (Elis Mar/Elis Mat) in their Talbot Sunbeam Lotus with a Lap Time of 54.533 and an Average speed of 79.74mph. Fast and Furious Driving on display once again.

 

In Second Place was (James Plant) in his Austin Healey 106 with a Lap Time of 54.964 and an Average Speed of 79.11mph. Very Quick and Consistent Laps seen from James behind the wheel too.

 

In Third Place was the Duo of (Can/Wilson) in their Aston Martin V8 Vantage with a lap time of 55.397 and an Average speed of 78.49mph. Showing just how much power and Grunt that Aston has.

 

Another Fantastic set of V8 Powered Machines on Display showing the true power of the American Built V8'S and how they changed the game in terms of Racing and Road Going Cars. Who will win the Race on Sunday. Will have to wait and see.

 

Legends Cars Championship

 

Referred to as the Little Pocket Rockets these small Looking Cars may not loo like they have anything Special to offer but just wait until you see what these little Wolves in Sheep's clothing can do once out on the Track.

 

Using Motorbike Engines of 1200cc they Really do show on Track just how lightweight and fast they are and Slip Streaming is commonly a way of being able to Achieve a Faster Lap time by using the Driver in fronts Slip Stream to aid in the Aerodynamics of the Car and Reduce Drag. Lets see what Happened during Qualifying Heat 2

 

In First Place Taking Pole and Setting The Fastest Lap was (Chris Dewey) in his Legend with a Lap Time Of 56.700 with an Average Speed of 76.69mph. Crazy Fast for Something so small and yet very Agile in Control.

 

In Second Place was (Stephen Whitelegg) in his Legend 34 Ford Coupe with a Lap Time of 56.740 and an Average Speed of 76.64mph. First And Second look to be very close together Thanks to the aids in Slip Streaming down the Brabham Straight to gain positions or Fastest Laps.

 

In Third Place was (Miles Rudman) in his Legend 34 Coupe with a Lap Time Of 56.878. Very Close between the Top three and it just goes to show how Important Slip Streaming is to Gain an Advantage in this Qualifying Session.

 

Exciting Stuff Ahead of The

Legends Races on Sunday where One of the Drivers will Win the Race and Take the Victory, Who Will it be? Only Time Will Tell.

 

Nascar Whelen Euro Series-Pro

 

The Main Highlight Event of the Day and the Nascar's with their Thunderous Powered V8 Engines Roared onto the Indy Circuit and with Two Formation Laps Completed to Warm Up the Tyres every car was released to Start Qualifying. Lets See How the Grid Will Shape Up.

 

In First Place to Take Pole and The Fastest Lap was (Alon Day) in his Chevrolet Camaro Caal Racing with a Lap Time of 48.903 and an Average Speed of 88.92mph. I wonder if Marty McFly and Dock Brown were part of their Race Team to Achieve that Impressive Lap Time? Non the Less Amazing Work by Alon Day.

 

In Second Place was (Loris Hezemans) in his Ford Mustang Hedrik's Motorsport) with a Lap Time of 49.000 and an Average Speed of 88.74mph. Another Fast and Consistent Lap From Loris showing the Balance Between Driver and Car.

 

In Third Place was (Nicolo Rocca) in his Chevrolet Camaro DF1 Racing) with A Lap Time of 49.292 and an Average Speed of 88.22mph. All Three Drivers seem to be very close in terms of Lap Times and this will make for some Exciting Racing Come Race Day.

 

Close and Competitive Racing in Nascar-Pro but who will have the Power to Push even Harder and take Home The Victory come Race Day. We will have to wait and See.

 

EuroNascar-2

 

Euro Nascar-2 is A a series of Slightly Lower Tuned Nascar's that Features as a Way of Getting Drivers ready to head to the Big Time Nascar Racing that takes Place at Daytona and Indianapolis.

 

Drivers must First Prove themselves worthy by Starting out from the Bottom and Only The Best Drivers in the World can make it into Nascar's Top Level Racing Teams.

 

Lets See how the Grid Lines up and see who managed to Qualify the Fastest and take Pole Position.

 

In First Place and Taking Pole Position and The Fastest Lap was (Advait DeoDHar) in his Ford Mustang Caal Racing with A Lap Time Of 49.918 and An Average Speed of 87.11mph. A Really Well Controlled Lap and a very Focused Mind to Achieve such a Drive.

 

In Second Place was (Tobias Dauenhauer) in his Ford Mustang Hendriks Motorsport with a Lap Time Of 50.110 and an Average Speed Of 86.78mph. Really Well Done and a very Quick Driver and Car underneath Him.

 

In Third Place was (Justin Kunz ) in his Chevrolet Camaro DF1 Racing with A Lap Time Of 50.161. Very Fast and Consistent with the Top Three all Very Close and Ready to take on the Race and see who can Battle and Fight for a Victory.

 

An Exciting Qualifying Session for both Nascar-Pro and Euro Nascar-2 with Each set of Driver Showing the Speed Power and Machinery of the Great American State. Looking Forward To Seeing what Happens During The Race.

 

Pickup Trucks Championship

 

The Pickup Trucks Returned to Brands Hatch for Another High Speed Weekend of Flat Out Racing around the Indy Circuit. With Light Weight Chassis and Powerful Engines it was shaping up to be a very Large and Competitive Grid for Pickup Trucks.

 

In First Place Taking Pole Position and the Fastest Lap was (Reece Jones) in his Pick Up Truck 2000 with a Lap Time of 52.634 with an Average Speed of 82.61mph.

 

In Second Place was (George Turiccki) in his Pickup Truck 2000 with A Lap Time of 52.706mph and an average speed of 82.50mph.

 

In Third Place was (Mark Willis) in his Pickup Truck 2000 with A Lap Time of 52.976 and an Average Speed of 82.08mph.

 

Three Very Quick and Capable Drivers all Fighting for the Victory In Tomorrow's Race but who will be up to the challenge of Taking 1st Place and Winning. Only One Way To Find Out.

 

Speedfest Silhouettes

 

Formally Known as the Silhouettes the Super Silhouettes Brought with them some fast and impressive Space Frame Machinery to the track.

 

With Aero Packages and Light Weight Monacock Chassis these Monsters were going to be something Amazing to watch Race.

 

But First Lets See how Qualifying Shapes up.

 

In First Place Taking Pole and The Fastest Lap was (Ray Harris in his Ginetta G40r with a Lap Time of 50.564 and an Average speed of 86.00mph. Either Crazy or Insane I would Describe that Incredible Lap of Brands. Amazing Work.

 

In Second Place was (Malcom Blackman) in his Vauxhall Tigra with A Lap Time of 50.805 and an Average Speed of 85.59mph Another Crazy Quick and on the Edge Lap.

 

In Third Place was (Lewis Smith) in his Mercedes SLK with a Lap Time of 51.313 and an Average Speed of 84.74mph. Three Very Fast and Capable Drivers in this Qualifying Session.

 

Incredible Speed and Fast Reflex Driving From Each Driver out there. It will be Exciting to see who can bring home a Victory and push their Machinery past its Limits and into New Territory. Another Race I'm Looking Forward to Seeing.

 

A Brilliant End to the Days Qualifying and seeing all that Machinery out there was Fantastic. Congratulations to all of the Qualifiers who made the Top Three in Every Support Race. Looking Ford To Tomorrow and a Very Fierce Set Of Battles Thought the Day.

American Speedfest 8 Returned to Brands Hatch for another Fantastic American themed weekend Featuring the likes of Euro Nascar Legends and even Angelo American Formula 5000's Racing this weekender event was shaping up to be a good one.

 

The First Day was mostly focused on Qualifying with many of the Races taking Place on the Sunday. Each of the Teams was both busy in the outer Paddock and the Pitlane getting their cars ready for a shakedown session in which they would have to Qualify to see who could be the Fastest and take Pole Position for each of the Races come Sunday.

 

Angelo American Formula 5000

 

The Formula 5000's made a Thunderous return to the Brands Hatch circuit, Built during a time where many Formula 1 cars from the likes of Lotus Williams and McLaren we using Ground Effect and pushing up the speeds of their cars.

 

Formula 5000's took speeds to a whole new level by using V8 Engines to power their cars which were found to be even faster than those Formula 1 cars of that era on the straights of different race tracks. Chevron B37's and McRae GM1'S were amongst the field and Qualifying looked to be very close indeed.

 

In First Place taking Pole Position and The Fastest Lap was (Neil Glover) in his Chevron B37 with a Lap Time of 47.039 with an average speed of 92.44mph. An Insanely Fast Lap Time for Brands Hatches Indy Circuit.

 

In Second Place was (Mark Campfield) in his Chevron B24 with A Lap Time Of 47.694 and an Average Speed of 91.17mph still Impressively quick for Chevron Power.

 

In Third Place was (Greg Thornton) in his Chevron B24 with A Lap Time Of 47.775 with an Average Speed of 91.02mph showing the power of the Chevron Engine through every turn.

 

A Tightly Packed Grid for Sundays Race and it looks like its a Chevron Front Row lockout but who's car will have the power to Triumph over the others? only time will tell.

 

Bernie's Sports And V8's

 

Bernie's V8's were up next and showcased a lot of Impressive V8 Powered Machinery on the grid. Talbot Sunbeams, Austin Healey's and even MGB GT V8 powered Machinery hitting the Track during Qualifying. Lets see what V8 Power can do and which Drivers managed to tame the Beasts and make it into the top three.

 

In First Place Taking Pole Position and the Fastest Lap was the Duo of (Elis Mar/Elis Mat) in their Talbot Sunbeam Lotus with a Lap Time of 54.533 and an Average speed of 79.74mph. Fast and Furious Driving on display once again.

 

In Second Place was (James Plant) in his Austin Healey 106 with a Lap Time of 54.964 and an Average Speed of 79.11mph. Very Quick and Consistent Laps seen from James behind the wheel too.

 

In Third Place was the Duo of (Can/Wilson) in their Aston Martin V8 Vantage with a lap time of 55.397 and an Average speed of 78.49mph. Showing just how much power and Grunt that Aston has.

 

Another Fantastic set of V8 Powered Machines on Display showing the true power of the American Built V8'S and how they changed the game in terms of Racing and Road Going Cars. Who will win the Race on Sunday. Will have to wait and see.

 

Legends Cars Championship

 

Referred to as the Little Pocket Rockets these small Looking Cars may not loo like they have anything Special to offer but just wait until you see what these little Wolves in Sheep's clothing can do once out on the Track.

 

Using Motorbike Engines of 1200cc they Really do show on Track just how lightweight and fast they are and Slip Streaming is commonly a way of being able to Achieve a Faster Lap time by using the Driver in fronts Slip Stream to aid in the Aerodynamics of the Car and Reduce Drag. Lets see what Happened during Qualifying Heat 2

 

In First Place Taking Pole and Setting The Fastest Lap was (Chris Dewey) in his Legend with a Lap Time Of 56.700 with an Average Speed of 76.69mph. Crazy Fast for Something so small and yet very Agile in Control.

 

In Second Place was (Stephen Whitelegg) in his Legend 34 Ford Coupe with a Lap Time of 56.740 and an Average Speed of 76.64mph. First And Second look to be very close together Thanks to the aids in Slip Streaming down the Brabham Straight to gain positions or Fastest Laps.

 

In Third Place was (Miles Rudman) in his Legend 34 Coupe with a Lap Time Of 56.878. Very Close between the Top three and it just goes to show how Important Slip Streaming is to Gain an Advantage in this Qualifying Session.

 

Exciting Stuff Ahead of The

Legends Races on Sunday where One of the Drivers will Win the Race and Take the Victory, Who Will it be? Only Time Will Tell.

 

Nascar Whelen Euro Series-Pro

 

The Main Highlight Event of the Day and the Nascar's with their Thunderous Powered V8 Engines Roared onto the Indy Circuit and with Two Formation Laps Completed to Warm Up the Tyres every car was released to Start Qualifying. Lets See How the Grid Will Shape Up.

 

In First Place to Take Pole and The Fastest Lap was (Alon Day) in his Chevrolet Camaro Caal Racing with a Lap Time of 48.903 and an Average Speed of 88.92mph. I wonder if Marty McFly and Dock Brown were part of their Race Team to Achieve that Impressive Lap Time? Non the Less Amazing Work by Alon Day.

 

In Second Place was (Loris Hezemans) in his Ford Mustang Hedrik's Motorsport) with a Lap Time of 49.000 and an Average Speed of 88.74mph. Another Fast and Consistent Lap From Loris showing the Balance Between Driver and Car.

 

In Third Place was (Nicolo Rocca) in his Chevrolet Camaro DF1 Racing) with A Lap Time of 49.292 and an Average Speed of 88.22mph. All Three Drivers seem to be very close in terms of Lap Times and this will make for some Exciting Racing Come Race Day.

 

Close and Competitive Racing in Nascar-Pro but who will have the Power to Push even Harder and take Home The Victory come Race Day. We will have to wait and See.

 

EuroNascar-2

 

Euro Nascar-2 is A a series of Slightly Lower Tuned Nascar's that Features as a Way of Getting Drivers ready to head to the Big Time Nascar Racing that takes Place at Daytona and Indianapolis.

 

Drivers must First Prove themselves worthy by Starting out from the Bottom and Only The Best Drivers in the World can make it into Nascar's Top Level Racing Teams.

 

Lets See how the Grid Lines up and see who managed to Qualify the Fastest and take Pole Position.

 

In First Place and Taking Pole Position and The Fastest Lap was (Advait DeoDHar) in his Ford Mustang Caal Racing with A Lap Time Of 49.918 and An Average Speed of 87.11mph. A Really Well Controlled Lap and a very Focused Mind to Achieve such a Drive.

 

In Second Place was (Tobias Dauenhauer) in his Ford Mustang Hendriks Motorsport with a Lap Time Of 50.110 and an Average Speed Of 86.78mph. Really Well Done and a very Quick Driver and Car underneath Him.

 

In Third Place was (Justin Kunz ) in his Chevrolet Camaro DF1 Racing with A Lap Time Of 50.161. Very Fast and Consistent with the Top Three all Very Close and Ready to take on the Race and see who can Battle and Fight for a Victory.

 

An Exciting Qualifying Session for both Nascar-Pro and Euro Nascar-2 with Each set of Driver Showing the Speed Power and Machinery of the Great American State. Looking Forward To Seeing what Happens During The Race.

 

Pickup Trucks Championship

 

The Pickup Trucks Returned to Brands Hatch for Another High Speed Weekend of Flat Out Racing around the Indy Circuit. With Light Weight Chassis and Powerful Engines it was shaping up to be a very Large and Competitive Grid for Pickup Trucks.

 

In First Place Taking Pole Position and the Fastest Lap was (Reece Jones) in his Pick Up Truck 2000 with a Lap Time of 52.634 with an Average Speed of 82.61mph.

 

In Second Place was (George Turiccki) in his Pickup Truck 2000 with A Lap Time of 52.706mph and an average speed of 82.50mph.

 

In Third Place was (Mark Willis) in his Pickup Truck 2000 with A Lap Time of 52.976 and an Average Speed of 82.08mph.

 

Three Very Quick and Capable Drivers all Fighting for the Victory In Tomorrow's Race but who will be up to the challenge of Taking 1st Place and Winning. Only One Way To Find Out.

 

Speedfest Silhouettes

 

Formally Known as the Silhouettes the Super Silhouettes Brought with them some fast and impressive Space Frame Machinery to the track.

 

With Aero Packages and Light Weight Monacock Chassis these Monsters were going to be something Amazing to watch Race.

 

But First Lets See how Qualifying Shapes up.

 

In First Place Taking Pole and The Fastest Lap was (Ray Harris in his Ginetta G40r with a Lap Time of 50.564 and an Average speed of 86.00mph. Either Crazy or Insane I would Describe that Incredible Lap of Brands. Amazing Work.

 

In Second Place was (Malcom Blackman) in his Vauxhall Tigra with A Lap Time of 50.805 and an Average Speed of 85.59mph Another Crazy Quick and on the Edge Lap.

 

In Third Place was (Lewis Smith) in his Mercedes SLK with a Lap Time of 51.313 and an Average Speed of 84.74mph. Three Very Fast and Capable Drivers in this Qualifying Session.

 

Incredible Speed and Fast Reflex Driving From Each Driver out there. It will be Exciting to see who can bring home a Victory and push their Machinery past its Limits and into New Territory. Another Race I'm Looking Forward to Seeing.

 

A Brilliant End to the Days Qualifying and seeing all that Machinery out there was Fantastic. Congratulations to all of the Qualifiers who made the Top Three in Every Support Race. Looking Ford To Tomorrow and a Very Fierce Set Of Battles Thought the Day.

Austin City Limits 2025

 

Leica M6

TTArtisans 28mm f2.8

Kentmere 400 film

Developed in D76

WPT Alpha 8 Florida (S2) Day 1

Howard Finster, T - Born Valley Head, AL 1916-

died Rome, GA 2001

 

THER SHALL BE EARTH qUAKES, 1976, enamel on fiberboard, 30 x 29 5⁄8 in.

 

n 1976, after some four decades of preaching, Howard Finster responded to a vision in which God directed him to "paint sacred art." Finster believed that pictures would help people grasp the enormity of the Word of God. His painted sermons on life, death, salvation, and damnation eventually covered almost every inch of Paradise Garden, his four-acre art environment in Summerville, Georgia.

 

His concerns about a world of suffering and destruction drove Finster to create the artworks he called "signposts to salvation." In this triptych, he depicts trials encountered in the Bible's Book of Revelations, conveying his belief that no matter what problems loomed, God would protect and deliver the faithful.

 

Because Finster realized that his congregation did not remember his sermons even minutes after he had finished, he published religious songs and poetry in local newspapers in the 1930s and hosted a radio prayer show in the late 1930s and early 1940s. He claims God charged him to illustrate his religious visions in 1976 when "A warm feeling came over me to paint sacred art."

 

Finster began building his everchanging environmental sculpture, Paradise Garden, on swampy land behind his house in the early 1960s. Composed of walkways and constructions made from cast-off pieces of technology, the Garden assembles individual monuments to human inventors into an all-encompassing "Memorial to God." Much of the building material in the garden was accumulated from Finster's television and bicycle repair businesses and his twenty-one other trades.

____________________________________

 

"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.

 

During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.

 

What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.

 

It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.

 

Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.

 

It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.

 

But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.

 

There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.

 

This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.

 

From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.

 

This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.

 

Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.

 

That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.

 

Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.

 

Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.

 

In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.

 

By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."

 

www.artnews.com/art-news/reviews/smithsonian-american-art...

..

twitter.com/Memoire2cite Les 30 Glorieuses . com et la carte postale.De grandes barres d’immeubles, appelées les grands ensembles, sont le symbole de nos banlieues. Entrée Libre revient sur le phénomène de destruction de ces bâtiments qui reflètent aujourd’hui la misere www.youtube.com/watch?v=mCqHBP5SBiM twitter.com/Memoire2cite/status/1121877386491043840/photo... Avril 1993, 6 ans après l'implosion de la tour DEBUSSY des 4000, 30% seulement des travaux de rénovation ont été réalisés et le chômage frappe toujours 1/3 des hbts. C'est un échec. A Mantes la Jolie, 6 mois après la destruction des 4 tours du Val Fourré, www.youtube.com/watch?v=ta4kj05KJOM … Banlieue 89, Bacalan à Bordeaux 1986 - Un exemple de rénovation urbaine et réhabilitation de l'habitat dans un des quartiers de Bordeaux La Cité Claveau à BACALAN. A l'initiative du mouvementla video içi www.youtube.com/watch?v=IN0JtGBaA1o … L'assoçiation de ROLLAND CASTRO @ Le Plan Banlieue 89 - mode d'emploi - Archive INA - La video içi. TRANSFORMER LES PAYSAGES URBAINS AVEC UNE APPROCHE CULTURELLE www.youtube.com/watch?v=Aw-_f-bT2TQ … SNCF les EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi.

www.youtube.com/watch?v=lDEQOsdGjsg … Içi la DATAR en 1000 clichés missionphotodatar.cget.gouv.fr/accueil - Notre Paris, 1961, Réalisation : André Fontaine, Henri Gruel Les archives filmées de la cinémathèque du ministère de 1945 à nos jours içi www.dailymotion.com/video/xgis6v?playlist=x34ije

31 TOULOUSE - le Mirail 1962 réalisation : Mario Marret construction de la ville nouvelle Toulouse le Mirail, commentée par l'architecte urbaniste Georges Candilis le film www.dailymotion.com/video/xn4t4q?playlist=x34ije Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.Les films du MRU - Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije …

archipostcard.blogspot.com/search?updated-max=2009-02-13T... -Créteil.un couple à la niaiserie béate exalte les multiples bonheurs de la vie dans les new G.E. www.youtube.com/watch?v=FT1_abIteFE … La Ville bidon était un téléfilm d'1 heure intitulé La Décharge.Mais la censure de ces temps de présidence Pompidou en a interdit la diffusion télévisuelle - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - Hansjörg Schneider BAUNETZWOCHE 87 über Papiermoderne www.baunetz.de/meldungen/Meldungen_BAUNETZWOCHE_87_ueber_... … - ARCHITECTURE le blog de Claude LOTHIER içi leblogdeclaudelothier.blogspot.com/2006/ - - Le balnéaire en cartes postales autour de la collection de David Liaudet, et ses excellents commentaires.. www.dailymotion.com/video/x57d3b8 -Restaurants Jacques BOREL, Autoroute A 6, 1972 Canton d'AUXERRE youtu.be/LRNhNzgkUcY munchies.vice.com/fr/article/43a4kp/jacques-borel-lhomme-... … Celui qu'on appellera le « Napoléon du prêt-à-manger » se détourne d'ailleurs peu à peu des Wimpy, s'engueule avec la maison mère et fait péricliter la franchise ...

museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive

le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.

Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye

www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …

Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -

Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.

www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije l'industrie du bâtiment.

la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty

la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije Cardem les 60 ans de l'entreprise de démolition française tres prisée des bailleurs pour les 80, 90's (1956 - 2019) toute l'Histoire de l'entreprise içi www.youtube.com/watch?v=Yyf1XGvTZYs - 69 LYON & la Cardem pour la démolition de la barre 230 Quartier la Duchère le 2 juillet 2015, youtu.be/BSwidwLw0NA pic.twitter.com/5XgR8LY7At -34 Béziers - C'était Capendeguy le 27 janv 2008 En quelques secondes, 450 kg d'explosifs ont soufflé la barre HLM de 492 lgts, de 480 m, qui laissera derrière elle 65.000 tonnes de gravas. www.youtube.com/watch?v=rydT54QYX50 … … Les usines Peugeot - Sochaux Montbéliard. 100 ans d'histoire en video www.youtube.com/watch?v=X4w3CxXVAyY … - 42 LOIRE SAINT-ETIENNE MONTREYNAUD LA ZUP Souvenirs avec Mascovich & son clip "la tour de Montreynaud" www.youtube.com/watch?v=p7Zmwn224XE …

- Villeneuve-la-Garenne, La Caravelle est à mettre au crédit de Jean Dubuisson, l’un des architectes les plus en vue des années 1960, www.dailymotion.com/video/x1re3h5 via @Dailymotion - AMIENS les HLM C'était le 29 juillet 2010, à 11h02. En quelques secondes, cette tour d'habitation s'est effondrée, détruite par implosion. Construite en 1961, la tour avait été vidée de ses habitants quelques années auparavant. www.youtube.com/watch?v=ajz2xk5KBNo … … - Les habitants de Montreynaud parlent de leur quartier et de cette destruction entre nostalgie et soulagement içi en video www.dailymotion.com/video/xmiwfk - Les bâtiments de la région parisienne - Vidéo Ina.fr www.ina.fr/video/CAF96034508/les-batiments-de-la-region-p... … via @Inafr_officiel - Daprinski - George Michael (Plaisir de France remix) www.youtube.com/watch?v=sJeH-nzlj3I

immerssion dans le monde du logement social, l'univers des logements sociaux, des H.B.M au H.L.M - Retour sur l'histoire du logement collectif d'apres guerre - En Françe, sur l’ensemble du territoire avant, 4 millions d’immeubles étaient vétustes, dont 500.000 à démolir; au total 10% des logements étaient considérés comme insalubres et 40% réputés d’une qualité médiocre, et surpeuplés. C’est pour ces raisons que, à partir de 1954, le Ministre à la Reconstruction et au Logement évalue le besoin en logements à 2.000.660, devenant ainsi une priorité nationale. Quelques années plus tard à l’appel de l’Abbé Pierre, le journaliste Gilbert Mathieu, en avril 1957 publiait dans le quotidien Le Monde une série d’articles sur la situation dramatique du logement : Logement, notre honte et dénonçant le nombre réduit de logements et leur impitoyable état. Robert Doisneau, Banlieue après-guerre, 1943-1949 /Le mandat se veut triple : reconstruire le parc immobilier détruit durant les bombardements essentiellement du printemps/été 1944, faire face à l’essor démographique et enfin résorber l’habitat insalubre notamment les bidonvilles et les cités de transit. Une ambition qui paraît, dès le début, très élevée, associée à l’industrialisation progressive de la nation entre autre celle du secteur de la construction (voir le vidéo de l’INA du 17 juillet 1957 intitulée La crise du logement, un problème national. Cela dit, l’effort pour l’État français était d’une ampleur jamais vue ailleurs. La double nécessité de construire davantage et vite, est en partie la cause de la forme architecturale excentrique qui constituera les Grands Ensembles dans les banlieues françaises. Cinq caractéristiques permettent de mieux comprendre ce terme : la rupture avec le tissu urbain ancien, un minimum de mille logements, une forme collective (tours, barres) de quatre jusqu’à vingt niveaux, la conception d’appartements aménagés et équipés et enfin une gestion destinée pour la plupart à des bailleurs de logement social.

Pour la banlieue parisienne leur localisation s’est opérée majoritairement dans la périphérie, tandis que dans les autres cas, plus de la moitié a été construite dans le centre ville, le plus souvent à la limite des anciens faubourgs.

Architecture d’Aujourd’hui n° 46, 1953 p. 58-55

C’est le triomphe de l’urbanisme fonctionnel et rationaliste cher à Le Corbusier. Entre 1958 et 1973, cent quatre-vingt-quinze Zones à Urbaniser en Priorité (ZUP) sont créées, comprenant deux millions de logements, essentiellement de type populaire en Habitations à Loyer Modéré (HLM), mais pas exclusivement, remplaçant ainsi les anciennes Habitations à Bon Marché (HBM) crées en 1894. Selon le décret du 27 mars 1954 qui en fixe les conditions d’attribution, les bénéficiaires de la législation n’ont pas changé, ce sont toujours des « personnes peu fortunées vivant principalement de leur salaire », selon la loi Strauss de 1906. En 1953, tous les HLM voient leur surface maximale se réduire, en passant de 71 à 65 mètres carrés pour un quatre pièces. L’accès au logement des familles modestes se fera donc au détriment de la qualité et quantité de l’espace habité pour des familles nombreuses. À ce propos, le sociologue Thierry Oblet a bien montré comment se sont articulées les pensées des architectes et des ingénieurs modernistes, avec leur souci planificateur d’un État interventionniste[8] grâce à l’hégémonie du béton, de la ligne droite et de la standardisation de la construction.

Les exemples de cette architecture restent nombreux : de la Cité de 4000 (pour 4000 logements) à la Courneuve en Seine-Saint-Denis (93) aux logements de 15 étages aux balcons pétales, appelés « Chou-fleur » à Créteil en Val-de Marne (94) dessinés au début des années 70 par l’architecte Gérard Grandval. De la Cité des nuages à Nanterre dans les Hauts-de-Seine (92) à la Grande borne construite entre 1967 et 1971 sur le territoire des communes de Grigny et Viry-Châtillon, dans l’Essonne (91) en passant par la Noé à Chanteloup-les-Vignes dans le département des Yvelines (78) scénario du célèbre film La Haine[9] de Kassovits.

Récemment, plusieurs expositions photographiques se sont

concentrées sur cette nouvelle figure de l’urbanisme fonctionnaliste français de l’après-guerre. Par exemple Toit&Moi, 100 ans de logement social (2012), Les Grands ensembles 1960-2010 (2012) produite par l’école supérieure d’arts & médias de Caen/Cherbourg, selon un projet du Ministère de la Culture et de la Communication. Enfin l’exposition Photographie à l’œuvre, (2011-2012) d’Henri Salesse, photographe du service de l’inventaire du Ministère de la Reconstruction et de l’Urbanisme et Voyage en périphérie (2012) de Cyrus Cornut.

Il s’agissait là non seulement d’un progrès matériel, mais aussi démocratique, donnant ainsi à chaque citoyen, la possibilité d’accéder à son petit appartement doté de tous les conforts de l’époque. La recherche d’économie et de rapidité dans la conduite des chantiers portent à l’utilisation du béton comme matériel privilégié et à des plans architecturaux aussi simples que possible avec la réalisation de logements standardisés, dont les barres et les tours deviennent les figures principales : Au mitan des années cinquante, apparurent d’étranges formes urbaines. Des immeubles d’habitation de plus en plus longs et de plus en plus hauts, assemblés en blocs qui ne s’intégraient pas aux villes existantes. Ces blocs s’en différenciaient ostensiblement et parfois comme systématiquement, s’en isolaient. Ils semblaient faire ville à part. Surtout ils ne ressemblaient pas à ce qu’on avait l’habitude d’appeler ville. Et leur architecture aussi, qui était tellement déroutante. On les a nommés » grands ensembles. Cité de l’Abreuvoir, Bobigny (93), 2003 (Inventaire général du Patrimoine, Région Ile de France / Stéphane Asseline)

Bref, entre 1946 et 1975 le parc immobilier français passe de 12,7 millions à 21 millions de logements. Environ 8 millions de ceux-ci sont neufs, construits entre 1953-1975 – dont la moitié sous forme de grands ensembles – et près de 80 % des logements grâce à une aide de l’État avec des crédits publics. Le nombre de logements sociaux passe de moins de 500.000 à près de 3 millions, dont 43 % en région parisienne, où la demande est la plus forte[11]. Ce qui témoigne d’un effort énorme. Secrétariat d’État à la Reconstruction et au Logement, Supplément du logement en 1954, cité par Bachmann, C. Le Guennec, N., Violences urbaines…Op.cit, p.24. Alors que l’hiver 1954 est particulièrement rigoureux, l’abbé Pierre lance un appel en faveur des sans-logis et déshérités et organise des collectes de vêtements et de nourriture pour les plus démunis. Cela nous rappelle également que les inégalités sociales restaient particulièrement importantes à l’époque, malgré les débuts de la croissance économique, et que la crise du logement n’était pas encore complètement résolue. Danièle Voldman, La reconstruction des villes françaises de 1940 à 1954 : histoire d’une politique, Paris, L’Harmattan, 1997. Les Actualités françaises, La crise du logement, un problème national, 17 juillet, 1957, in fresques.ina.fr/…/la-crise-du-logement-un-probleme-n…, consulté le 20/02/2014. C’est l’urbaniste Marcel Rotival dans un numéro d’Architecture d’Aujourd’hui de juin 1935 (vol.1, n°6, juin 1935, p.57) qui propose pour la première fois cette terminologie pour désigner les Habitations à Bon Marché (HBM) et leur transformation en Habitations à Loyer Modéré (HLM), par la loi du 21 juillet 1951: « Nous espérons, un jour, sortir des villes comme Paris, non seulement par l’avenue des Champs Elysées, la seule réalisation de tenue sans laquelle Paris n’existerait pas, mais sortir par Belleville, par Charonne, par Bobigny, etc., et trouver harmonieusement disposés le long de larges autostrades, au milieu de grands espaces boisés, de parcs, de stades, de grandes cités claires, bien orientées, lumineusement éclairées par le soleil. » Largement reprise depuis les années 1950 dans le jargon administratif et public, elle apparaît pour la première fois dans un texte officiel qu’en 1973 avec la Circulaire Guichard, alors Ministre de l’Aménagement du territoire, de l’Equipement, du Logement et du tourisme. Celui-ci met un terme à la politique initiée après-guerre afin « d’empêcher la réalisation des formes d’urbanisation désignées généralement sous le nom de “grands ensembles”, peu conforme aux aspirations des habitants et sans justification économique sérieuse ». Paradoxalement, le terme de grands ensembles s’officialise donc au moment même où ils son mis en question. ZUP est un acronyme qui signifie Zone à Urbaniser en Priorité. Elles ont été créées par le décret N°58-1464 du 31 décembre 1958, afin de planifier et d’encadrer sur le territoire national, le développement urbain pour répondre à la carence de logements face à l’accroissement démographique et favoriser enfin la résorption de l’habitat insalubre. Oblet, Thierry, Gouverner la ville. Les voies urbaines de la démocratie moderne, Paris, PUF, 2003. En particulier par l’intermédiaire de la Société centrale de construction et de la Société centrale pour l’équipement du territoire, créées au milieu des années 1950 en tant que filiales de la Caisse des dépôts et consignations.

Kassovitz, Mathieu, La Haine, France, 1995.

Cornu, Marcel, Libérer la ville, Bruxelles, Casterman, 1977, p.60. Annie Fourcaut « Les banlieues populaires ont aussi une histoire », Projet 4/2007 (n° 299), pp. 7-15.

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...

Official Trailer - the Pruitt-Igoe Myth: an Urban History

www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc …

Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po …

DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..

passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document … …

+160 festejó su Octavo Aniversario. Más de 400 martes consecutivos e ininterrumpidos de bailar, gritar, saltar, hacer catarsis, purificarse de las toxinas y liberarse de las limitaciones del tiempo y del espacio. La Suite siempre está porque es un movimiento continuo…

 

Tuvimos a los invitados especiales desde Bristol, Inglaterra: TC y JAKES, acompañados por Bad Boy Orange, Dj Buey, Dj. Felipee, Luis Zerillo, Joker Sio y las visuales de Vj. Gi, repartidos en dos pistas.

 

La danza al Son del sublow, es la expresión del alma en movimiento y tiene una influencia poderosa ya que produce estados de éxtasis maravillosos. El drum & bass provoca un trance de felicidad y disfrute absoluto, experimentalo cada martes en +160

 

Fotos: Fede Weller (Calavera De Noche)

 

+160 Drum & Bass Suite

EVERY TUESDAY / TODOS LOS MARTES

@ Bahrein, Lavalle 345, Buenos Aires, ARG

www.mas160.com

FaceBook Group www.mas160.com/facebook

Austin City Limts // Enrique Fabela ©

@ Austin City Limits Iris 2014

Canon 5D Mark III, Canon 24-70mm f/2.8 L // Canon 70-200 f2.8 II L IS

Faculdade UNA

Fotos: Adelcio Ramos/PMC

 

Com o objetivo de ouvir e dialogar com usuários do Transporte Especial Sem Limite, pessoas com deficiência física ou mobilidade reduzida, a Prefeitura de Contagem realizou, sábado (8/10), no auditório da UNA Contagem, o 1º Encontro Coletivo de Gestão Democrática do Serviço de Transporte Especial Sem Limite.

Na abertura do evento, a superintendente de Políticas Públicas para as Pessoas com Deficiência, Karla Regina Lopes, disse que o evento é uma forma de garantir a gestão democrática do serviço e de apurar as necessidades dos usuários, por meio de sugestões, críticas e elogios, contribuindo, assim, para a melhoria e avanços do serviço na cidade.

O Programa Sem Limite realiza o transporte gratuito de pessoas com deficiência física ou mobilidade reduzida do município para escolas e tratamentos médicos, garantindo o direito de ir e vir, promovendo dignidade, inclusão e cidadania. Contagem é uma das únicas cidades mineiras que mantém este tipo de transporte no Brasil.

Presente ao evento, o vice-prefeito Ricardo Faria ressaltou o compromisso da Prefeitura com as políticas públicas inclusivas e inovadoras. “O aspecto holístico do Programa Sem Limite envolve várias secretarias. As pessoas tem várias necessidades. Além de ir ao médico, elas também precisam de ir ao cinema e ao parque. São políticas como estas que melhoram a qualidade de vida das pessoas”, afirmou.

O secretário de Direitos Humanos e Cidadania, Marcelo Lino, destacou que o Programa Sem Limite é fruto de uma ousadia da prefeita Marília Campos, que escolheu investir na pessoa com deficiência, para garantir o direito de todos irem à escola e ao médico. Nestes 15 anos do Programa, queremos pensar coletivamente para que possamos ser ainda mais eficientes”, disse.

A estudante de Sistemas de Informação, Luana Oliveira, 26 anos, usa o Transporte Especial desde os 11 anos de idade. Hoje ela já está na faculdade e continua usando o serviço. “O Sem Limite é muito importante para garantir a minha mobilidade, conforto e segurança, porque ele me pega na porta da faculdade e me deixa na porta de casa. Como eu estudo a noite, sem esta segurança seria muito difícil pra mim, e esta abertura para o diálogo é muito importante para melhorias”, opinou.

A dona de casa, Daiane Flávia, achou importante participar do evento. Ela tem uma filha que faz o uso do Transporte Especial, que considera essencial na sua vida. “O Sem Limite facilita totalmente a minha vida, sem ele eu não poderia levar a minha filha para fazer os tratamentos que ela precisa. O serviço é muito bom e necessário. Se pudesse ser ampliado, seria melhor ainda”, disse.

Também participaram do evento, o presidente da Autarquia Municipal de Trânsito e Transportes de Contagem- Transcon, Marco Antônio Silveira, e o representante da Cooperativa de Transporte Inclusivo, Vanjo Barcelos.

Programa Sem Limite

É uma política pública do município, promovida com recursos, exclusivamente, do município. Desde 2007, o serviço já beneficiou centenas de pessoas e, atualmente, conta com 392 usuários credenciados e 24 vans disponíveis, com capacidade para transportar até três cadeirantes e seus acompanhantes.

O transporte tem a gestão e execução em formato de responsabilidade intersetorial, envolvendo as secretarias municipais de Direitos Humanos e Cidadania; de Desenvolvimento Social, Trabalho e Segurança Alimentar; de Saúde e de Educação, além da Autarquia Municipal de Trânsito e de Transportes de Contagem – TransCon.

 

Austin City Limits 2025

 

Leica M6

TTArtisans 28mm f2.8

Kentmere 400 film

Developed in D76

American Speedfest 8 Returned to Brands Hatch for another Fantastic American themed weekend Featuring the likes of Euro Nascar Legends and even Angelo American Formula 5000's Racing this weekender event was shaping up to be a good one.

 

The First Day was mostly focused on Qualifying with many of the Races taking Place on the Sunday. Each of the Teams was both busy in the outer Paddock and the Pitlane getting their cars ready for a shakedown session in which they would have to Qualify to see who could be the Fastest and take Pole Position for each of the Races come Sunday.

 

Angelo American Formula 5000

 

The Formula 5000's made a Thunderous return to the Brands Hatch circuit, Built during a time where many Formula 1 cars from the likes of Lotus Williams and McLaren we using Ground Effect and pushing up the speeds of their cars.

 

Formula 5000's took speeds to a whole new level by using V8 Engines to power their cars which were found to be even faster than those Formula 1 cars of that era on the straights of different race tracks. Chevron B37's and McRae GM1'S were amongst the field and Qualifying looked to be very close indeed.

 

In First Place taking Pole Position and The Fastest Lap was (Neil Glover) in his Chevron B37 with a Lap Time of 47.039 with an average speed of 92.44mph. An Insanely Fast Lap Time for Brands Hatches Indy Circuit.

 

In Second Place was (Mark Campfield) in his Chevron B24 with A Lap Time Of 47.694 and an Average Speed of 91.17mph still Impressively quick for Chevron Power.

 

In Third Place was (Greg Thornton) in his Chevron B24 with A Lap Time Of 47.775 with an Average Speed of 91.02mph showing the power of the Chevron Engine through every turn.

 

A Tightly Packed Grid for Sundays Race and it looks like its a Chevron Front Row lockout but who's car will have the power to Triumph over the others? only time will tell.

 

Bernie's Sports And V8's

 

Bernie's V8's were up next and showcased a lot of Impressive V8 Powered Machinery on the grid. Talbot Sunbeams, Austin Healey's and even MGB GT V8 powered Machinery hitting the Track during Qualifying. Lets see what V8 Power can do and which Drivers managed to tame the Beasts and make it into the top three.

 

In First Place Taking Pole Position and the Fastest Lap was the Duo of (Elis Mar/Elis Mat) in their Talbot Sunbeam Lotus with a Lap Time of 54.533 and an Average speed of 79.74mph. Fast and Furious Driving on display once again.

 

In Second Place was (James Plant) in his Austin Healey 106 with a Lap Time of 54.964 and an Average Speed of 79.11mph. Very Quick and Consistent Laps seen from James behind the wheel too.

 

In Third Place was the Duo of (Can/Wilson) in their Aston Martin V8 Vantage with a lap time of 55.397 and an Average speed of 78.49mph. Showing just how much power and Grunt that Aston has.

 

Another Fantastic set of V8 Powered Machines on Display showing the true power of the American Built V8'S and how they changed the game in terms of Racing and Road Going Cars. Who will win the Race on Sunday. Will have to wait and see.

 

Legends Cars Championship

 

Referred to as the Little Pocket Rockets these small Looking Cars may not loo like they have anything Special to offer but just wait until you see what these little Wolves in Sheep's clothing can do once out on the Track.

 

Using Motorbike Engines of 1200cc they Really do show on Track just how lightweight and fast they are and Slip Streaming is commonly a way of being able to Achieve a Faster Lap time by using the Driver in fronts Slip Stream to aid in the Aerodynamics of the Car and Reduce Drag. Lets see what Happened during Qualifying Heat 2

 

In First Place Taking Pole and Setting The Fastest Lap was (Chris Dewey) in his Legend with a Lap Time Of 56.700 with an Average Speed of 76.69mph. Crazy Fast for Something so small and yet very Agile in Control.

 

In Second Place was (Stephen Whitelegg) in his Legend 34 Ford Coupe with a Lap Time of 56.740 and an Average Speed of 76.64mph. First And Second look to be very close together Thanks to the aids in Slip Streaming down the Brabham Straight to gain positions or Fastest Laps.

 

In Third Place was (Miles Rudman) in his Legend 34 Coupe with a Lap Time Of 56.878. Very Close between the Top three and it just goes to show how Important Slip Streaming is to Gain an Advantage in this Qualifying Session.

 

Exciting Stuff Ahead of The

Legends Races on Sunday where One of the Drivers will Win the Race and Take the Victory, Who Will it be? Only Time Will Tell.

 

Nascar Whelen Euro Series-Pro

 

The Main Highlight Event of the Day and the Nascar's with their Thunderous Powered V8 Engines Roared onto the Indy Circuit and with Two Formation Laps Completed to Warm Up the Tyres every car was released to Start Qualifying. Lets See How the Grid Will Shape Up.

 

In First Place to Take Pole and The Fastest Lap was (Alon Day) in his Chevrolet Camaro Caal Racing with a Lap Time of 48.903 and an Average Speed of 88.92mph. I wonder if Marty McFly and Dock Brown were part of their Race Team to Achieve that Impressive Lap Time? Non the Less Amazing Work by Alon Day.

 

In Second Place was (Loris Hezemans) in his Ford Mustang Hedrik's Motorsport) with a Lap Time of 49.000 and an Average Speed of 88.74mph. Another Fast and Consistent Lap From Loris showing the Balance Between Driver and Car.

 

In Third Place was (Nicolo Rocca) in his Chevrolet Camaro DF1 Racing) with A Lap Time of 49.292 and an Average Speed of 88.22mph. All Three Drivers seem to be very close in terms of Lap Times and this will make for some Exciting Racing Come Race Day.

 

Close and Competitive Racing in Nascar-Pro but who will have the Power to Push even Harder and take Home The Victory come Race Day. We will have to wait and See.

 

EuroNascar-2

 

Euro Nascar-2 is A a series of Slightly Lower Tuned Nascar's that Features as a Way of Getting Drivers ready to head to the Big Time Nascar Racing that takes Place at Daytona and Indianapolis.

 

Drivers must First Prove themselves worthy by Starting out from the Bottom and Only The Best Drivers in the World can make it into Nascar's Top Level Racing Teams.

 

Lets See how the Grid Lines up and see who managed to Qualify the Fastest and take Pole Position.

 

In First Place and Taking Pole Position and The Fastest Lap was (Advait DeoDHar) in his Ford Mustang Caal Racing with A Lap Time Of 49.918 and An Average Speed of 87.11mph. A Really Well Controlled Lap and a very Focused Mind to Achieve such a Drive.

 

In Second Place was (Tobias Dauenhauer) in his Ford Mustang Hendriks Motorsport with a Lap Time Of 50.110 and an Average Speed Of 86.78mph. Really Well Done and a very Quick Driver and Car underneath Him.

 

In Third Place was (Justin Kunz ) in his Chevrolet Camaro DF1 Racing with A Lap Time Of 50.161. Very Fast and Consistent with the Top Three all Very Close and Ready to take on the Race and see who can Battle and Fight for a Victory.

 

An Exciting Qualifying Session for both Nascar-Pro and Euro Nascar-2 with Each set of Driver Showing the Speed Power and Machinery of the Great American State. Looking Forward To Seeing what Happens During The Race.

 

Pickup Trucks Championship

 

The Pickup Trucks Returned to Brands Hatch for Another High Speed Weekend of Flat Out Racing around the Indy Circuit. With Light Weight Chassis and Powerful Engines it was shaping up to be a very Large and Competitive Grid for Pickup Trucks.

 

In First Place Taking Pole Position and the Fastest Lap was (Reece Jones) in his Pick Up Truck 2000 with a Lap Time of 52.634 with an Average Speed of 82.61mph.

 

In Second Place was (George Turiccki) in his Pickup Truck 2000 with A Lap Time of 52.706mph and an average speed of 82.50mph.

 

In Third Place was (Mark Willis) in his Pickup Truck 2000 with A Lap Time of 52.976 and an Average Speed of 82.08mph.

 

Three Very Quick and Capable Drivers all Fighting for the Victory In Tomorrow's Race but who will be up to the challenge of Taking 1st Place and Winning. Only One Way To Find Out.

 

Speedfest Silhouettes

 

Formally Known as the Silhouettes the Super Silhouettes Brought with them some fast and impressive Space Frame Machinery to the track.

 

With Aero Packages and Light Weight Monacock Chassis these Monsters were going to be something Amazing to watch Race.

 

But First Lets See how Qualifying Shapes up.

 

In First Place Taking Pole and The Fastest Lap was (Ray Harris in his Ginetta G40r with a Lap Time of 50.564 and an Average speed of 86.00mph. Either Crazy or Insane I would Describe that Incredible Lap of Brands. Amazing Work.

 

In Second Place was (Malcom Blackman) in his Vauxhall Tigra with A Lap Time of 50.805 and an Average Speed of 85.59mph Another Crazy Quick and on the Edge Lap.

 

In Third Place was (Lewis Smith) in his Mercedes SLK with a Lap Time of 51.313 and an Average Speed of 84.74mph. Three Very Fast and Capable Drivers in this Qualifying Session.

 

Incredible Speed and Fast Reflex Driving From Each Driver out there. It will be Exciting to see who can bring home a Victory and push their Machinery past its Limits and into New Territory. Another Race I'm Looking Forward to Seeing.

 

A Brilliant End to the Days Qualifying and seeing all that Machinery out there was Fantastic. Congratulations to all of the Qualifiers who made the Top Three in Every Support Race. Looking Ford To Tomorrow and a Very Fierce Set Of Battles Thought the Day.

E500 + vivitar macro 1:2.8 55mm nikkon mount + 20mm tube

Uma edição limitada de 60 cajóns artesanais de alta qualidade acústica e estética, com acabamento esmerado e funcionalidades sofisticadas, como o sistema de esteira com 8 cordas que garante uma variedade de timbres e repiques de caixa, versátil para ser usado em qualquer estilo musical.

www.twitter.com/Memoire2cite -😊 Levittown: The Construction and Systematic Execution of Discrimination in Modern Suburbia (NHD 2018) www.youtube.com/watch?v=9_KrD6PkX0M … … 17000 maisons en 2 ans un record dans l histoire des annees 60 @ la grande Acceleration @ Un point de bascule avec le changement de regime d'existence les 30 glorieuses americaine @ la constructions de masse.., ici LEVITTOWN a LONGISLAND, 17000 pavillons en 2 ans un Record...Yes this is it my Our Home Town: Levittown, PA (1954) - www.youtube.com/watch?v=9_KrD6PkX0M les 30 glorieuses atomique @ le projet PLOWSHARE de 1957 LE FILM ICI www.youtube.com/watch?v=kpjFU_kBaBE … STRAUSS le promoteur du nucleaire Americain les 30 glorieuses Américaine @ quand celles çi ratent le coche sur le developpement solaire... les occasions manquées de soigner notre humanité..www.dailymotion.com/video/xuxrii?playlist=x34ije Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt

 

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...

 

www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc … Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po …

 

DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) - Annie Fourcaut « Les banlieues populaires ont aussi une histoire », Projet 4/2007 (n° 299), pp. 7-15.

 

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...

 

Official Trailer - the Pruitt-Igoe Myth: an Urban History

 

www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc …

 

Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po …

 

DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..

 

passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document … explosion des tours Gauguin Destruction par implosion des Tours Gauguin (quartier de La Bastide) de Limoges le dimanche 28 novembre 2010 à 11 heures. Limoges 28/11/2010 youtu.be/cd0ln4Nqqbs … 42 Roanne - c'etait le 11 novembre 2013 - Souvenirs des HLM quartier du Parc... Après presque 45 minutes de retard, les trois dernières tours Chanteclair sont tombées. Le tir prévu etait à 11h14 La vidéo içi www.leprogres.fr/loire/2013/11/01/roanne-les-3-dernieres-... … … www.leprogres.fr/loire/2013/11/01/roanne-une-vingtaine-de... …Besançon (25) - la Nouvelle cité d'HLM La Planoise en 1960 avec la video des premiers habitants de Planoise en juin 1968 www.youtube.com/watch?v=LVKAkJSsCGk … … … archive INA … BEGIN Japanology - les utopies de l'extreme et Kenzo Tange l'architecte japonnais - la video içi www.youtube.com/watch?v=ZlAOtYFE4GM … 71 les Prés Saint-Jean a Chalon-sur-Saône - L'Implosion des 3 tours HLM de 15 etages le 5 décembre 2009 par FERRARI DEMOLITION içi www.youtube.com/watch?v=oDsqOjQJS8E … … … & là www.youtube.com/watch?v=ARQYQLORBBE … 21 DIJON Cité des Grésilles - c'etait l'implosion de la residençe HLM Paul Bur le 19 02 2010 www.youtube.com/watch?v=fAEuaq5mivM … … & la www.youtube.com/watch?v=mTUm-mky-sw … 59 - la technique dite du basculement - Destruction de l'immeuble Rhone a Lille avec pleins de ralentit içi video-streaming.orange.fr/actu-politique/destruction-de-l... … 21 Chenôve (le GRAND DIJON) - Implosion de la barre François RUDE le 3 nov 2010 (top video !!) www.youtube.com/watch?v=ClmeXzo3r5A … …Quand l histoire çe repete et çe repetera autant de fois que nesçessaire quand on voie la quantitée de barres 60 70's...dans le collimateur de l'ANRU2.. 77 MEAUX 3 grandes tours..& puis s'en vont.. Démolition Pierre Collinet Batiment Genêt, Hortensia et Iris - Reportage Journal le 26 juin 2011 youtu.be/fpPcaC2wRIc 71 CHALON SUR SAONE C'etait les Prés Saint Jean le 05 décembre 2009 , pour une implosion hlm hors du commun !!! Caméra mise à même le sol , à une vingtaine de mètres de la première tour .... www.youtube.com/watch?v=kVlC9rYU-gs … 78 les MUREAUX le 3 octobre 2010 ,Les dernières minutes de la Tour Molière aux Mureaux (Yvelines) et sa démolition par semi-foudroyage, filmés du quartier de la Vigne Blanche. www.youtube.com/watch?v=u2FDMxrLHcw …71 MACON LES GRANDES PERRIERES C'etait un 30 juin 2013, avec l'implosion de la barre HLM des Perrières par GINGER www.youtube.com/watch?v=EzYwTcCGUGA … … une video exceptionnelle ! c'etait Le Norfolk Court un ensemble résidentiel, le Norfolk Court, construit dans les années 1970, a été démoli à Glasgow en Ecosse le 9 mai 2016 . Il rate la démolition d'un immeuble au tout dernier moment LES PASSAGERS DU BUS EN PROFITE A SA PLAçE lol www.20minutes.fr/tv/t-as-vu/237077-il-rate-la-demolition-... … 69 LYON Quand La Duchère disait adieu à sa barre 230 le jeudi 2 juillet 2015 www.youtube.com/watch?v=BSwidwLw0NA … www.youtube.com/watch?v=BdLjUAK1oUk … www.youtube.com/watch?v=-DZ5RSLpYrM …Avenir Deconstruction : Foudroyage de 3 barres HLM - VAULX-EN-VELIN (69) www.youtube.com/watch?v=-E02NUMqDno Démolition du quartier Bachelard à Vaulx-en-Velin www.youtube.com/watch?v=DSAEBIYYpXY Démolition des tours du Pré de l'Herpe (Vaulx-en-Velin) www.youtube.com/watch?v=fG5sD1G-QgU REPORTAGE - En sept secondes, un ensemble de 407 appartements à Vaulx-en-Velin a été détruit à l'explosif dans le cadre du renouvellement urbain... www.youtube.com/watch?v=Js6w9bnUuRM www.youtube.com/watch?v=MCj5D1NhxhI - St-QUENTIN LA ZUP (scic)- NOUMEA - NOUVELLE CALEDONIE historique de la cité Saint-Quentin içi www.agence-concept.com/savoir-faire/sic/

 

www.youtube.com/watch?v=_Gt6STiH_pM …[VIDEOS] Trois tours de la cité des Indes de Sartrouville ont été démolies dans le cadre du plan de rénovation urbaine du quartier Mille quatre cent soixante-deux détonateurs, 312 kilos le 06/06/2010 à 11 heures. la belle video içi www.youtube.com/watch?v=fY1B07GWyDE VIGNEUX-SUR-SEINE, VOTRE HISTOIRE, VOS SOUVENIRS. içi www.youtube.com/watch?v=8o_Ke26mB48 … , Film des Tours et du quartier de la Croix Blanche, de 1966 à 1968. Les Tours en train de finir de se construire, ainsi que le centre commerciale. Destruction de la Tour 21, pour construire de nouveaux HLM...Quatre murs et un toit 1953 Scenario et réalisation Pierre Jallaud MRU (ministère de la reconstruction et de l'urbanisme) www.dailymotion.com/video/xk6xui twitter.com/Memoire2cite/status/1121877386491043840/photo... Avril 1993, 6 ans après l'implosion de la tour DEBUSSY des 4000, 30% seulement des travaux de rénovation ont été réalisés et le chômage frappe toujours 1/3 des hbts. C'est un échec. A Mantes la Jolie, 6 mois après la destruction des 4 tours du Val Fourré, www.youtube.com/watch?v=ta4kj05KJOM … Banlieue 89, Bacalan à Bordeaux 1986 - Un exemple de rénovation urbaine et réhabilitation de l'habitat dans un des quartiers de Bordeaux La Cité Claveau à BACALAN. A l'initiative du mouvementla video içi www.youtube.com/watch?v=IN0JtGBaA1o … L'assoçiation de ROLLAND CASTRO @ Le Plan Banlieue 89 - mode d'emploi - Archive INA - La video içi. TRANSFORMER LES PAYSAGES URBAINS AVEC UNE APPROCHE CULTURELLE www.youtube.com/watch?v=Aw-_f-bT2TQ … SNCF les EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi.

 

www.youtube.com/watch?v=lDEQOsdGjsg … Içi la DATAR en 1000 clichés missionphotodatar.cget.gouv.fr/accueil - Notre Paris, 1961, Réalisation : André Fontaine, Henri Gruel Les archives filmées de la cinémathèque du ministère de 1945 à nos jours içi www.dailymotion.com/video/xgis6v?playlist=x34ije

 

31 TOULOUSE - le Mirail 1962 réalisation : Mario Marret construction de la ville nouvelle Toulouse le Mirail, commentée par l'architecte urbaniste Georges Candilis le film www.dailymotion.com/video/xn4t4q?playlist=x34ije Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.Les films du MRU - Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije Maison de Banlieue et de l'Architecture 41 rue Geneviève Anthonioz De Gaulle, Athis-Mons Mercredi et samedi de 14h à 18h, sauf les 20avril, 1er et 8 mai, 1er juin, 2 et 9 novembre. www.portesessonne.fr/Institution/Toute-l-actu/Sortir-et-D... …

Içi le LOIRET AVEC MONTARGIS @ LES HLM www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ … Entre capitalisme et mondialisation imposés par les grandes puissances, un décryptage du basculement dans l’anthropocène de la nature par l’homme.La grande accélération qui fait définitivement basculé le monde dans l'anthropocene(Ère de l'Homme) s'explique pas seulement par la croissançe démographique.. mais par l'incroyable dynamisme des sciençes des techniques, et des talents des Entreprises à vendre leurs produits..les 30 Glorieuses Américaine @ le climatiseur fait son apparition... la promesse de la Maison éléctrique, invite à un confort nouveau...il ne s agissait plus de chauffer les maisons , mais etre capable de les refroidir... www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ …çe pour que le chauffage,la climatisation et le tout electrique devienne la norme dans le monde, les Industriels de l'elec imposent aux lotissements, le raccordement a l electricite, via des deals avec le BTP, ils signent ainssi la mort de la maison solaire :( les 30 Glorieuses & l'arrivée du Confort Electrique... les industriels de l 'éléctricité çe vendent en inventeur du Futur font barrage a des tas d'autres idees comme la maison tout solaire qui aurai pu avoir toutes ses chances... "When you live , electrik me" veux tout dire ..

… les 30 glorieuses Américaine @ quand celles çi ratent le coche sur la Maison Solaire... www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ …Quelque 1 400 milliards de tonnes de CO2 sont aujourd’hui prisonnières de la basse atmosphère. Réchauffement climatique, déforestation, inondations, épuisement des ressources, pollutions, déchets radioactifs.…De la révolution industrielle à aujourd’hui, un décryptage minutieux de la course au développement qui a marqué le point de départ de l’ère de l'anthropocène (ou l'ère de l'Homme) et de la déterioration continue de la planète @ le film içi www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ …

 

…L'homme a mangé la Terre _ 1960 les 30 Glorieuses dans le plastique @ l'Alathon ,le Delrin,le Lucite,le Teflon , les Molécules,la Grande distribution & les hypermarchés,le salon de l 'auto,les arts ménagers,la consommation de masse alimente encore plus fortement les emissions Co2 De la révolution industrielle à aujourd’hui, un décryptage minutieux de la course au développement qui a marqué le point de départ de l’ère de l'anthropocène (ou l'ère de l'Homme) et de la déterioration continue de la planète.

Quelque 1 400 milliards de tonnes de CO2 sont aujourd’hui prisonnières de la basse atmosphère. Réchauffement climatique, déforestation, inondations, épuisement des ressources, pollutions, déchets radioactifs... : en deux siècles, la course au progrès et à la croissance a durablement altéré la planète, la crise environnementale se doublant d’une rupture géologique, avec l’avènement de l’ère anthropocène. Portée par l’exploitation des énergies fossiles – du charbon de la révolution industrielle en Angleterre au tout-pétrole de la domination économique des États-Unis –, l’industrialisation et ses corollaires, taylorisme et colonialisme, entraînent une exponentielle production de masse. Un processus qu’accélère la Première Guerre mondiale, les firmes chimiques mobilisées pour tuer l’ennemi se reconvertissant dans la destruction du vivant avec les herbicides, insecticides et fertilisants de l’agriculture intensive. Alors que l’urbanisation s’étend, la voiture, qui sonne le glas du tramway, se généralise, et l’Amérique s’inspire du modèle autoroutier nazi. La Seconde Guerre mondiale engendre une nouvelle organisation du travail, laquelle devient la norme, et annonce l’ère nucléaire de la guerre froide. Dans sa démesure, l’homme rêve déjà d’usages civils de l’atome (y compris pour l’abattement de montagnes et la dissolution des calottes glaciaires !). Le plastique et le béton deviennent les piliers de la consommation de masse, dévoreuse de matières premières et antidote à la contestation sociale, jusqu’à la révolution numérique.

Liaisons dangereuses

En balayant, avec de formidables archives issues du monde entier, deux siècles de progrès jusqu’à l’ère du big data, le film remonte aux sources de la crise écologique, en interrogeant avec précision les enjeux scientifiques, économiques et politiques qui y ont conduit. Fourmillant d’informations, il éclaire l’histoire de cette marche folle, et les liaisons dangereuses entre industries militaire et civile. Entre capitalisme et mondialisation imposés par les grandes puissances, un décryptage passionnant du basculement dans l’anthropocène, funeste asservissement de la nature par l’homme.

Saint-Étienne Métropole labellisée « Bibliothèque Numérique de Référence » ! La plus ancienne cinémathèque régionale de france à désormais son site web ! Programmation, ateliers pédagogiques et visionnage en ligne ! Le lien direct vers le film : cinematheque.saint-etienne.fr/Default/doc/OAI_1/oai-cse.d... … 🎥@Cinematheque42 ▶ içi MONTREYNAUD cinematheque.saint-etienne.fr/Default/doc/OAI_1/oai-cse.d... - Içi

LA COTONNE MONTFERRE cinematheque.saint-etienne.fr/Default/doc/OAI_1/oai-cse.d... bit.ly/2KK0n1D - 69 Vénissieux 1984 Images des Minguettes dans le clip ORIGINAL Envole moi de jean jacques Goldman la V.O. là www.facebook.com/icivenissieux/videos/2042888055963468/ … & clip officiel içi www.youtube.com/watch?v=oltptNDHocw … - Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. Structure Couleurs d'une cité provençale en 1975 extrait du film Bâtir mieux plus vite et moins cher @ le BTP en 1975, l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant...Une nouvelle cité provençale ... dai.ly/xyjudq Jacques Tati & la villa Arpel @ le film "mon Oncle"

www.ina.fr/video/R09119655 TURQUIE - Cette ville fantôme a pourrait servir de tournage à un film d'horreur. La commune de Mudurnu, au nord de la Turquie, compte des centaines de répliques de châteaux français tous à l'abandon www.youtube.com/watch?v=qGML4Ej7muM … www.youtube.com/watch?v=U8cFGOnxns4 … Démolition Tour DEF mercredi 23 juin 2010 - Cité Balzac Création artistique autour de la démolition d'un bâtiment. Ce film a été réalisé par les équipes de Plug N' Prod. www.youtube.com/watch?v=L9A_lUN1TPU … 42 - SAINT-ETIENNE LOIRE - Le temps de l'urbanisme sur la Loire, en 1962, les vues des HLM de RHONE ALPES de PARIS & plus... en FILM içi www.dailymotion.com/video/xgj2zz Réalisation : Philippe Brunet

Saint-Etienne l' Extension Marandiniere 1957-59 architecte Jean Farat 42 St-Etienne LOIRE - la Marandiniere les espaces verts @ les 30 G & Jacques SIMON - Il crée la revue Espaces verts en 1968, l’anime jusqu’en 1982, publie des cahiers spéciaux dédiés à « l’Aménagement des espaces libres ». www.dailymotion.com/video/xgj74q LE FILM 42 - Le temps de l'urbanisme sur la Loire, 1962, le FILM içi www.dailymotion.com/video/xgj2zz Réalisation : Philippe Brunet archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive

le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije ,Saint-Étienne Métropole labellisée « Bibliothèque Numérique de Référence » ! La plus ancienne cinémathèque régionale de france à désormais son site web ! Programmation, ateliers pédagogiques et visionnage en ligne ! ▶ bit.ly/2KK0n1D la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.

Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye

www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …

Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -

Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.

www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.

la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty

la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes

Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945

Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transportsLieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695... Mémoire2cité Mémoire2Ville Mémoire de l'Habitat,içi la page listant mes 43 albums photos disponibles, çe x 1000 pour chacuns d'entre eux ..Merci aux 5859 followers qui porte une attention particuliere à nos quartiers..

la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty

la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes

Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945

Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transportsLieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruit

The No Limits Bike Racing Championship made its formal Return to the World Famous Brands Hatch Grand Prix Circuit for a Very Special 8 Hour Endurance Race.

 

Each and Every Team Had a selection of High Powered Racing Machinery that would along with the Rider take on the Might of Brands Hatches' Grand Prix Circuit for a Gruelling 8 Hours Straight.

 

While Some Teams had as many as Four Riders to make the job a Little Bit Easier other Teams Had decided to go with just Two Riders for 4 Hours Each knowing they Had the Skills and Determination to Keep Racing Hard.

 

The Championship was in is Last Race of the Season here at Brands and Whoever Won this Final Event would take the No Limits Bike Racing Championship Crown.

 

Qualifying was up First and setting the Pace at the Top of the Timings was (Andelle Leathers / RatMally Graphic) on their Kawasaki 998/Kawasaki 1000 Racing Bikes with an Incredible Time of 1.31.846 and a Top Speed of 95.37 to take Pole at The Start of the Race.

 

In Second Place was (Delkevic Racing) Kawasaki 1000/BMW 1000/Kawasaki 1000 Yamaha 1000 Racing Bikes with a Lap Time of 1.31.784 and a Top Speed of 95.34mph.

 

In Third Place was (Earnshaw's Motorcycles) BMW 1000/BMW 1000 Racing Bikes with A Lap Time of 1.32.099 and an Top Speed of 95.11mph.

 

With Qualifying Over and a 11:46am Start Fast Approaching all of the Riders to head out for the First 2 Hours. Just like Old School Le Mans the Riders all Lined Up on the Opposite Side of the Pitlane with their Respective Teams Holding onto the Bikes Ready for them to Blast off into the Distance around the Circuit.

 

A Loud Bang from the Calcian Signalled the Start of an 8 Hour Endurance Race and each Rider Ran Towards their Bikes Fired them Up and Set off onto the Race Track.

 

During the First Hour All Riders Made it through the First Opening Laps without any Problems and already many of them were getting up to Speed while some other Riders Preferred to nurse their Machinery for the First Hour to Avoid anything Breaking or Failing on thease High Powered Machines.

 

As Hour two Approached Everyone was still going strong and The Riders were Each Getting into a Really Good Rhythm of the Grand Prix circuit while other Teams had opted to Head to the pits to swap Riders and Give themselves more of a chance to take Victory with a selection of different Talents and Bikes available.

 

The Start of Hour Three saw a lot of Different Battles Going on thought the field and on the Back Straight there was some Close Wheel to Wheel Action Between Every Rider traveling at Speeds close to Nearly 100mph. Some Riders were Pushing so Hard that Even their Front Wheels Rose into the Air Making for some Epic and Thrilling Moments. An Overtake by Rider Number 97 on 36 was the Highlight so Far.

 

Hour Four and Still Each Rider was not Giving Up on the Chance of Victory with Half of the Endurance Race Completed by Now it was Time for Another Rider Change and with Many Teams Heading for the Pits Once Again Each New Rider Ventured Out onto the Brands Hatch GP Circuit it Beautiful Sunlit Conditions Although thease Must Have Been Playing Havoc with the Visibility for the Riders. Non the Less After Just One Retirement Earlier Due to an Engine Fire and a Marshall that should Have Really Been More Prepared. the Remaining Riders Soldered on.

 

The Fifth Hour was now Upon them and after a Very Hectic and Fast set of Laps Earlier Many Riders were setting down into their Positions to make sure the Bike they were on would Survive to the End. Druids was a Place to witness some Incredible Overtakes During this Time with the Light Levels Lowering and The Riders Really Looking like they were Pushing Hard and Encouraging their Machines to solder onto Victory.

 

Hour Six and with the Light Levels Now Falling even Lower it looked like this Endurance Race would be Ending in Nearly Dark Conditions as the Rider Kept on Going. The Few Retirement's Earlier on during Hour 2 and 3 were now just a Memory in the Surviving Riders Minds who all had One Goal in Mind. Get This Bike to the End of The Race.

 

Hour Seven and by now the Light was Nearly all But Gone with the Last Rays of Sunshine Disappearing Entirely from the Tops of Druids and yet Despite this now disadvantage i terms of Having a lot less light The Riders Still Continued to Push Hard and Fight their was To Victory in the Closing Stages as the Race Reached its Climax.

 

The Final Hour was Finally here and Every Rider who Had Been Concentrating Hard all Day was Now in a Position to Push Hard for that Final Hour of Glory that would mean the Difference Between either a Race Victory or a Race Loss. As The Minuets Slowly Ticked Down and The Last Light of Day Had been Long Extinguished from the Circuit. it was the Team of (Delkevic Racing's Liam Marchant / Gary Johnson / James Edwards and Luke Scott who took a Resounding Victory after 232 Laps and a Gruelling 8 Hour's of Racing 2 For Each of The Riders. Congratulations Delkevic Racing an Incredible Achievement.

 

In Second Place was The Team of (Earnshaw's Motorcycles Jonathan Lodge and James Lodge) after 232 Laps and 4 Hour's Between Them a Super Effort and Very Well Deserved Second Place Battle Through some Very Tough Competitors.

 

In Third Place was (Josh Daley Racing/RC Express by Dafabet Josh Daley and Rob Hodson) after a Very Hard and Gruelling 231 Laps in the Seat of Their Racing Bikes. Amazing Work Josh Daley Racing Incredible Ride and a Very Well Deserved Third Place.

 

An Exceptional Day of Endurance Racing from the No Limits Bike Racing Championship with Delkevic Racing's Liam Marchant / Gary Johnson / James Edwards and Luke Scott Taking The Final Victory of the Season with Datasys Racing Mark Daines / Jeremy Watson / Johnny Panter and Joe Higham taking The Championship for 2021.

 

A Big Congratulations to all of the Riders who took Part in this Event in my Opinion you Made everyone who Races in the Bennet's British Super Bike Championship look like Amateurs. You Guys are the Real Deal and am Really Looking forward to Watching this Epic Race all over Again Next Year. Until Then Keep Racing and Never Give Up Hope of One Day Standing on the Top Step of the Podium.

      

Austin City Limits 2025

 

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The No Limits Bike Racing Championship made its formal Return to the World Famous Brands Hatch Grand Prix Circuit for a Very Special 8 Hour Endurance Race.

 

Each and Every Team Had a selection of High Powered Racing Machinery that would along with the Rider take on the Might of Brands Hatches' Grand Prix Circuit for a Gruelling 8 Hours Straight.

 

While Some Teams had as many as Four Riders to make the job a Little Bit Easier other Teams Had decided to go with just Two Riders for 4 Hours Each knowing they Had the Skills and Determination to Keep Racing Hard.

 

The Championship was in is Last Race of the Season here at Brands and Whoever Won this Final Event would take the No Limits Bike Racing Championship Crown.

 

Qualifying was up First and setting the Pace at the Top of the Timings was (Andelle Leathers / RatMally Graphic) on their Kawasaki 998/Kawasaki 1000 Racing Bikes with an Incredible Time of 1.31.846 and a Top Speed of 95.37 to take Pole at The Start of the Race.

 

In Second Place was (Delkevic Racing) Kawasaki 1000/BMW 1000/Kawasaki 1000 Yamaha 1000 Racing Bikes with a Lap Time of 1.31.784 and a Top Speed of 95.34mph.

 

In Third Place was (Earnshaw's Motorcycles) BMW 1000/BMW 1000 Racing Bikes with A Lap Time of 1.32.099 and an Top Speed of 95.11mph.

 

With Qualifying Over and a 11:46am Start Fast Approaching all of the Riders to head out for the First 2 Hours. Just like Old School Le Mans the Riders all Lined Up on the Opposite Side of the Pitlane with their Respective Teams Holding onto the Bikes Ready for them to Blast off into the Distance around the Circuit.

 

A Loud Bang from the Calcian Signalled the Start of an 8 Hour Endurance Race and each Rider Ran Towards their Bikes Fired them Up and Set off onto the Race Track.

 

During the First Hour All Riders Made it through the First Opening Laps without any Problems and already many of them were getting up to Speed while some other Riders Preferred to nurse their Machinery for the First Hour to Avoid anything Breaking or Failing on thease High Powered Machines.

 

As Hour two Approached Everyone was still going strong and The Riders were Each Getting into a Really Good Rhythm of the Grand Prix circuit while other Teams had opted to Head to the pits to swap Riders and Give themselves more of a chance to take Victory with a selection of different Talents and Bikes available.

 

The Start of Hour Three saw a lot of Different Battles Going on thought the field and on the Back Straight there was some Close Wheel to Wheel Action Between Every Rider traveling at Speeds close to Nearly 100mph. Some Riders were Pushing so Hard that Even their Front Wheels Rose into the Air Making for some Epic and Thrilling Moments. An Overtake by Rider Number 97 on 36 was the Highlight so Far.

 

Hour Four and Still Each Rider was not Giving Up on the Chance of Victory with Half of the Endurance Race Completed by Now it was Time for Another Rider Change and with Many Teams Heading for the Pits Once Again Each New Rider Ventured Out onto the Brands Hatch GP Circuit it Beautiful Sunlit Conditions Although thease Must Have Been Playing Havoc with the Visibility for the Riders. Non the Less After Just One Retirement Earlier Due to an Engine Fire and a Marshall that should Have Really Been More Prepared. the Remaining Riders Soldered on.

 

The Fifth Hour was now Upon them and after a Very Hectic and Fast set of Laps Earlier Many Riders were setting down into their Positions to make sure the Bike they were on would Survive to the End. Druids was a Place to witness some Incredible Overtakes During this Time with the Light Levels Lowering and The Riders Really Looking like they were Pushing Hard and Encouraging their Machines to solder onto Victory.

 

Hour Six and with the Light Levels Now Falling even Lower it looked like this Endurance Race would be Ending in Nearly Dark Conditions as the Rider Kept on Going. The Few Retirement's Earlier on during Hour 2 and 3 were now just a Memory in the Surviving Riders Minds who all had One Goal in Mind. Get This Bike to the End of The Race.

 

Hour Seven and by now the Light was Nearly all But Gone with the Last Rays of Sunshine Disappearing Entirely from the Tops of Druids and yet Despite this now disadvantage i terms of Having a lot less light The Riders Still Continued to Push Hard and Fight their was To Victory in the Closing Stages as the Race Reached its Climax.

 

The Final Hour was Finally here and Every Rider who Had Been Concentrating Hard all Day was Now in a Position to Push Hard for that Final Hour of Glory that would mean the Difference Between either a Race Victory or a Race Loss. As The Minuets Slowly Ticked Down and The Last Light of Day Had been Long Extinguished from the Circuit. it was the Team of (Delkevic Racing's Liam Marchant / Gary Johnson / James Edwards and Luke Scott who took a Resounding Victory after 232 Laps and a Gruelling 8 Hour's of Racing 2 For Each of The Riders. Congratulations Delkevic Racing an Incredible Achievement.

 

In Second Place was The Team of (Earnshaw's Motorcycles Jonathan Lodge and James Lodge) after 232 Laps and 4 Hour's Between Them a Super Effort and Very Well Deserved Second Place Battle Through some Very Tough Competitors.

 

In Third Place was (Josh Daley Racing/RC Express by Dafabet Josh Daley and Rob Hodson) after a Very Hard and Gruelling 231 Laps in the Seat of Their Racing Bikes. Amazing Work Josh Daley Racing Incredible Ride and a Very Well Deserved Third Place.

 

An Exceptional Day of Endurance Racing from the No Limits Bike Racing Championship with Delkevic Racing's Liam Marchant / Gary Johnson / James Edwards and Luke Scott Taking The Final Victory of the Season with Datasys Racing Mark Daines / Jeremy Watson / Johnny Panter and Joe Higham taking The Championship for 2021.

 

A Big Congratulations to all of the Riders who took Part in this Event in my Opinion you Made everyone who Races in the Bennet's British Super Bike Championship look like Amateurs. You Guys are the Real Deal and am Really Looking forward to Watching this Epic Race all over Again Next Year. Until Then Keep Racing and Never Give Up Hope of One Day Standing on the Top Step of the Podium.