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In June 2020, after experiencing a devastating spring due to COVID, New York State announced that certain businesses could begin partially opening again. New York City’s response included a program called Open Restaurants, which allowed restaurants to use sidewalks and parking spaces for outdoor, socially distant dining. Owners quickly built temporary enclosures in the streets in front of their businesses to try and recover from months of shutdown. Small stretches of Brooklyn in early 2021 display the variety and feel of these enclosures. Hopefully, the Open Restaurants initiative will help these businesses to survive and may even lead to a more permanent reorienting of streets to prioritize people over cars.
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
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links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
Visitors can take their time to enjoy an elevated view of New Youk City from High Line an elevated railway line owned by the City of New York, today a 1.45-mile-long linear public park maintained, operated, and programmed by Friends of the High Line, in partnership with the New York City Department of Parks & Recreation, on Tuesday, September 15, 2015. High Line was opened in 1934 and moved goods to and from Manhattan’s largest industrial district until 1980. The third and final phase officially opened to the public on September 21, 2014. The High Line's green roof system with drip irrigation is designed to allow the planting beds to retain as much water as possible; because many of the plants are drought-tolerant, they need little supplemental watering. When supplemental watering is needed, hand watering is used so as to tailor the amount of water to the needs of individual species and weather conditions, and to conserve water. High Line is independently funded from U.S. Department of Agriculture (USDA) Forest Service (USFS). Urban forestry and green spaces are priority areas for USFS. With 80 percent* of the nation's population in urban areas, there are strong environmental, social, and economic cases to be made for the conservation of green spaces to guide growth and revitalize city centers and older suburbs. Urban forests broadly include urban parks, street trees, landscaped boulevards, public gardens, river and coastal promenades, greenways, river corridors, wetlands, nature preserves, natural areas, shelter belts of trees and working trees at industrial brownfield sites. Urban forests are dynamic ecosystems that provide needed environmental services by cleaning air and water helping to control storm water, and conserving energy. They add form, structure, beauty and breathing room to urban design, reduce noise, separate incompatible uses, provide places to recreate, strengthen social cohesion, leverage community revitalization, and add economic value to our communities. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Green infrastructure works at multiple scales from the neighborhood to the metro area up to the regional landscape. This natural life support system sustains clean air and water, biodiversity, habitat, nesting and travel corridors for wildlife, and connects people to nature. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Urban and Community Forestry (UCF) is a cooperative program of the US Forest Service that focuses on the stewardship of urban natural resources. UCF provides technical, financial, research and educational services to local government, non-profit organizations community groups, educational institutions, and tribal governments. The program is delivered through its legislative partners, the state forestry agencies in 59 states and US territories. Forest Service cooperative programs are currently being redesigned to make more effective use of federal resources. Programs will be focused on issues and landscapes of national importance and prioritized through state and regional assessments. Over the next five years an increasing percentage of funding will be focused on landscape scale projects. Three national themes provide a framework for this work: conserve working forest landscapes; protect forests from harm; and enhance benefits associated with trees and forests. More information and upcoming webinars on December 9, 2015 | 1:00pm-2:15pm ET; January 13, 2016 | 1:00pm-2:15pm ET; and February 10, 2016 | 1:00pm-2:15pm ET can be seen at *http://www.fs.fed.us/ucf/program.shtml. USDA Photo By Lance Cheung.
Rue d'Alsace 19/04/2015 15h00
This street art exhibition in the rue d’Alsace and parvis of Gare de l’Est marks the beginning of the first phase of improvement of the connectivity between the station Gare de l’Est and Gare du Nord.
L 7 m
Born in 1988 in São Paulo, Brazil.
Luis Gustavo Martins was born with a pencil in his hand. One of the first objects he treasured was a book of animal pictures. This passion never left him. At the age of 16 he began to practice pixação, a style of graffiti native to São Paulo where rist, transgression and statement are prioritized over aesthetics. He paints using aerosols on worn facades in 'urbex' style to deliver a message to future generations. In response to the particularly sensitive environmental concerns in Brazil, L7m (7 is his lucky number) paints tropical birds in shimmering colors which he combines with geometric "graffuturistic" motifs. The portraits he creates are sombre and dark.
Art Liberté | Du mur de Berlin au Street Art
This unprecedented cultural project is an integral part of the evolution of the Gare de l’Est area and aims to improve connectivity between the areas surrounding the railways stations of Gare du Nord/Magenta. The wall that provides the canvas for the event in rue d’Alsace will also disappear in a few years to make way for a large-scale project commissioned by Gares & Connections called “The Green Balcony” (Balcon Vert), which will be profoundly change the area. The Art Liberté exhibition is intended to appeal to all generations with a message of strong hope and a homage to freedom and expression.
An SNCF project in association with the Ville de Paris, the Mairie du 10ème arrondissment de Paris and General Commissionair of the Sylvestre Verger Art Organization Sylvestre Verger.
[ Source: SNCF | Ville de Paris ]
Ta ta to LA and hello, New Mexico. (Taken as we were leaving LA)
P.S. American Airlines losing my luggage has traumatized me for life - I've never had such difficulty prioritizing what things I really don't need in case it happens again. Took Southwest this time and bags arrived but still!
"The Jefferson Memorial is a presidential memorial built in Washington, D.C. between 1939 and 1943 in honor of Thomas Jefferson, the principal author of the United States Declaration of Independence, a central intellectual force behind the American Revolution, founder of the Democratic-Republican Party, and the nation's third president.
The Jefferson Memorial features multiple Jefferson quotes designed to capture Jefferson's ideology and philosophy, known as Jeffersonian democracy, which was staunchly supportive of American republicanism, individual rights, religious freedom, states' rights, and virtue and prioritized and valued what he saw as the undervalued independent yeoman. Jefferson was simultaneously deeply skeptical of cities and financiers and hostile to aristocracy, elitism, and corruption. He is widely considered among the most influential political minds of his age and one of the most consequential intellectual forces behind the American Revolution.
The Jefferson Memorial is built in neoclassical style and is situated in West Potomac Park on the shore of the Potomac River. It was designed by John Russell Pope, a New York City architect, and built by Philadelphia contractor John McShain. Construction on it began in 1939 and was completed in 1943, though the bronze statue of Jefferson was not completed and added until four years after its dedication and opening, in 1947. Pope made references to the Roman Pantheon, whose designer was Apollodorus of Damascus, and to Jefferson's own design for the rotunda at the University of Virginia as inspirations for the memorial's aesthetics.
The Jefferson Memorial and White House form a main anchor point to the National Mall in Washington, D.C. The Washington Monument, initially intended to be built at the intersection of the White House and the Jefferson Memorial's site, was ultimately built further east because the ground at that location was deemed too soft and swampy.
The Jefferson Memorial is a designated national memorial and is managed by the National Park Service of the U.S. Department of the Interior's National Mall and Memorial Parks division. In 1966, the Jefferson Memorial was named to the National Register of Historic Places. In 2007, it ranked fourth on the "list of America's favorite architecture", published by the American Institute of Architects.
The National Mall is a landscaped park near the downtown area of Washington, D.C., the capital city of the United States, and contains and borders a number of museums of the Smithsonian Institution, art galleries, cultural institutions, and various memorials, sculptures, and statues. It is administered by the National Park Service (NPS) of the United States Department of the Interior as part of the National Mall and Memorial Parks unit of the National Park System. The park receives approximately 24 million visitors each year.
The core area of the National Mall extends between the United States Capitol grounds to the east and the Washington Monument to the west and is lined to the north and south by several museums and a federal office building. The term National Mall may also include areas that are also officially part of neighboring West Potomac Park to the south and west and Constitution Gardens to the north, extending to the Lincoln Memorial on the west and Jefferson Memorial to the south.
Washington, D.C., formally the District of Columbia, also known as just Washington or simply D.C., is the capital city and federal district of the United States. It is located on the east bank of the Potomac River, which forms its southwestern and southern border with the U.S. state of Virginia, and it shares a land border with the U.S. state of Maryland on its other sides. The city was named for George Washington, a Founding Father and the first president of the United States, and the federal district is named after Columbia, the female personification of the nation. As the seat of the U.S. federal government and several international organizations, the city is an important world political capital. It is one of the most visited cities in the U.S. with over 20 million annual visitors as of 2016.
The U.S. Constitution provides for a federal district under the exclusive jurisdiction of Congress; the district is not a part of any U.S. state (nor is it one itself). The signing of the Residence Act on July 16, 1790, approved the creation of the capital district located along the Potomac River near the country's East Coast. The City of Washington was founded in 1791, and Congress held its first session there in 1800. In 1801, the territory, formerly part of Maryland and Virginia (including the settlements of Georgetown and Alexandria), officially became recognized as the federal district. In 1846, Congress returned the land originally ceded by Virginia, including the city of Alexandria; in 1871, it created a single municipal government for the remaining portion of the district. There have been efforts to make the city into a state since the 1880s, a movement that has gained momentum in recent years, and a statehood bill passed the House of Representatives in 2021.
The city is divided into quadrants centered on the Capitol, and there are as many as 131 neighborhoods. According to the 2020 census, it has a population of 689,545, which makes it the 23rd most populous city in the U.S. as of 2020, the third most populous city in the Mid-Atlantic, and gives it a population larger than that of two U.S. states: Wyoming and Vermont. Commuters from the surrounding Maryland and Virginia suburbs raise the city's daytime population to more than one million during the workweek. Washington's metropolitan area, the country's sixth largest (including parts of Maryland, Virginia and West Virginia), had a 2020 estimated population of 6.3 million residents; and over 54 million people live within 250 mi (400 km) of the District.
The three branches of the U.S. federal government are centered in the district: Congress (legislative), the president (executive), and the Supreme Court (judicial). Washington is home to many national monuments and museums, primarily situated on or around the National Mall. The city hosts 177 foreign embassies as well as the headquarters of many international organizations, trade unions, non-profits, lobbying groups, and professional associations, including the World Bank Group, the International Monetary Fund, the Organization of American States, AARP, the National Geographic Society, the American Red Cross, and others.
A locally elected mayor and a 13-member council have governed the district since 1973. Congress maintains supreme authority over the city and may overturn local laws. The District of Columbia does not have representation in Congress, although D.C. residents elect a single at-large congressional delegate to the House of Representatives who has no vote. District voters choose three presidential electors in accordance with the Twenty-third Amendment to the United States Constitution, ratified in 1961." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
Become a patron to my photography on Patreon.
Agriculture Deputy Secretary Krysta Harden and U.S. Department of Agriculture (USDA) New and Beginning Farmer and Rancher Program Coordinator Lila McFarland host a U.S. Department of Agriculture (USDA) employee-only webinar on recent new farmer announcements, including an in-depth look at everything the new and improved www.usda.gov/newfarmers can do on Monday, Nov. 23, 2015. The website’s new Discovery Tool allows new farmers to build a personalized set of recommendations of USDA programs and services that may meet their needs. Deputy Secretary Harden discussed the recent announcement to prioritize $5.6 billion over the next two years within USDA programs and services that serve new and beginning farmers and ranchers, and how USDA employees can get the word out to USDA’s customers. USDA photo by Tom Witham.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The CAC Sabre, sometimes known as the Avon Sabre or CA-27, was an Australian variant of the North American Aviation F-86F Sabre fighter aircraft. In 1951, Commonwealth Aircraft Corporation obtained a license agreement to build the F-86F Sabre. In a major departure from the North American blueprint, it was decided that the CA-27 would be powered by a license-built version of the Rolls-Royce Avon R.A.7, rather than the General Electric J47. In theory, the Avon was capable of more than double the maximum thrust and double the thrust-to-weight ratio of the US engine. This necessitated a re-design of the fuselage, as the Avon was shorter, wider and lighter than the J47.
To accommodate the Avon, over 60 percent of the fuselage was altered and there was a 25 percent increase in the size of the air intake. Another major revision was in replacing the F-86F's six machine guns with two 30mm ADEN cannon, while other changes were also made to the cockpit and to provide an increased fuel capacity.
The prototype aircraft first flew on 3 August 1953. The production aircrafts' first deliveries to the Royal Australian Air Force began in 1954. The first batch of aircraft were powered by the Avon 20 engine and were designated the Sabre Mk 30. Between 1957 and 1958 this batch had the wing slats removed and were re-designated Sabre Mk 31. These Sabres were supplemented by 20 new-built aircraft. The last batch of aircraft were designated Sabre Mk 32 and used the Avon 26 engine, of which 69 were built up to 1961.
Beyond these land-based versions, an indigenous version for carrier operations had been developed and built in small numbers, too, the Sea Sabre Mk 40 and 41. The roots of this aircraft, which was rather a prestigious idea than a sensible project, could be traced back to the immediate post WWII era. A review by the Australian Government's Defence Committee recommended that the post-war forces of the RAN be structured around a Task Force incorporating multiple aircraft carriers. Initial plans were for three carriers, with two active and a third in reserve, although funding cuts led to the purchase of only two carriers in June 1947: Majestic and sister ship HMS Terrible, for the combined cost of AU£2.75 million, plus stores, fuel, and ammunition. As Terrible was the closer of the two ships to completion, she was finished without modification, and was commissioned into the RAN on 16 December 1948 as HMAS Sydney. Work progressed on Majestic at a slower rate, as she was upgraded with the latest technology and equipment. To cover Majestic's absence, the Colossus-class carrier HMS Vengeance was loaned to the RAN from 13 November 1952 until 12 August 1955.
Labour difficulties, late delivery of equipment, additional requirements for Australian operations, and the prioritization of merchant ships over naval construction delayed the completion of Majestic. Incorporation of new systems and enhancements caused the cost of the RAN carrier acquisition program to increase to AU£8.3 million. Construction and fitting out did not finish until October 1955. As the carrier neared completion, a commissioning crew was formed in Australia and first used to return Vengeance to the United Kingdom.
The completed carrier was commissioned into the RAN as HMAS Majestic on 26 October 1955, but only two days later, the ship was renamed Melbourne and recommissioned.
In the meantime, the rather political decision had been made to equip Melbourne with an indigenous jet-powered aircraft, replacing the piston-driven Hawker Fury that had been successfully operated from HMAS Sydney and HMAS Vengeance, so that the "new jet age" was even more recognizable. The choice fell on the CAC Sabre, certainly inspired by North American's successful contemporary development of the navalized FJ-2 Fury from the land-based F-86 Sabre. The CAC 27 was already a proven design, and with its more powerful Avon engine it even offered a better suitability for carrier operations than the FJ-2 with its rather weak J47 engine.
Work on this project, which was initially simply designated Sabre Mk 40, started in 1954, just when the first CAC 27's were delivered to operative RAAF units. While the navalized Avon Sabre differed outwardly only little from its land-based brethren, many details were changed and locally developed. Therefore, there was also, beyond the general outlines, little in common with the North American FJ-2 an -3 Fury.
Externally, a completely new wing with a folding mechanism was fitted. It was based on the F-86's so-called "6-3" wing, with a leading edge that was extended 6 inches at the root and 3 inches at the tip. This modification enhanced maneuverability at the expense of a small increase in landing speed due to deletion of the leading edge slats, a detail that was later introduced on the Sabre Mk 31, too. As a side benefit, the new wing leading edges without the slat mechanisms held extra fuel. However, the Mk 40's wing was different as camber was applied to the underside of the leading edge to improve low-speed handling for carrier operations. The wings were provided with four stations outboard of the landing gear wells for up to 1000 lb external loads on the inboard stations and 500 lb on the outboard stations.
Slightly larger stabilizers were fitted and the landing gear was strengthened, including a longer front wheel strut. The latter necessitated an enlarged front wheel well, so that the front leg’s attachment point had to be moved forward. A ventral launch cable hook was added under the wing roots and an external massive arrester hook under the rear fuselage.
Internally, systems were protected against salt and humidity and a Rolls-Royce Avon 211 turbojet was fitted, a downrated variant of the already navalized Avon 208 from the British DH Sea Vixen, but adapted to the different CAC 27 airframe and delivering 8.000 lbf (35.5 kN) thrust – slightly more than the engines of the land-based CAC Sabres, but also without an afterburner.
A single Mk 40 prototype was built from a new CAC 27 airframe taken directly from the production line in early 1955 and made its maiden flight on August 20th of the same year. In order to reflect its naval nature and its ancestry, this new CAC 27 variant was officially christened “Sea Sabre”.
Even though the modified machine handled well, and the new, cambered wing proved to be effective, many minor technical flaws were discovered and delayed the aircraft's development until 1957. These included the wing folding mechanism and the respective fuel plumbing connections, the landing gear, which had to be beefed up even more for hard carrier landings and the airframe’s structural strength for catapult launches, esp. around the ventral launch hook.
In the meantime, work on the land-based CAC 27 progressed in parallel, too, and innovations that led to the Mk 31 and 32 were also incorporated into the naval Mk 40, leading to the Sea Sabre Mk 41, which became the effective production aircraft. These updates included, among others, a detachable (but fixed) refueling probe under the starboard wing, two more pylons for light loads located under the wing roots and the capability to carry and deploy IR-guided AIM-9 Sidewinder air-to-air missiles, what significantly increased the Mk 41's efficiency as day fighter. With all these constant changes it took until April 1958 that the Sabre Mk 41, after a second prototype had been directly built to the new standard, was finally approved and cleared for production. Upon delivery, the RAN Sea Sabres carried a standard NATO paint scheme with Extra Dark Sea Grey upper surfaces and Sky undersides.
In the meantime, the political enthusiasm concerning the Australian carrier fleet had waned, so that only twenty-two aircraft were ordered. The reason behind this decision was that Australia’s carrier fleet and its capacity had become severely reduced: Following the first decommissioning of HMAS Sydney in 1958, Melbourne became the only aircraft carrier in Australian service, and she was unavailable to provide air cover for the RAN for up to four months in every year; this time was required for refits, refueling, personnel leave, and non-carrier duties, such as the transportation of troops or aircraft. Although one of the largest ships to serve in the RAN, Melbourne was one of the smallest carriers to operate in the post-World War II period, so that its contribution to military actions was rather limited. To make matters worse, a decision was made in 1959 to restrict Melbourne's role to helicopter operations only, rendering any carrier-based aircraft in Australian service obsolete. However, this decision was reversed shortly before its planned 1963 implementation, but Australia’s fleet of carrier-borne fixed-wing aircraft would not grow to proportions envisioned 10 years ago.
Nevertheless, on 10 November 1964, an AU£212 million increase in defense spending included the purchase of new aircraft for Melbourne. The RAN planned to acquire 14 Grumman S-2E Tracker anti-submarine aircraft and to modernize Melbourne to operate these. The acquisition of 18 new fighter-bombers was suggested (either Sea Sabre Mk 41s or the American Douglas A-4 Skyhawk), too, but these were dropped from the initial plan. A separate proposal to order 10 A-4G Skyhawks, a variant of the Skyhawk designed specifically for the RAN and optimized for air defense, was approved in 1965, but the new aircraft did not fly from Melbourne until the conclusion of her refit in 1969. This move, however, precluded the production of any new and further Sea Sabre.
At that time, the RAN Sea Sabres received a new livery in US Navy style, with upper surfaces in Light Gull Gray with white undersides. The CAC Sea Sabres remained the main day fighter and attack aircraft for the RAN, after the vintage Sea Furies had been retired in 1962. The other contemporary RAN fighter type in service, the Sea Venom FAW.53 all-weather fighter that had replaced the Furies, already showed its obsolescence.
In 1969, the RAN purchased another ten A-4G Skyhawks, primarily in order to replace the Sea Venoms on the carriers, instead of the proposed seventh and eighth Oberon-class submarines. These were operated together with the Sea Sabres in mixed units on board of Melbourne and from land bases, e.g. from NAS Nowra in New South Wales, where a number of Sea Sabres were also allocated to 724 Squadron for operational training.
Around 1970, Melbourne operated a standard air group of four jet aircraft, six Trackers, and ten Wessex helicopters until 1972, when the Wessexes were replaced with ten Westland Sea King anti-submarine warfare helicopters and the number of jet fighters doubled. Even though the A-4G’s more and more took over the operational duties on board of Melbourne, the Sea Sabres were still frequently deployed on the carrier, too, until the early Eighties, when both the Skyhawks and the Sea Sabres received once more a new camouflage, this time a wraparound scheme in two shades of grey, reflecting their primary airspace defense mission.
The CAC 27 Mk 41s’ last carrier operations took place in 1981 in the course of Melbourne’s involvements in two major exercises, Sea Hawk and Kangaroo 81, the ship’s final missions at sea. After Melbourne was decommissioned in 1984, the Fleet Air Arm ceased fixed-wing combat aircraft operation. This was the operational end of the Sabre Mk 41, which had reached the end of their airframe lifetime, and the Sea Sabre fleet had, during its career, severely suffered from accidents and losses: upon retirement, only eight of the original twenty-two aircraft still existed in flightworthy condition, so that the aircraft were all scrapped. The younger RAN A-4Gs were eventually sold to New Zealand, where they were kept in service until 2002.
General characteristics:
Crew: 1
Length: 37 ft 6 in (11.43 m)
Wingspan: 37 ft 1 in (11.3 m)
Height: 14 ft 5 in (4.39 m)
Wing area: 302.3 sq ft (28.1 m²)
Empty weight: 12,000 lb (5,443 kg)
Loaded weight: 16,000 lb (7,256 kg)
Max. takeoff weight: 21,210 lb (9,621 kg)
Powerplant:
1× Rolls-Royce Avon 208A turbojet engine with 8,200 lbf (36.44 kN)
Performance:
Maximum speed: 700 mph (1,100 km/h) (605 knots)
Range: 1,153 mi, (1,000 NM, 1,850 km)
Service ceiling: 52,000 ft (15,850 m)
Rate of climb: 12,000 ft/min at sea level (61 m/s)
Armament:
2× 30 mm ADEN cannons with 150 rounds per gun
5,300 lb (2,400 kg) of payload on six external hardpoints;
Bombs were usually mounted on outer two pylons as the mid pair were wet-plumbed pylons for
2× 200 gallons drop tanks, while the inner pair was usually occupied by a pair of AIM-9 Sidewinder
AAMs
A wide variety of bombs could be carried with maximum standard loadout being 2x 1,000 lb bombs
or 2x Matra pods with unguided SURA missiles plus 2 drop tanks for ground attacks, or 2x AIM-9 plus
two drop tanks as day fighter
The kit and its assembly:
This project was initially inspired by a set of decals from an ESCI A-4G which I had bought in a lot – I wondered if I could use it for a submission to the “In the navy” group build at whatifmodelers.com in early 2020. I considered an FJ-3M in Australian colors on this basis and had stashed away a Sword kit of that aircraft for this purpose. However, I had already built an FJ variant for the GB (a kitbashed mix of an F-86D and an FJ-4B in USMC colors), and was reluctant to add another Fury.
This spontaneously changed after (thanks to Corona virus quarantine…) I cleaned up one of my kit hoards and found a conversion set for a 1:72 CAC 27 from JAYS Model Kits which I had bought eons ago without a concrete plan. That was the eventual trigger to spin the RAN Fury idea further – why not a navalized version of the Avon Sabre for HMAS Melbourne?
The result is either another kitbash or a highly modified FJ-3M from Sword. The JAYS Model Kits set comes with a THICK sprue that carries two fuselage halves and an air intake, and it also offers a vacu canopy as a thin fallback option because the set is actually intended to be used together with a Hobby Craft F-86F.
While the parts, molded in a somewhat waxy and brittle styrene, look crude on the massive sprue, the fuselage halves come with very fine recessed engravings. And once you have cleaned the parts (NOTHING for people faint at heart, a mini drill with a saw blade is highly recommended), their fit is surprisingly good. The air intake was so exact that no putty was needed to blend it with the rest of the fuselage.
The rest came from the Sword kit and integrating the parts into the CAC 27 fuselage went more smoothly than expected. For instance, the FJ-3M comes with a nice cockpit tub that also holds a full air intake duct. Thanks to the slightly wider fuselage of the CAC 27, it could be mounted into the new fuselage halves without problems and the intake duct almost perfectly matches the intake frame from the conversion set. The tailpipe could be easily integrated without any mods, too. The fins had to be glued directly to the fuselage – but this is the way how the Sword kit is actually constructed! Even the FJ-3M’s wings match the different fuselage perfectly. The only modifications I had to make is a slight enlargement of the ventral wing opening at the front and at the read in order to take the deeper wing element from the Sword kit, but that was an easy task. Once in place, the parts blend almost perfectly into each other, just minor PSR was necessary to hide the seams!
Other mods include an extended front wheel well for the longer leg from the FJ-3M and a scratched arrester hook installation, made from wire, which is on purpose different from the Y-shaped hook of the Furies.
For the canopy I relied on the vacu piece that came with the JAYS set. Fitting it was not easy, though, it took some PSR to blend the windscreen into the rest of the fuselage. Not perfect, but O.K. for such a solution from a conversion set.
The underwing pylons were taken from the Sword kit, including the early Sidewinders. I just replaced the drop tanks – the OOB tanks are very wide, and even though they might be authentic for the FJ-3, I was skeptical if they fit at all under the wings with the landing gear extended? In order to avoid trouble and for a more modern look, I replaced them outright with more slender tanks, which were to mimic A-4 tanks (USN FJ-4s frequently carried Skyhawk tanks). They actually come from a Revell F-16 kit, with modified fins. The refueling probe comes from the Sword kit.
A last word about the Sword kit: much light, but also much shadow. While I appreciate the fine surface engravings, the recognizably cambered wings, a detailed cockpit with a two-piece resin seat and a pretty landing gear as well as the long air intake, I wonder why the creators totally failed to provide ANY detail of the arrester hook (there is literally nothing, as if this was a land-based Sabre variant!?) or went for doubtful solutions like a front landing gear that consists of five(!) single, tiny parts? Sadism? The resin seat was also broken (despite being packed in a seperate bag), and it did not fit into the cockpit tub at all. Meh!
Painting and markings:
From the start I planned to give the model the late RAN A-4Gs’ unique air superiority paint scheme, which was AFAIK introduced in the late Seventies: a two-tone wraparound scheme consisting of “Light Admiralty Grey” (BS381C 697) and “Aircraft Grey” (BS 381C 693). Quite simple, but finding suitable paints was not an easy task, and I based my choice on pictures of the real aircraft (esp. from "buzz" number 880 at the Fleet Air Arm Museum, you find pics of it with very good light condition) rather than rely on (pretty doubtful if not contradictive) recommendations in various painting instructions from models or decal sets.
I wanted to keep things simple and settled upon Dark Gull Grey (FS 36231) and Light Blue (FS 35414), both enamel colors from Modelmaster, since both are rather dull interpretations of these tones. Esp. the Light Blue comes quite close to Light Admiralty Grey, even though it should be lighter for more contrast to the darker grey tone. But it has that subtle greenish touch of the original BS tone, and I did not want to mix the colors.
The pattern was adapted from the late A-4Gs’ scheme, and the colors were dulled down even more through a light black ink wash. Some post-shading with lighter tones emphasized the contrast between the two colors again. And while it is not an exact representation of the unique RAN air superiority scheme, I think that the overall impression is there.
The cockpit interior was painted in very dark grey, while the landing gear, its wells and the inside of the air intake became white. A red rim was painted around the front opening, and the landing gear covers received a red outline, too. The white drop tanks are a detail I took from real world RAN A-4Gs - in the early days of the air superiority scheme, the tanks were frequently still finished in the old USN style livery, hence the white body but fins and tail section already in the updated colors.
The decals became a fight, though. As mentioned above, the came from an ESCI kit – and, as expected, the were brittle. All decals with a clear carrier film disintegrated while soaking in water, only those with a fully printed carrier film were more or less usable. One roundel broke and had to be repaired, and the checkered fin flash was a very delicate affair that broke several times, even though I tried to save and repair it with paint. But you can unfortunately see the damage.
Most stencils and some replacements (e. g. the “Navy” tag) come from the Sword FJ-3. While these decals are crisply printed, their carrier film is utterly thin, so thin that applying esp. the larger decals turned out to be hazardous and complicated. Another point that did not really convince me about the Sword kit.
Finally, the kit was sealed with matt acrylic varnish (Italeri) and some soot stains were added around the exhaust and the gun ports with graphite.
In the end, this build looks, despite the troubles and the rather exotic ingredients like a relatively simple Sabre with Australian markings, just with a different Navy livery. You neither immediately recognize the FJ-3 behind it, nor the Avon Sabre’s bigger fuselage, unless you take a close and probably educated look. Very subtle, though.
The RAN air superiority scheme from the late Skyhawks suits the Sabre/Fury-thing well – I like the fact that it is a modern fighter scheme, but, thanks to the tones and the colorful other markings, not as dull and boring like many others, e. g. the contemporary USN "Ghost" scheme. Made me wonder about an early RAAF F-18 in this livery - should look very pretty, too?
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Imagine this: You just got home from a long day at work and are ready to fall asleep, but your mind is buzzing. Questions surface regarding how to get a girl to like you, how to pick up a girl and how to get a girlfriend.
Pickup lines
This may seem difficult, but consider it as a challenge that needs to be faced with confidence and conviction. If you’re like the most of the population, it becomes scary when you approach a girl and finding out that you have run out of things to say even before you’ve started a conversation. Even worse, you may be able to get the ball rolling, but find it difficult to keep her interested. Getting a girl to like you is one thing, making her wanting to come back for more is another.
Sometimes, it feels like this is completely uncharted territory and leaves a lot of guys confused about where to go. You should know that it happens to the best of men. Don’t fret, however, for here are ten tips to guide you so you can get the girl of your dreams and make her fall in love with you over and over again:
How to get any girl: Play to your strengths
You may want to put your best foot forward when getting a girl to like you, but be warned—this may easily backfire. The best way to get any girl is to know your assets and learn to play them well. Stick with what you know, and cultivate those to impress the woman of your dreams.
How to talk to women: Learn to communicate
Talking to women may prove to be daunting at first, but don’t fret. Learn to listen well to what she’s really trying to say, and learn how to pick up on the non-verbal cues as well: note her body language, the tone of her voice, and the way she looks at you. Most of communication happens beyond what is spoken.
How to make women want you: Dress well
Strong yet simple is the key. If you want to pick up a girl, find an ensemble that suits you well, yet is not too flashy. Scent is also essential, so make sure you that you smell nice to make her want you even up close.
How to get girls to like you: Learn to laugh at yourself
Lighten up! If you want to not only pick up a girl but even maybe get a girlfriend, you should learn how to laugh at yourself. This doesn’t mean that you should overdo it and constantly crack self-deprecating jokes – it just means that you need to learn to look at the world less seriously, yet with confidence and enthusiasm.
How to find a girlfriend: Be the nice guy
Sometimes most men think that it’s the bad boys who get the most girls – this may be true if you want to be the pickup artist – but if you really want to get the girl of your dreams and keep her, make sure that you address her needs. Empathy is the key, and this can be learned with practice. Be sensitive not only to her feelings, but acknowledge your own feelings as well and deal with them healthily.
How to catch the woman of your dreams: Know what is important
Set goals and stick to them. Know how to prioritize, and learn how to manage your time and energy well. If you want to catch the woman of your dreams, you have to be ready to be the man of her dreams as well.
How to be the man of her dreams: Enhance your skill sets
Knowing yourself is only the first step. If you want to be the man of her dreams, you have to be ready to exert effort for constant self-growth. Evaluate yourself. What aspects could you improve on? How should you address them? Girls like men who are willing to learn new things.
How to take it further with women: Embrace the unknown
Part of getting what you want means knowing how to take risks. But take note: learn how to assess the pros and cons, and know which situations are really worth the trouble. Embracing the unknown also means opening yourself up to new experiences, and it means ensuring that you will never be stuck in the same situation for a long time.
How to be confident with girls: Be the man you’ve always wanted to be
To get the girl that you like, you need to be the man you’ve always wanted yourself to be. Visualize yourself as the happiest and most confident version of you. You need to define your own meaning of success before you can take the steps toward becoming successful.
How to get any girl: Trust in yourself
You want to get that girl? You need to know that you can. With these ten tips, you’re bound to not only pick up girls anytime nor get the woman of your dreams, you’re bound to catch the love of your life for good. So go for it.
There you are, ten tips to get you started into getting that girl and keeping her. It’s a challenge that may seem difficult at first, but gets easier along the way. The key is to do things step by step, and whenever you feel flustered, take a deep breath, smile and say to yourself, “I can make this happen.”
Attract women
This guide may answer your initial questions as to how to get girls, but you have to trust in yourself. Belief begins with you, and taking the necessary action to get to your goals becomes second nature once you cultivate this confidence. make your move before someone else beats you to it.
A low brain health day but I prioritized time for recovery in my favorite space with good smells and low lighting.
APPROXIMATE RELEASE DATE: 2022-
PERSONAL FUN FACT written by my sister: When I first saw this outfit, I wanted it just because it was made for Courtney. I mean, until 2022, Molly had been retired for close to a decade and Rebecca, who I got the year before Courtney, hasn't gotten anything new since. Because, until buying Rebecca in 2019, none of "my" dolls in the family (Shelly and I share pretty much everything--I dress most of her dolls more often than she does and she makes jewelry for mine) had gotten anything brand new from American Girl since I was a teenager! So, even though Courtney got a lot of new clothes in 2020 and 2021, there was still this HUGE novelty with one of my little people getting a new addition to her wardrobe. However, it was a pricey outfit and not very versatile, as it's a Halloween costume. So, I wanted to prioritize getting some of Julie's older fashions and Melody and Nanea's new ones that were more in the line of everyday clothing, not costumes. I also wanted to get some of Molly's reissued clothing and, because this is a costume and Molly's clothes were just newer variants of things I bought 20 years earlier, it was hard to decide what to prioritize, but I said I wanted Molly's stuff and that, depending on the 2022 holiday sales, maybe I would get this too. But then, Shelly reminded me of Molly's Beforever mini doll and I couldn't decide what I wanted more--this or Molly's mini. (That's how deep the Molly addiction runs--she's always top banana.) Luckily, I was able to get BOTH, so Courtney isn't mad at me. (She isn't used to seeing other people get new stuff in my room and she'd have spent a long time gazing in envy at my Mollys in their new clothes, holding the mini doll.) The more I thought about this, the more I wanted this. It's on the cover of Courtney's second book and I read about it online and it looks really good and I want to read it. It also ties into Courtney's first book (which I read and loved) because she's dressed up as Crystal Starshooter, a character of her own invention. I also thought Shelly would design amazing bling to go with this--and she exceeded my expectations! Clay Mrs. Pacman. Courtney also likes Mrs. Pacman and Pacman, so it's just fantastic! Shelly picked the female Pacman so she could do pink bows and tie in the pink of the costume! It looks futuristic, but 80s at the same time. And it looks so good on Courtney! She's going to wear this every Halloween for years to come!
In June 2020, after experiencing a devastating spring due to COVID, New York State announced that certain businesses could begin partially opening again. New York City’s response included a program called Open Restaurants, which allowed restaurants to use sidewalks and parking spaces for outdoor, socially distant dining. Owners quickly built temporary enclosures in the streets in front of their businesses to try and recover from months of shutdown. Small stretches of Brooklyn in early 2021 display the variety and feel of these enclosures. Hopefully, the Open Restaurants initiative will help these businesses to survive and may even lead to a more permanent reorienting of streets to prioritize people over cars.
I'm hopeless with close-ups - was trying to capture the frost but wasn't very successful. Eventually I decided to take a shot and crop it.
It’s freezing here in Swansea at the moment but compared to the rest of the country
we are getting off pretty lightly.
No snow here so far.
I’m still trying to prioritize time at the moment.
Hugs from Wales
Sandra
Wokeism: Invasion of the Body Snatchers
More and more people are changing; they are being replaced by something alien. On the outside they look the same, yet on the inside they are not. They have been taken over by an alien entity (cult) called wokeism. It’s an ideology that takes over individuals, replacing their original thoughts and values with an alien perspective/dialectic: the oppressed vs the oppressor.
These clones adapt to their surroundings by absorbing the memories and experiences of those they replace. These woke look-alikes adapt their dialectic to the society they want to infiltrate. They use their parasitic dialectic to absorb the identity of the culture, replacing its morals and values. The more they multiply, the more they disrupt the social order and challenge the established norms. Their goal is to undermine traditional Western values and attack the traditional family structure, until democracy and capitalism and the family are destroyed forever.
These body snatchers destroy the individual, thus destroying their individuality. These useful idiot’s are conformists—collectivists. Wokeism (neo-communism) revolves around a collectivist theology, which suppresses one’s own thoughts and opinions. Wokeism is a culture of groupthink, which is null and void of critical thinking and self-reflection. Wokeism destroys individuality, because collectivism prioritizes the goals of the group over the personal rights and freedoms of the individual. Wokeism creates a culture of fear, where individuals are called racists if they don’t conform to the cult’s dogma. Wokeism focuses on subjective experience, emotional validity, and social justice over objective truth. They like to say that truth is relative, yet they hold their ideology as the absolute truth. DEI: Discrimination, Exclusivity, and Inequality.
“They are masters of censoring, blacklisting, scapegoating, deplatforming, ritual humiliation, doxxing, cancel-culture, ostracism, and disbarring.”
“Wokeism’s natural logic is to destroy the lives of people of both genders, of all races, and—if need be—of those of every age, all to leverage an otherwise unworkable ideological agenda.”
These woke anti-racists hate the white race, because they hate the West. The West is predominantly white and has a democratic and capitalist system. Communists hate democracy and capitalism! Additionally, these anti-patriarchy feminists want a matriarchy. These sexists hate men and call masculinity toxic, because the West will fall easier if its men are weak and limp-wristed. These pro-woman advocates are anti-woman, because they support replacing biological women with pseudo-women—flipping women’s rights upside down: men in women’s sports, change rooms and washrooms. These subversive agents aren’t pro-life or pro-children. Instead, they pervert the minds of children. Children are very impressionable and their minds are easily molded. The brains of young children are not wired properly to process conversations about alterative ADULT sexual lifestyles. Their brains are not developed properly to process ADULT (+18; XXX; porn; adult entertainment) sexual fetishes like drag queens dancing sexually in front of them. These things teach children to think that sexual predatory behaviour is acceptable and normal. And now they give underaged (immature) teens puberty blockers and sex changes. Can anyone say: the mental, physical, and sexual abuse of children! The woke brainwash their young minds, destroying their innocence in order to control them. Indeed, the children are only pawns. If they can control the minds of the children, they can control the future. As their religious doctrine states: the end justifies the means. Moreover, these anti-bullies love to bully those who disagree with them: “A Regina-based LGBT group Queen City Pride has asked a stadium in the city to cancel an Evangelical Christian event called ‘Come Together’ over the organizing group’s promotion of Biblical views on marriage and sexuality.” “The issue is never the issue. The real issue is the (communist) revolution.”
These anti-police leftists are pro-criminal, and they want high crime and lawlessness. Then, when chaos breaks out, they can start their commie revolution. These anti-poverty activists loot and burn poor neighbourhoods. These anti-slavery crusaders never advocate against the modern-day slave trade. They only use slavery, which has long been abolished in the United States, as an excuse to bash and demoralize their enemy—America. Why? Because these liars don’t care about slavery, they only care about their reparations (money handouts) and their woke (communist) revolution. These anti-border zealots hate the West, thus the West is being overwhelmed by unsustainable mass migration. Globalism: open borders! We are being flooded with cultures that are incompatible with Western culture, so that our culture will be destroyed. How about all the unvetted criminals and terrorists being allowed to enter the US? How about all the unvetted gang and cartel members pouring over the border? Globalism: global citizens—immigration is a human right! Flood the West with cheap unskilled workers to drive down wages and living standards. Raise taxes and impoverish the native citizens in order to support the never-ending flow of illegal immigrants. Less housing! Less jobs! A strain on every system and on all infrastructures! These communists only care about destroying the West, so that they can have total power. It’s only about power dynamics!
Likewise, these climate activists are anti-human, and the Degrowth polices that are being implemented will lead to poverty and depopulation. BTW: these pro-palestinian protests around the West are being organized by communists and islamists. Both of these subversive religions are working together, because they hate the West and Western (Judeo-Christian) values.
How about we add another dynamic to the equation? Governments (and government funded schools), corporations, and the United Nations are using DEI (Diversity, Equity, and Inclusion) Social Credit Scores in order to indoctrinate and control the masses with their woke neo-communism. BlackRock, Vanguard, and State Street Bank are pushing ESG (Environmental, Social, and Governance) Social Credit Scores in order to control corporations with their New World Order agenda—“a new model of governance” (stakeholder capitalism/neo-fascism). Part of the ESG Social Credit Score system is CEI (Corporate Equality Index). CEI is the reason why Dylan Mulvaney and his lifestyle are being pushed on us. “At stake is their Corporate Equality Index—or CEI—score, which is overseen by the Human Rights Campaign, the largest LGBTQ+ political lobbying group in the world.”
A global Social Credit Score System is in the making, and it will control all people and governments, all businesses and corporations. So why is a woke commufascist (Anti-Christ/Beast) Social Credit Score system being built to enslave us? Why are we being prodded towards a system of Central Bank Digital Currencies, Digital IDs, Facial Recognition and Biometrics, Social Credit Score systems, and Fifteen Minute Cities? Furthermore, this will eventually lead to transhumanism—the microchipping of humanity (666). Now, do you think that all these things will lead towards more individualism or towards more collectivism? Without true freedom there is no true individualism. Will you become part of the Hivemind of the Beast—the Beast Matrix? Remember, one day you will not be able to buy or sell without a Digital Mark. I think you know where this is all heading! Will you be one of the last true human beings, or will you become part of the woke transhuman-hybrid (alien) collective? Beware of the body snatchers! They’re coming for you!
Revelation 17:13 “With one purpose they will give their power and authority to the Beast.”
In June 2020, after experiencing a devastating spring due to COVID, New York State announced that certain businesses could begin partially opening again. New York City’s response included a program called Open Restaurants, which allowed restaurants to use sidewalks and parking spaces for outdoor, socially distant dining. Owners quickly built temporary enclosures in the streets in front of their businesses to try and recover from months of shutdown. Small stretches of Brooklyn in early 2021 display the variety and feel of these enclosures. Hopefully, the Open Restaurants initiative will help these businesses to survive and may even lead to a more permanent reorienting of streets to prioritize people over cars.
"The Jefferson Memorial is a presidential memorial built in Washington, D.C. between 1939 and 1943 in honor of Thomas Jefferson, the principal author of the United States Declaration of Independence, a central intellectual force behind the American Revolution, founder of the Democratic-Republican Party, and the nation's third president.
The Jefferson Memorial features multiple Jefferson quotes designed to capture Jefferson's ideology and philosophy, known as Jeffersonian democracy, which was staunchly supportive of American republicanism, individual rights, religious freedom, states' rights, and virtue and prioritized and valued what he saw as the undervalued independent yeoman. Jefferson was simultaneously deeply skeptical of cities and financiers and hostile to aristocracy, elitism, and corruption. He is widely considered among the most influential political minds of his age and one of the most consequential intellectual forces behind the American Revolution.
The Jefferson Memorial is built in neoclassical style and is situated in West Potomac Park on the shore of the Potomac River. It was designed by John Russell Pope, a New York City architect, and built by Philadelphia contractor John McShain. Construction on it began in 1939 and was completed in 1943, though the bronze statue of Jefferson was not completed and added until four years after its dedication and opening, in 1947. Pope made references to the Roman Pantheon, whose designer was Apollodorus of Damascus, and to Jefferson's own design for the rotunda at the University of Virginia as inspirations for the memorial's aesthetics.
The Jefferson Memorial and White House form a main anchor point to the National Mall in Washington, D.C. The Washington Monument, initially intended to be built at the intersection of the White House and the Jefferson Memorial's site, was ultimately built further east because the ground at that location was deemed too soft and swampy.
The Jefferson Memorial is a designated national memorial and is managed by the National Park Service of the U.S. Department of the Interior's National Mall and Memorial Parks division. In 1966, the Jefferson Memorial was named to the National Register of Historic Places. In 2007, it ranked fourth on the "list of America's favorite architecture", published by the American Institute of Architects.
The National Mall is a landscaped park near the downtown area of Washington, D.C., the capital city of the United States, and contains and borders a number of museums of the Smithsonian Institution, art galleries, cultural institutions, and various memorials, sculptures, and statues. It is administered by the National Park Service (NPS) of the United States Department of the Interior as part of the National Mall and Memorial Parks unit of the National Park System. The park receives approximately 24 million visitors each year.
The core area of the National Mall extends between the United States Capitol grounds to the east and the Washington Monument to the west and is lined to the north and south by several museums and a federal office building. The term National Mall may also include areas that are also officially part of neighboring West Potomac Park to the south and west and Constitution Gardens to the north, extending to the Lincoln Memorial on the west and Jefferson Memorial to the south.
Washington, D.C., formally the District of Columbia, also known as just Washington or simply D.C., is the capital city and federal district of the United States. It is located on the east bank of the Potomac River, which forms its southwestern and southern border with the U.S. state of Virginia, and it shares a land border with the U.S. state of Maryland on its other sides. The city was named for George Washington, a Founding Father and the first president of the United States, and the federal district is named after Columbia, the female personification of the nation. As the seat of the U.S. federal government and several international organizations, the city is an important world political capital. It is one of the most visited cities in the U.S. with over 20 million annual visitors as of 2016.
The U.S. Constitution provides for a federal district under the exclusive jurisdiction of Congress; the district is not a part of any U.S. state (nor is it one itself). The signing of the Residence Act on July 16, 1790, approved the creation of the capital district located along the Potomac River near the country's East Coast. The City of Washington was founded in 1791, and Congress held its first session there in 1800. In 1801, the territory, formerly part of Maryland and Virginia (including the settlements of Georgetown and Alexandria), officially became recognized as the federal district. In 1846, Congress returned the land originally ceded by Virginia, including the city of Alexandria; in 1871, it created a single municipal government for the remaining portion of the district. There have been efforts to make the city into a state since the 1880s, a movement that has gained momentum in recent years, and a statehood bill passed the House of Representatives in 2021.
The city is divided into quadrants centered on the Capitol, and there are as many as 131 neighborhoods. According to the 2020 census, it has a population of 689,545, which makes it the 23rd most populous city in the U.S. as of 2020, the third most populous city in the Mid-Atlantic, and gives it a population larger than that of two U.S. states: Wyoming and Vermont. Commuters from the surrounding Maryland and Virginia suburbs raise the city's daytime population to more than one million during the workweek. Washington's metropolitan area, the country's sixth largest (including parts of Maryland, Virginia and West Virginia), had a 2020 estimated population of 6.3 million residents; and over 54 million people live within 250 mi (400 km) of the District.
The three branches of the U.S. federal government are centered in the district: Congress (legislative), the president (executive), and the Supreme Court (judicial). Washington is home to many national monuments and museums, primarily situated on or around the National Mall. The city hosts 177 foreign embassies as well as the headquarters of many international organizations, trade unions, non-profits, lobbying groups, and professional associations, including the World Bank Group, the International Monetary Fund, the Organization of American States, AARP, the National Geographic Society, the American Red Cross, and others.
A locally elected mayor and a 13-member council have governed the district since 1973. Congress maintains supreme authority over the city and may overturn local laws. The District of Columbia does not have representation in Congress, although D.C. residents elect a single at-large congressional delegate to the House of Representatives who has no vote. District voters choose three presidential electors in accordance with the Twenty-third Amendment to the United States Constitution, ratified in 1961." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
This is also a frame capture from HD video, using the Canon EOS Rebel T6, with the Canon 18-55mm zoom lens.
This was after I managed to make down to City Hall, which you see in the background. This area was for everyone to take a break, if they wanted to. There were food trucks, plenty of porta-potties, and space to sit down and relax before moving on, or waiting for speakers and singers to show up.
And you will see this exact same shot in the video I shot and edited of the Women's March of 2018. Click on the link to my YouTube channel:
The I-35W Mississippi River Bridge in Minneapolis is illuminated with rainbow-colored lights. This bridge, a vital artery for the city, was rebuilt following its catastrophic collapse in 2007. The reconstruction prioritized modern engineering and safety standards. The bridge's lighting system is often used to commemorate events or express solidarity, with the rainbow colors frequently symbolizing LGBTQ+ pride and support.
Nancy Kovack (born March 11, 1935) is a retired American film and television actress. She was born in Flint, Michigan. Her father, Michael A. Kovack, was the manager of a General Motors plant.
After working as a model, Kovack became one of the Glee Girls for Jackie Gleason. She appeared on a number of television series including Bewitched (3 episodes, playing both Darrin Stephens' ex-girlfriend and Samantha Stephens' nemesis, Sheila Sommers and Darrin's Italian client Clio Vanita), Batman (episodes 5 and 6), I Dream of Jeannie, Get Smart, Perry Mason, 12 O'Clock High, The Man from U.N.C.L.E., The Invaders (episode "Task Force" (1967)), Burke's Law, Family Affair (episode "Family Plan" (1968)), The Name of the Game, and Hawaii Five-O (episode "Face of the Dragon") (1969). She appeared in a key role as a native medicine woman and femme fatale in one of the original Star Trek episodes, "A Private Little War" (1968). In 1969, she was nominated for an Emmy Award for Outstanding Single Performance by an Actress in a Supporting Role for an appearance on Mannix. In addition to her guest appearances on television programs, Kovack was hostess of the game show Beat the Clock.
As her profile increased, Kovack began to gain roles in Hollywood movies, most notably as the high priestess Medea in Jason and the Argonauts (1963). She also had roles in Strangers When We Meet (1960) with Kirk Douglas and Kim Novak, Diary of a Madman (1963) with Vincent Price, The Outlaws Is Coming (1965) with The Three Stooges, Sylvia (1965) with Carroll Baker, The Great Sioux Massacre (1965), The Silencers (1966) with Dean Martin, Tarzan and the Valley of Gold (1966) with Mike Henry, Frankie and Johnny (1966) with Elvis Presley, and Carl Reiner's directorial debut, Enter Laughing (1967).
On Broadway, she appeared in The Disenchanted. Her last film role was in Marooned (1969), a science-fiction drama starring Gregory Peck and Gene Hackman. Credited as Nancy Mehta, she played the murder victim in the TV movie/series pilot Ellery Queen (also known as Too Many Suspects, 1975).[citation needed]
Kovack spent two-and-a-half years in Iran, and starred in three films that were made there, returning to the United States in 1968.
Kovack left Hollywood primarily due to her marriage to conductor Zubin Mehta in 1969. She chose to prioritize her marriage and focus on her life with him rather than pursue her acting career.
In 1969, Kovack married Indian conductor Zubin Mehta, who was music director of the Los Angeles Philharmonic and later the music director of the New York Philharmonic. Until 2006, Kovack and Mehta spent some months of the year in residence in Munich, Germany, where Mehta was the music director of the Bavarian State Opera.
Susan McDougal worked as Kovack's personal assistant in the early 1990s. After her employment ended, Kovack took legal action against McDougal for alleged embezzlement. McDougal was acquitted in 1998 on all twelve charges. A suit by McDougal in 1999 for malicious prosecution ended in a settlement.
LINK to the movie - THE THREE STOOGES: The Outlaws Is Coming - www.youtube.com/watch?v=ax82jqFp7Ac
Everyone has a right to access our public lands, but few of Glacier's trails were created with accessibility in mind.
A first step to addressing limits to accessibility is to identify them.
Glacier and the National Park Service are using tools—like the orange, one-wheeled device pictured here in front of two people using hand cycles—to evaluate trails in the park using the High Efficiency Trail Assessment Process (HETAP).
HETAP identifies trail variables: grade, cross-slope, trail width, surface material, and more.
This data allows park managers to prioritize future trail improvements, and allow visitors in the future to make more informed decisions.
The Kö-Bogen I and II projects in Düsseldorf, Germany, represent a major urban revitalization effort that has transformed a former elevated motorway and traffic hub into a modern, pedestrian-friendly city center. The projects were conceived as two distinct but interconnected architectural ensembles that re-establish the connection between the city's main shopping street, Königsallee, and the Hofgarten park. Both projects feature cutting-edge, sustainable design and have received international recognition for their innovative approach to urban planning and architecture. The overall goal was to create a new, vibrant public space that prioritizes pedestrians and greenery, while also housing high-end retail and office spaces.
Kö-Bogen I was the first phase of the project, completed in 2013, and was designed by the renowned architect Daniel Libeskind. The ensemble consists of two curved buildings, connected by a bridge, which sit on the site of the former elevated motorway. The buildings are characterized by their striking façade of white natural stone and glass, with diagonal incisions that are planted with greenery. These "cuts" are a signature element of Libeskind's design, creating a dynamic visual effect and providing additional shading. The complex houses luxury retail spaces and high-end offices, and its design was intended to create a seamless transition between the urban environment of Königsallee and the natural landscape of the Hofgarten.
Kö-Bogen II, completed in 2020, is perhaps the most iconic part of the development. Designed by Ingenhoven Architects, this commercial and office building ensemble features a spectacular and sustainable design element: Europe's largest green façade. The building is covered in more than 30,000 hornbeam hedges, a native hardwood species that retains its leaves in winter. This greening concept is not just for aesthetics; it plays a crucial role in improving the city's microclimate by absorbing carbon dioxide, reducing urban heat, dampening noise, and promoting biodiversity. The building's sloping facades, which are inspired by Land Art, face the Hofgarten and create a deliberate visual conversation with the neighboring post-war modernist landmarks like the Dreischeibenhaus and Schauspielhaus.
Together, the Kö-Bogen I and II projects have successfully redefined a key area of Düsseldorf's city center. By dismantling a 1960s motorway and replacing it with these architecturally significant and environmentally conscious buildings, the city has transformed a car-centric space into a vibrant, green, and walkable urban destination. The project as a whole has received numerous awards and is considered a lighthouse example of modern "city repair," demonstrating how cities can address climate change and urban design challenges through innovative, sustainable, and people-oriented architecture.
Agriculture Deputy Secretary Krysta Harden hosts a U.S. Department of Agriculture (USDA) employee-only webinar on recent new farmer announcements, including an in-depth look at everything the new and improved www.usda.gov/newfarmers can do on Monday, Nov. 23, 2015. The website’s new Discovery Tool allows new farmers to build a personalized set of recommendations of USDA programs and services that may meet their needs. Deputy Secretary Harden discussed the recent announcement to prioritize $5.6 billion over the next two years within USDA programs and services that serve new and beginning farmers and ranchers, and how USDA employees can get the word out to USDA’s customers. USDA photo by Tom Witham.
In June 2020, after experiencing a devastating spring due to COVID, New York State announced that certain businesses could begin partially opening again. New York City’s response included a program called Open Restaurants, which allowed restaurants to use sidewalks and parking spaces for outdoor, socially distant dining. Owners quickly built temporary enclosures in the streets in front of their businesses to try and recover from months of shutdown. Small stretches of Brooklyn in early 2021 display the variety and feel of these enclosures. Hopefully, the Open Restaurants initiative will help these businesses to survive and may even lead to a more permanent reorienting of streets to prioritize people over cars.
Generated with Gemini's Nano Banana Pro, Dec 30, 2025
Pinpointing the Scene
I'm currently focused on deconstructing the scene described in the lyrics. The key elements are the corduroy road, tall weeds, and a rusting Ferris wheel. I'm prioritizing capturing the melancholic mood through these specific details.
Analyzing the Details
I'm now zeroing in on the specific details. The challenge is to convey the feeling of a corduroy road while showing a vintage pickup and the overgrown weeds. I'm aiming for a composition that emphasizes the isolating and somewhat melancholy mood. The rusting Ferris wheel needs to be in the background.
Verifying the Visuals
I'm now cross-referencing the initial request with the resulting visual. It appears the depiction includes driving perspective, a corduroy road, tall weeds, and a distant Ferris wheel. The monochrome style is present.
Analyzing the Details
I've examined the visual and its relationship to the original specifications. The key elements, including the driving viewpoint, corduroy road surface, tall vegetation, and distant Ferris wheel, are all present. The black and white style seems to fit well with the initial request. I think it looks fine. I am now preparing the visual for delivery to the user.
Staging area for priority piloted convoy procession along the BC Highway 4 detour route. BC Highway 4 remains closed. Detour route is prioritizing commercial vehicle traffic at each side of the detour throughout the day. For more info check DriveBC.ca
the kitchen and house are a mess in general... but i did manage to make some cinnamon rolls. always prioritizing.
Renovations made better by prescence of cyclist. Even when roadworks are underway, the safe, separated infrastructure that is the hallmark of every established bicycle culture is prioritized.
Copenhagenize - Copenhagen Bike Culture Blog
An old one, re-discovered.
I used one of the poles on the right side as "tripod" for this shot, I prioritized sharpness before composition.
About Grand-Place, here's a quote from brussels.be:
"Grand-Place of Brussels
The Grand-Place is the central square of the City of Brussels. All over the world it is known for its decorative and aesthetic wealth. The Grand-Place is surrounded by the guild houses, the City Hall and the Maison du Roi.
The Grand-Place is considered as one of the most beautiful places of the world. The Grand-Place of Brussels was registered on the World Heritage List of the UNESCO in 1998."
Kensal Green Cemetery is one of London’s magnificent seven, and one of the greater discoveries I’ve made when ticking them off. I didn’t know a huge amount before heading up, but once up there I found a huge area, densely packed with headstones and monuments, and one of the greatest collections of old statues I’ve seen in any cemetery. Definitely one to prioritize if your looking to explore London’s historic cemeteries.
High Line is an elevated railway line owned by the City of New York, today it is a 1.45-mile-long linear public park maintained, operated, and programmed by Friends of the High Line, in partnership with the New York City Department of Parks & Recreation, on Tuesday, September 15, 2015. High Line was opened in 1934 and moved goods to and from Manhattan’s largest industrial district until 1980. The third and final phase officially opened to the public on September 21, 2014. The High Line's green roof system with drip irrigation is designed to allow the planting beds to retain as much water as possible; because many of the plants are drought-tolerant, they need little supplemental watering. When supplemental watering is needed, hand watering is used so as to tailor the amount of water to the needs of individual species and weather conditions, and to conserve water. High Line is independently funded from U.S. Department of Agriculture (USDA) Forest Service (USFS). Urban forestry and green spaces are priority areas for USFS. With 80 percent* of the nation's population in urban areas, there are strong environmental, social, and economic cases to be made for the conservation of green spaces to guide growth and revitalize city centers and older suburbs. Urban forests broadly include urban parks, street trees, landscaped boulevards, public gardens, river and coastal promenades, greenways, river corridors, wetlands, nature preserves, natural areas, shelter belts of trees and working trees at industrial brownfield sites. Urban forests are dynamic ecosystems that provide needed environmental services by cleaning air and water helping to control storm water, and conserving energy. They add form, structure, beauty and breathing room to urban design, reduce noise, separate incompatible uses, provide places to recreate, strengthen social cohesion, leverage community revitalization, and add economic value to our communities. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Green infrastructure works at multiple scales from the neighborhood to the metro area up to the regional landscape. This natural life support system sustains clean air and water, biodiversity, habitat, nesting and travel corridors for wildlife, and connects people to nature. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Urban and Community Forestry (UCF) is a cooperative program of the US Forest Service that focuses on the stewardship of urban natural resources. UCF provides technical, financial, research and educational services to local government, non-profit organizations community groups, educational institutions, and tribal governments. The program is delivered through its legislative partners, the state forestry agencies in 59 states and US territories. Forest Service cooperative programs are currently being redesigned to make more effective use of federal resources. Programs will be focused on issues and landscapes of national importance and prioritized through state and regional assessments. Over the next five years an increasing percentage of funding will be focused on landscape scale projects. Three national themes provide a framework for this work: conserve working forest landscapes; protect forests from harm; and enhance benefits associated with trees and forests. More information and upcoming webinars on December 9, 2015 | 1:00pm-2:15pm ET; January 13, 2016 | 1:00pm-2:15pm ET; and February 10, 2016 | 1:00pm-2:15pm ET can be seen at *http://www.fs.fed.us/ucf/program.shtml. USDA Photo By Lance Cheung.
"Enough is Enough!"
Anti-UCP Rally
Edmonton, AB
From the event organizers:
"We're here to unite concerned citizens of Alberta in a movement against the current government, the United Conservative Party (UCP), because Enough is Enough.
We believe the UCP has let us down across various fronts, failing to prioritize the needs of everyday Albertans. Whether it's healthcare, electricity pricing, forest management, climate change, education, housing, the cost of living, renewables, or any other issue affecting our province, we share a common frustration: our government isn't working for us.
It's time for change. It's time for a government that truly represents the interests of all Albertans, present, and future. Join us as we mobilize and demand accountability. This is democracy in action.
Enough is Enough! Together, let's make our voices heard and build a better future for Alberta."
15th Street Bike Lane at Pennsylvania Avenue, NW, Washington DC on Friday afternoon, 1 October 2021 by Elvert Barnes Photography
15th STREET BIKE LANE PROJECT
Elvert Barnes COVID 19 Pandemic October 2021 docu-project at elvertxbarnes.com/covid-19-project
Elvert Barnes October 2021 at elvertxbarnes.com/october-2021
Published at www.earthisland.org/journal/index.php/magazine/entry/its-...
2016–present 320 PS (235 kW; 316 hp) @5700 400 N⋅m (300 lb⋅ft) @2200–5400 1,969 cc (120.2 in3)
Inline 4 with turbocharger
and supercharger
Starting with the 2018 model year, all Volvo S90s sold in Canada and the USA will be of the long-wheelbase variety, which are assembled in China, a market that prioritizes rear-seat accommodations. Volvo’s familiar 400-hp T8 Twin Engine plug-in-hybrid powertrain also is joining the lineup, sitting at the top of the range above the existing 250-hp T5 and 316-hp T6 choices.
For a video; youtu.be/rSFURhQp_0Q
The Constantia Uitsig Sauvignon Blanc 2025 is a vibrant expression of the Constantia Valley’s unique cool-climate terroir. Situated on the slopes of Table Mountain, the estate benefits from decomposed granite soils and the cooling sea breezes from nearby False Bay. These geographical factors are critical to this vintage, locking in the natural acidity and creating a structural backbone of distinct minerality. The 2025 vintage reflects a "classic" Constantia profile, prioritizing freshness and tension over heavy fruit weight.
On the palate, this vintage strikes an elegant balance between green, herbaceous notes and bright tropical zest. You can expect a nose bursting with aromas of green melon, fresh fig, and lime, which open up to delicate undertones of passion fruit and blackcurrant. The winemaker typically vinifies the majority in stainless steel to preserve this aromatic purity, but often ferments a small component in concrete tanks. This technique, combined with three months of lees aging, gifts the 2025 wine a textured mid-palate and a refined complexity that distinguishes it from simpler, purely fruit-driven Sauvignon Blancs.
This is a wine built for immediate enjoyment, offering a crisp, lingering finish that cleanses the palate. Its high natural acidity and "flinty" character make it an exceptional food partner. It pairs perfectly with fresh goat cheese (Chevin), oysters, or a summer salad with asparagus and peas. For a heartier option, it cuts beautifully through the richness of fried calamari or a creamy lemon-butter sauce on grilled white fish.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The CAC Sabre, sometimes known as the Avon Sabre or CA-27, was an Australian variant of the North American Aviation F-86F Sabre fighter aircraft. In 1951, Commonwealth Aircraft Corporation obtained a license agreement to build the F-86F Sabre. In a major departure from the North American blueprint, it was decided that the CA-27 would be powered by a license-built version of the Rolls-Royce Avon R.A.7, rather than the General Electric J47. In theory, the Avon was capable of more than double the maximum thrust and double the thrust-to-weight ratio of the US engine. This necessitated a re-design of the fuselage, as the Avon was shorter, wider and lighter than the J47.
To accommodate the Avon, over 60 percent of the fuselage was altered and there was a 25 percent increase in the size of the air intake. Another major revision was in replacing the F-86F's six machine guns with two 30mm ADEN cannon, while other changes were also made to the cockpit and to provide an increased fuel capacity.
The prototype aircraft first flew on 3 August 1953. The production aircrafts' first deliveries to the Royal Australian Air Force began in 1954. The first batch of aircraft were powered by the Avon 20 engine and were designated the Sabre Mk 30. Between 1957 and 1958 this batch had the wing slats removed and were re-designated Sabre Mk 31. These Sabres were supplemented by 20 new-built aircraft. The last batch of aircraft were designated Sabre Mk 32 and used the Avon 26 engine, of which 69 were built up to 1961.
Beyond these land-based versions, an indigenous version for carrier operations had been developed and built in small numbers, too, the Sea Sabre Mk 40 and 41. The roots of this aircraft, which was rather a prestigious idea than a sensible project, could be traced back to the immediate post WWII era. A review by the Australian Government's Defence Committee recommended that the post-war forces of the RAN be structured around a Task Force incorporating multiple aircraft carriers. Initial plans were for three carriers, with two active and a third in reserve, although funding cuts led to the purchase of only two carriers in June 1947: Majestic and sister ship HMS Terrible, for the combined cost of AU£2.75 million, plus stores, fuel, and ammunition. As Terrible was the closer of the two ships to completion, she was finished without modification, and was commissioned into the RAN on 16 December 1948 as HMAS Sydney. Work progressed on Majestic at a slower rate, as she was upgraded with the latest technology and equipment. To cover Majestic's absence, the Colossus-class carrier HMS Vengeance was loaned to the RAN from 13 November 1952 until 12 August 1955.
Labour difficulties, late delivery of equipment, additional requirements for Australian operations, and the prioritization of merchant ships over naval construction delayed the completion of Majestic. Incorporation of new systems and enhancements caused the cost of the RAN carrier acquisition program to increase to AU£8.3 million. Construction and fitting out did not finish until October 1955. As the carrier neared completion, a commissioning crew was formed in Australia and first used to return Vengeance to the United Kingdom.
The completed carrier was commissioned into the RAN as HMAS Majestic on 26 October 1955, but only two days later, the ship was renamed Melbourne and recommissioned.
In the meantime, the rather political decision had been made to equip Melbourne with an indigenous jet-powered aircraft, replacing the piston-driven Hawker Fury that had been successfully operated from HMAS Sydney and HMAS Vengeance, so that the "new jet age" was even more recognizable. The choice fell on the CAC Sabre, certainly inspired by North American's successful contemporary development of the navalized FJ-2 Fury from the land-based F-86 Sabre. The CAC 27 was already a proven design, and with its more powerful Avon engine it even offered a better suitability for carrier operations than the FJ-2 with its rather weak J47 engine.
Work on this project, which was initially simply designated Sabre Mk 40, started in 1954, just when the first CAC 27's were delivered to operative RAAF units. While the navalized Avon Sabre differed outwardly only little from its land-based brethren, many details were changed and locally developed. Therefore, there was also, beyond the general outlines, little in common with the North American FJ-2 an -3 Fury.
Externally, a completely new wing with a folding mechanism was fitted. It was based on the F-86's so-called "6-3" wing, with a leading edge that was extended 6 inches at the root and 3 inches at the tip. This modification enhanced maneuverability at the expense of a small increase in landing speed due to deletion of the leading edge slats, a detail that was later introduced on the Sabre Mk 31, too. As a side benefit, the new wing leading edges without the slat mechanisms held extra fuel. However, the Mk 40's wing was different as camber was applied to the underside of the leading edge to improve low-speed handling for carrier operations. The wings were provided with four stations outboard of the landing gear wells for up to 1000 lb external loads on the inboard stations and 500 lb on the outboard stations.
Slightly larger stabilizers were fitted and the landing gear was strengthened, including a longer front wheel strut. The latter necessitated an enlarged front wheel well, so that the front leg’s attachment point had to be moved forward. A ventral launch cable hook was added under the wing roots and an external massive arrester hook under the rear fuselage.
Internally, systems were protected against salt and humidity and a Rolls-Royce Avon 211 turbojet was fitted, a downrated variant of the already navalized Avon 208 from the British DH Sea Vixen, but adapted to the different CAC 27 airframe and delivering 8.000 lbf (35.5 kN) thrust – slightly more than the engines of the land-based CAC Sabres, but also without an afterburner.
A single Mk 40 prototype was built from a new CAC 27 airframe taken directly from the production line in early 1955 and made its maiden flight on August 20th of the same year. In order to reflect its naval nature and its ancestry, this new CAC 27 variant was officially christened “Sea Sabre”.
Even though the modified machine handled well, and the new, cambered wing proved to be effective, many minor technical flaws were discovered and delayed the aircraft's development until 1957. These included the wing folding mechanism and the respective fuel plumbing connections, the landing gear, which had to be beefed up even more for hard carrier landings and the airframe’s structural strength for catapult launches, esp. around the ventral launch hook.
In the meantime, work on the land-based CAC 27 progressed in parallel, too, and innovations that led to the Mk 31 and 32 were also incorporated into the naval Mk 40, leading to the Sea Sabre Mk 41, which became the effective production aircraft. These updates included, among others, a detachable (but fixed) refueling probe under the starboard wing, two more pylons for light loads located under the wing roots and the capability to carry and deploy IR-guided AIM-9 Sidewinder air-to-air missiles, what significantly increased the Mk 41's efficiency as day fighter. With all these constant changes it took until April 1958 that the Sabre Mk 41, after a second prototype had been directly built to the new standard, was finally approved and cleared for production. Upon delivery, the RAN Sea Sabres carried a standard NATO paint scheme with Extra Dark Sea Grey upper surfaces and Sky undersides.
In the meantime, the political enthusiasm concerning the Australian carrier fleet had waned, so that only twenty-two aircraft were ordered. The reason behind this decision was that Australia’s carrier fleet and its capacity had become severely reduced: Following the first decommissioning of HMAS Sydney in 1958, Melbourne became the only aircraft carrier in Australian service, and she was unavailable to provide air cover for the RAN for up to four months in every year; this time was required for refits, refueling, personnel leave, and non-carrier duties, such as the transportation of troops or aircraft. Although one of the largest ships to serve in the RAN, Melbourne was one of the smallest carriers to operate in the post-World War II period, so that its contribution to military actions was rather limited. To make matters worse, a decision was made in 1959 to restrict Melbourne's role to helicopter operations only, rendering any carrier-based aircraft in Australian service obsolete. However, this decision was reversed shortly before its planned 1963 implementation, but Australia’s fleet of carrier-borne fixed-wing aircraft would not grow to proportions envisioned 10 years ago.
Nevertheless, on 10 November 1964, an AU£212 million increase in defense spending included the purchase of new aircraft for Melbourne. The RAN planned to acquire 14 Grumman S-2E Tracker anti-submarine aircraft and to modernize Melbourne to operate these. The acquisition of 18 new fighter-bombers was suggested (either Sea Sabre Mk 41s or the American Douglas A-4 Skyhawk), too, but these were dropped from the initial plan. A separate proposal to order 10 A-4G Skyhawks, a variant of the Skyhawk designed specifically for the RAN and optimized for air defense, was approved in 1965, but the new aircraft did not fly from Melbourne until the conclusion of her refit in 1969. This move, however, precluded the production of any new and further Sea Sabre.
At that time, the RAN Sea Sabres received a new livery in US Navy style, with upper surfaces in Light Gull Gray with white undersides. The CAC Sea Sabres remained the main day fighter and attack aircraft for the RAN, after the vintage Sea Furies had been retired in 1962. The other contemporary RAN fighter type in service, the Sea Venom FAW.53 all-weather fighter that had replaced the Furies, already showed its obsolescence.
In 1969, the RAN purchased another ten A-4G Skyhawks, primarily in order to replace the Sea Venoms on the carriers, instead of the proposed seventh and eighth Oberon-class submarines. These were operated together with the Sea Sabres in mixed units on board of Melbourne and from land bases, e.g. from NAS Nowra in New South Wales, where a number of Sea Sabres were also allocated to 724 Squadron for operational training.
Around 1970, Melbourne operated a standard air group of four jet aircraft, six Trackers, and ten Wessex helicopters until 1972, when the Wessexes were replaced with ten Westland Sea King anti-submarine warfare helicopters and the number of jet fighters doubled. Even though the A-4G’s more and more took over the operational duties on board of Melbourne, the Sea Sabres were still frequently deployed on the carrier, too, until the early Eighties, when both the Skyhawks and the Sea Sabres received once more a new camouflage, this time a wraparound scheme in two shades of grey, reflecting their primary airspace defense mission.
The CAC 27 Mk 41s’ last carrier operations took place in 1981 in the course of Melbourne’s involvements in two major exercises, Sea Hawk and Kangaroo 81, the ship’s final missions at sea. After Melbourne was decommissioned in 1984, the Fleet Air Arm ceased fixed-wing combat aircraft operation. This was the operational end of the Sabre Mk 41, which had reached the end of their airframe lifetime, and the Sea Sabre fleet had, during its career, severely suffered from accidents and losses: upon retirement, only eight of the original twenty-two aircraft still existed in flightworthy condition, so that the aircraft were all scrapped. The younger RAN A-4Gs were eventually sold to New Zealand, where they were kept in service until 2002.
General characteristics:
Crew: 1
Length: 37 ft 6 in (11.43 m)
Wingspan: 37 ft 1 in (11.3 m)
Height: 14 ft 5 in (4.39 m)
Wing area: 302.3 sq ft (28.1 m²)
Empty weight: 12,000 lb (5,443 kg)
Loaded weight: 16,000 lb (7,256 kg)
Max. takeoff weight: 21,210 lb (9,621 kg)
Powerplant:
1× Rolls-Royce Avon 208A turbojet engine with 8,200 lbf (36.44 kN)
Performance:
Maximum speed: 700 mph (1,100 km/h) (605 knots)
Range: 1,153 mi, (1,000 NM, 1,850 km)
Service ceiling: 52,000 ft (15,850 m)
Rate of climb: 12,000 ft/min at sea level (61 m/s)
Armament:
2× 30 mm ADEN cannons with 150 rounds per gun
5,300 lb (2,400 kg) of payload on six external hardpoints;
Bombs were usually mounted on outer two pylons as the mid pair were wet-plumbed pylons for
2× 200 gallons drop tanks, while the inner pair was usually occupied by a pair of AIM-9 Sidewinder
AAMs
A wide variety of bombs could be carried with maximum standard loadout being 2x 1,000 lb bombs
or 2x Matra pods with unguided SURA missiles plus 2 drop tanks for ground attacks, or 2x AIM-9 plus
two drop tanks as day fighter
The kit and its assembly:
This project was initially inspired by a set of decals from an ESCI A-4G which I had bought in a lot – I wondered if I could use it for a submission to the “In the navy” group build at whatifmodelers.com in early 2020. I considered an FJ-3M in Australian colors on this basis and had stashed away a Sword kit of that aircraft for this purpose. However, I had already built an FJ variant for the GB (a kitbashed mix of an F-86D and an FJ-4B in USMC colors), and was reluctant to add another Fury.
This spontaneously changed after (thanks to Corona virus quarantine…) I cleaned up one of my kit hoards and found a conversion set for a 1:72 CAC 27 from JAYS Model Kits which I had bought eons ago without a concrete plan. That was the eventual trigger to spin the RAN Fury idea further – why not a navalized version of the Avon Sabre for HMAS Melbourne?
The result is either another kitbash or a highly modified FJ-3M from Sword. The JAYS Model Kits set comes with a THICK sprue that carries two fuselage halves and an air intake, and it also offers a vacu canopy as a thin fallback option because the set is actually intended to be used together with a Hobby Craft F-86F.
While the parts, molded in a somewhat waxy and brittle styrene, look crude on the massive sprue, the fuselage halves come with very fine recessed engravings. And once you have cleaned the parts (NOTHING for people faint at heart, a mini drill with a saw blade is highly recommended), their fit is surprisingly good. The air intake was so exact that no putty was needed to blend it with the rest of the fuselage.
The rest came from the Sword kit and integrating the parts into the CAC 27 fuselage went more smoothly than expected. For instance, the FJ-3M comes with a nice cockpit tub that also holds a full air intake duct. Thanks to the slightly wider fuselage of the CAC 27, it could be mounted into the new fuselage halves without problems and the intake duct almost perfectly matches the intake frame from the conversion set. The tailpipe could be easily integrated without any mods, too. The fins had to be glued directly to the fuselage – but this is the way how the Sword kit is actually constructed! Even the FJ-3M’s wings match the different fuselage perfectly. The only modifications I had to make is a slight enlargement of the ventral wing opening at the front and at the read in order to take the deeper wing element from the Sword kit, but that was an easy task. Once in place, the parts blend almost perfectly into each other, just minor PSR was necessary to hide the seams!
Other mods include an extended front wheel well for the longer leg from the FJ-3M and a scratched arrester hook installation, made from wire, which is on purpose different from the Y-shaped hook of the Furies.
For the canopy I relied on the vacu piece that came with the JAYS set. Fitting it was not easy, though, it took some PSR to blend the windscreen into the rest of the fuselage. Not perfect, but O.K. for such a solution from a conversion set.
The underwing pylons were taken from the Sword kit, including the early Sidewinders. I just replaced the drop tanks – the OOB tanks are very wide, and even though they might be authentic for the FJ-3, I was skeptical if they fit at all under the wings with the landing gear extended? In order to avoid trouble and for a more modern look, I replaced them outright with more slender tanks, which were to mimic A-4 tanks (USN FJ-4s frequently carried Skyhawk tanks). They actually come from a Revell F-16 kit, with modified fins. The refueling probe comes from the Sword kit.
A last word about the Sword kit: much light, but also much shadow. While I appreciate the fine surface engravings, the recognizably cambered wings, a detailed cockpit with a two-piece resin seat and a pretty landing gear as well as the long air intake, I wonder why the creators totally failed to provide ANY detail of the arrester hook (there is literally nothing, as if this was a land-based Sabre variant!?) or went for doubtful solutions like a front landing gear that consists of five(!) single, tiny parts? Sadism? The resin seat was also broken (despite being packed in a seperate bag), and it did not fit into the cockpit tub at all. Meh!
Painting and markings:
From the start I planned to give the model the late RAN A-4Gs’ unique air superiority paint scheme, which was AFAIK introduced in the late Seventies: a two-tone wraparound scheme consisting of “Light Admiralty Grey” (BS381C 697) and “Aircraft Grey” (BS 381C 693). Quite simple, but finding suitable paints was not an easy task, and I based my choice on pictures of the real aircraft (esp. from "buzz" number 880 at the Fleet Air Arm Museum, you find pics of it with very good light condition) rather than rely on (pretty doubtful if not contradictive) recommendations in various painting instructions from models or decal sets.
I wanted to keep things simple and settled upon Dark Gull Grey (FS 36231) and Light Blue (FS 35414), both enamel colors from Modelmaster, since both are rather dull interpretations of these tones. Esp. the Light Blue comes quite close to Light Admiralty Grey, even though it should be lighter for more contrast to the darker grey tone. But it has that subtle greenish touch of the original BS tone, and I did not want to mix the colors.
The pattern was adapted from the late A-4Gs’ scheme, and the colors were dulled down even more through a light black ink wash. Some post-shading with lighter tones emphasized the contrast between the two colors again. And while it is not an exact representation of the unique RAN air superiority scheme, I think that the overall impression is there.
The cockpit interior was painted in very dark grey, while the landing gear, its wells and the inside of the air intake became white. A red rim was painted around the front opening, and the landing gear covers received a red outline, too. The white drop tanks are a detail I took from real world RAN A-4Gs - in the early days of the air superiority scheme, the tanks were frequently still finished in the old USN style livery, hence the white body but fins and tail section already in the updated colors.
The decals became a fight, though. As mentioned above, the came from an ESCI kit – and, as expected, the were brittle. All decals with a clear carrier film disintegrated while soaking in water, only those with a fully printed carrier film were more or less usable. One roundel broke and had to be repaired, and the checkered fin flash was a very delicate affair that broke several times, even though I tried to save and repair it with paint. But you can unfortunately see the damage.
Most stencils and some replacements (e. g. the “Navy” tag) come from the Sword FJ-3. While these decals are crisply printed, their carrier film is utterly thin, so thin that applying esp. the larger decals turned out to be hazardous and complicated. Another point that did not really convince me about the Sword kit.
Finally, the kit was sealed with matt acrylic varnish (Italeri) and some soot stains were added around the exhaust and the gun ports with graphite.
In the end, this build looks, despite the troubles and the rather exotic ingredients like a relatively simple Sabre with Australian markings, just with a different Navy livery. You neither immediately recognize the FJ-3 behind it, nor the Avon Sabre’s bigger fuselage, unless you take a close and probably educated look. Very subtle, though.
The RAN air superiority scheme from the late Skyhawks suits the Sabre/Fury-thing well – I like the fact that it is a modern fighter scheme, but, thanks to the tones and the colorful other markings, not as dull and boring like many others, e. g. the contemporary USN "Ghost" scheme. Made me wonder about an early RAAF F-18 in this livery - should look very pretty, too?
Posted for the Jules Photo Challenge for January 2017.
The challenge is to post 5 things you love about yourself & 2 things you dislike about yourself during the 22nd to the 28th.
For a 'dislike' I decided upon "difficulty completing things". Perhaps not entirely accurate as some things just seem to take longer than others to do. And some take so long they never seem to get done. Thankfully this is not the case with all projects (prioritization sometimes prevails). It sure can be frustrating as things begin to build up.
~*Photography Originally Taken By: www.CrossTrips.Com Under God*~
Relationships with other service branches
United States Marine Corps
Historically, the United States Navy has enjoyed a unique relationship with the United States Marine Corps (USMC), partly because they both specialize in seaborne operations. At the very top level of civilian organization, the USMC is part of the Department of the Navy and reports to the Secretary of the Navy. However, it is considered to be a distinct, separate service branch and not a subset of the Navy; the highest ranking Marine officer, the Commandant of the Marine Corps, does not report to a Navy officer. Marine Corps Medal of Honor recipients are awarded the Navy variant and Marines are eligible to receive the Navy Cross. The United States Naval Academy trains Marine Corps commissioned officers while Navy officers undergo instruction by Marine NCO Drill Instructors, in addition to their normal Recruit Division Commander.
The relationship extends to the operational theater as well. As amphibious assault specialists, Marines often deploy on and attack from Navy vessels; while being transported on a Navy ship, they must obey the orders of its captain. Marine strike-fighter air squadrons operate alongside Navy strike-fighter air squadrons from aircraft carriers, though they frequently have distinct missions and rarely fly sorties together; except to directly support Marine ground troops. Other types of Marine air squadrons operate from amphibious assault ships in support of Marine amphibious operations. The USMC does not train chaplains, Religious Programs Specialists and Hospital Corpsmen or medical doctors; thus officers and enlisted sailors from the Navy fulfill these roles. They generally wear Marine uniforms that are emblazoned with Navy insignia and markings to distinguish themselves from Marines. Corpsmen, Religious Program Specialists, and chaplains enjoy a great sense of camaraderie with the Marines due in part because they work closely with them and often are embedded with Marine units. They operate under the command of the Marine Corps under the auspices of the Fleet Marine Force, often called "green side" corpsman.[19]
The Navy and Marine Corps also share many aspects of naval culture, to include naval terminology (slang and jargon), as well as many traditions.
[edit] United States Coast Guard
Although the Posse Comitatus Act applies only to the Army and Air Force, Department of Defense rules effectively require the Navy and Marine Corps to act as if Posse Comitatus did apply, preventing them from enforcing the law. The United States Coast Guard fulfills this role in naval operations. It provides Law Enforcement Detachments (LEDETs) to Navy vessels, where they perform arrests and other law enforcement duties during Navy boarding and interdiction missions. In times of war, or when directed by the President, the Coast Guard operates as a service in the Navy and is subject to the orders of the Secretary of the Navy until it is transferred back to the Department of Homeland Security. [20] At other times, Coast Guard Port Security Units are sent overseas to guard the security of ports and other assets. The Coast Guard also jointly staffs the Navy's Naval Coastal Warfare Groups and Squadrons (the latter of which were known as Harbor Defense Commands until late-2004), which oversee defense efforts in foreign littoral combat and inshore areas.
[edit] Personnel
A "shooter" gives the signal to launch an F/A-18 Super Hornet from the USS Enterprise (CVN-65).
A "shooter" gives the signal to launch an F/A-18 Super Hornet from the USS Enterprise (CVN-65).
The United States Navy has nearly 500,000 personnel, approximately a quarter of whom are in ready reserve. Of those on active duty, more than eighty percent are enlisted sailors while commissioned officers make up around fifteen percent; the rest are midshipmen of the United States Naval Academy (who are on active duty) and NROTC units at over 180 universities around the country.[1]
Sailors prove they have mastered skills and deserve responsibilities by completing Personnel Qualification Standards (PQS) tasks and examinations. Among the most important is the "warfare qualification," which denotes a journeyman level of capability in Aviation Warfare, Naval Aircrew, Special Warfare, Surface Warfare, or Submarine Warfare. Many qualifications are denoted on a sailor's uniform with U.S. Navy badges and insignia.
[edit] Commissioned officer
Main article: U.S. Navy officer rank insignia
See also: List of United States Navy staff corps
Commissioned officers in the Navy have pay grades ranging from O-1 to O-10, with O-10 being the highest; those with paygrades between O-1 through O-4 are considered junior officers and officers in the O-7 to O-10 range are called flag officers or the "admiralty." Promotion is based on performance in an officer's current paygrade, which is recorded in "FITREPS" (fitness reports), usually self-written by the officer and edited by superiors. Above the rank of Admiral is Fleet Admiral (O-11), which was awarded to a select few in World War II and is intended to be used only during a declared war. In 1899, a special rank called Admiral of the Navy was created for George Dewey, a war hero of the Spanish-American War, with the condition that it would cease to exist upon his death.[21] The honor was also significant because at that time, the United States Navy had no living admirals.[22] Commissioned officers originate from the United States Naval Academy, Navy Reserve Officer Training Corps (NROTC), Officer Candidate School (OCS), and a host of other commissioning programs such as the Seaman to Admiral-21 program, the Limited Duty Officer Selection Program, and the United States Merchant Marine Academy.
Commissioned officers can generally be divided into line officers and staff corps; line officers can be further split into unrestricted and restricted communities. Unrestricted Line Officers are the warfighting command element and are authorized to lead ships, aviation squadrons, and special operations units. Restricted Line Officers, on the other hand, concentrate on non-combat related fields, such as engineering and maintenance; they are not qualified to command combat units. Staff Corps officers are specialists in fields that are themselves professional careers and not exclusive to the military, for example: medicine, law, and civil engineering.
Up until Fiscal Year 2005, all officers entering the U.S. Navy are awarded a Reserve commission (they are commissioned as Ensign, United States Navy Reserve). Legislation was signed that all Reserve Officers on Active Duty, designated by a "5" in the last digit of the designator, would be converted over to a regular Navy commission by close of Fiscal Year 2006
Chief Warrant Officer
Chief Warrant Officer (CWO) pay grades range from CWO2 to the highest rank of CWO5. United States Navy CWOs are commissioned officers whose role is to provide leadership and skills for the most difficult and demanding operations in a particular technical specialty. They occupy a niche that is not as well served by the line officer community, which tends to have a broader focus. CWOs come from the senior non-commissioned officer ranks of the enlisted and receive their commission after completing the appropriately named Chief Warrant Officer Program. They typically become CWOs in specialties that are most related to their previous enlisted rating. Like Staff Corps officers, CWOs wear special insignia above the rank devices on their shoulder boards and sleeves to indicate their field of expertise.
Enlisted sailors
Enlisted members of the Navy have pay grades from E-1 to E-9, with E-9 being the highest. All enlisted sailors with paygrades of E-4 and higher are considered Petty Officers while those at E-7 and higher are further named Chief Petty Officers. Unlike commissioned officers, who are given authority by the government, NCOs are promoted through the ranks of the enlisted. Those who demonstrate superior performance are given an increase in paygrade; the official Navy term is to be advanced. Two notable advancements are from Seaman to Petty Officer Third Class (E-3 to E-4) and from Petty Officer First Class to Chief Petty Officer (E-6 to E-7). Advancement to Chief Petty Officer is especially significant and is marked by a special initiation ceremony.
Enlisted members of pay grades E-4 and above are said to be "rated," meaning that they possess a rating, or occupational specialty. Members of grades E-1 to E-3 can be "strikers," meaning they have the same rating designation as a Petty Officer in their field (example: a BM3 is a Petty Officer Third Class rated as a Boatswain's Mate; BMSN is a Seaman designated as a Boatswain's Mate striker), but do not necessarily have to be. Whether a designated striker or not, personnel in the pay grades of E-3 and below are all considered "Non-Rates." There are more than 50 ratings covering a broad range of skills and subspecialties.
Uniforms and appearance
A Vice Admiral returns salute from enlisted sailors in a ceremony.
A Vice Admiral returns salute from enlisted sailors in a ceremony.
Main article: Uniforms of the United States Navy
The uniforms of the United States Navy are designed to combine professionalism and naval heritage with versatility, safety, and comfort.[23] The Navy currently incorporates many different styles that are specific for a variety of uses and occasions. In most cases, distinctions are made to distinguish officers and enlisted men in their uniformed appearance. U.S. Navy uniforms can generally be divided into three categories: dress uniforms, service uniforms, and working uniforms.
* Dress uniforms are worn during military-related formal occasions, such as ceremonies and other official functions. Many types of dress uniforms are used in the Navy with the full range of formal requirements represented. Service dress is the least formal dress uniform, full dress is one step higher in formality, and mess dress is the most formal dress available.
A Bermuda Regiment NCO with a (female) US Navy hospital corpsman, attached to the Bermuda Regiment from USNAS Bermuda, on training at USMC Camp Lejeune, 1994. The hospital corpsman wears a military combat uniform.
A Bermuda Regiment NCO with a (female) US Navy hospital corpsman, attached to the Bermuda Regiment from USNAS Bermuda, on training at USMC Camp Lejeune, 1994. The hospital corpsman wears a military combat uniform.
* Service uniforms are designed for daily wear and are most often worn in office or classroom-type settings, as well as other occasions in which physical activity is at a minimum.[24] The most visible distinction between officers and enlisted personnel are the color of the service uniform. Only officers and chief petty officers are authorized to wear service khaki; all other personnel must wear winter blue or summer white.
* Working uniforms prioritize comfort and safety first and thus are the most utilitarian of the Navy uniforms. They are intended for use in underway ships and in occasions that involve dirty, physical labor. Many working uniforms are variations of the service uniforms except with less formal requirements. This category includes Navy coveralls, which are authorized to be worn by members of all ranks.
Recently, the Navy completed a project named "Task Force Uniform" to streamline Navy uniforms. Among the changes are that enlisted personnel from Seaman Recruit to Petty Officer First Class (E1-E6) will have one year-round service uniform instead of Winter Blues and Summer Whites. All personnel from Seaman Recruit to Admiral will also have new working uniforms dubbed Navy Working Uniform (NWU) to replace the wash khakis, coveralls, dungarees, and aviation working greens currently in use. The uniform is a digital patterned camouflage in predominantly haze gray and blue hues.[25]
Grooming for both male and female sailors is regulated to a high degree, with exact standards in regards to hair, facial hair, use of cosmetics, and jewelry. New male recruits are given the military crew cut and are prohibited from having hair longer than four inches (102 mm) while in the service. Men are required to be clean shaven at all times, although mustaches are allowed. Women do not have a hair length regulation, however hair cannot fall past the bottom edge of the uniform collar and the style of hair is strictly controlled. Multicolored hair, body piercing, and tattoos on the head are banned for both sexes.[26]
[edit] Bases
Main article: List of United States Navy installations
The size, complexity, and international presence of the United States Navy require a large number of navy installations to support its operations. While the majority of bases are located on the West and East coasts of the United States, the Navy maintains a significant number of facilities farther inland and abroad, either in U.S.-controlled territories or in foreign countries under a Status of Forces Agreement (SOFA).
[edit] Eastern United States
Map of Navy bases in the United States.
Map of Navy bases in the United States.
The largest concentration of installations is in Hampton Roads, Virginia, where the Navy occupies over 36,000 acres (146 km²) of land, making it the largest naval base in the world. It is the homeport of the Atlantic Fleet and the location of Northrop Grumman Newport News, a privately owned company that builds the Nimitz-class aircraft carrier. The state of Florida is the location of three major bases, Naval Station Mayport, the Navy's third largest, near Jacksonville, Florida, Naval Air Station Jacksonville, a Master Air Anti-submarine Warfare base, and Naval Air Station Pensacola, the primary training base for Navy and Marine pilots, naval flight officers and aircrew personnel. The main U.S. Navy submarine bases are located in Groton, Connecticut and Kings Bay, Georgia. There are also two other naval bases in Portsmouth, New Hampshire and Brunswick, Maine.
[edit] Western United States and Hawaii
The Navy's second-largest complex is located in San Diego in Southern California. An important port for the Pacific Fleet, it contains the Naval Special Warfare Center, the main training center for SEALs. The other major collection of naval bases on the west coast is in Puget Sound, Washington. Among them, Naval Station Everett is one of the newer bases in operation and the Navy states that it is its most modern facility.[27] The naval presence in Hawaii is centered on Pearl Harbor, which hosts the headquarters of the Pacific Fleet and many of its subordinate commands.
[edit] United States territories
Guam, an island strategically located in the Western Pacific Ocean, maintains a sizable Navy presence. The westernmost U.S. territory, it contains a Naval Air Station and a natural deep water harbor capable of harboring even aircraft carriers in emergencies.[28] Puerto Rico in the Caribbean formerly housed a navy facility, but it was shut down in 2004 shortly after the controversial closure of the live ordnance training area on nearby Vieques Island.
[edit] Foreign countries
The largest overseas base is in Yokosuka, Japan,[29] which serves as the homeport for the Navy's largest forward-deployed fleet and is a significant base of operations in the Western Pacific. European operations revolve around facilities in Italy and Greece with Naples, Italy as the homeport for the Sixth Fleet. In the Middle East, naval facilities are located almost exclusively in countries bordering the Persian Gulf, with Manama, Bahrain serving as the headquarters of Fifth Fleet. Guantánamo Bay in Cuba is the oldest overseas facility and has become known in recent years as the location of a detention camp for suspected al-Qaeda operatives.
[edit] Ships
USS Ronald Reagan (CVN-76)
USS Ronald Reagan (CVN-76)
Main article: United States Navy ships
See also: List of ships of the United States Navy
The names of commissioned ships of the U.S. Navy start with "USS",[30] designating 'United States Ship'. Non-commissioned, civilian-manned vessels of the Navy have names that begin with "USNS", standing for 'United States Naval Ship'. The names of ships are officially selected by the Secretary of the Navy, often to honor important people or places. Additionally, each ship is given a letter-based hull classification symbol (for example CVN or DDG) to indicate the vessel's type and a hull number. All ships in the Navy inventory are placed in the Naval Vessel Register, which tracks data such as the current status of a ship, the date of its commissioning, and the date of its decommissioning. Vessels that are removed from the register prior to disposal are said to be stricken from the register. The Navy also maintains a reserve fleet of inactive vessels that are maintained for reactivation in times of need.
The Navy pioneered the use of nuclear reactors aboard naval vessels;[31] today, nuclear energy powers most U.S. aircraft carriers and submarines. In the case of a Nimitz-class carrier, two naval reactors give the ship almost unlimited range and provide enough electrical energy to power a city of 100,000 people.[32] The U.S. Navy previously operated nuclear-powered cruisers and destroyers as well, but all have been decommissioned.
[edit] Aircraft carriers
USS Nimitz (CVN-68) returns from deployment in the Persian Gulf.
USS Nimitz (CVN-68) returns from deployment in the Persian Gulf.
Due to their ability to put most nations within striking distance of U.S. air power, aircraft carriers are the cornerstones of the United States’ forward deployment and deterrence strategy.[33] Multiple carriers are deployed around the world at any given time to provide military presence, respond quickly to crises, and participate in joint exercises with allied forces;[34] this has led the Navy to refer to their Nimitz-class carriers as "4.5 acres of sovereign and mobile American territory."[35] Former President Bill Clinton summed up the importance of the aircraft carrier by stating that "when word of crisis breaks out in Washington, it's no accident the first question that comes to everyone's lips is: where is the nearest carrier?"[36] The power and operational flexibility of a carrier lie in the aircraft of its carrier air wing. Made up of both fixed-wing and rotary-wing aircraft, a carrier air wing is able to perform over 150 strike missions, hitting over 700 targets a day.[37] Carrier air wings also protect friendly forces, conduct electronic warfare, assist in special operations, and carry out search and rescue missions. The carriers themselves, in addition to enabling airborne operations, serve as command platforms for large battle groups or multinational task forces.
A carrier is typically deployed along with a host of additional vessels, forming a carrier strike group. The supporting ships, which usually include three or four Aegis-equipped cruisers and destroyers, a frigate, and two attack submarines, are tasked with protecting the carrier from air, missile, sea, and undersea threats as well as providing additional strike capabilities themselves. Ready logistics support for the group is provided by a combined ammunition, oiler, and supply ship. Aircraft carriers beginning with USS John F. Kennedy (CV-67) have been named for politicians important to the Navy or United States history. Previous aircraft carriers were generally named for battles and past famous fighting ships of the Navy.
* Kitty Hawk class (1 in commission, 2 decommissioned)
* Enterprise class (1 in commission)
* Nimitz class (9 in commission, 1 under construction)
* Gerald R. Ford-class (1 under construction, 2 planned)
[edit] Amphibious warfare vessels
USS Bataan (LHD-5), a Wasp class amphibious assault ship.
USS Bataan (LHD-5), a Wasp class amphibious assault ship.
Amphibious assault ships are the centerpieces of U.S. amphibious warfare and fulfill the same power projection role as aircraft carriers except that their striking force comprises land forces instead of aircraft. They deliver, command, coordinate, and fully support all elements of a 2200-strong Marine Expeditionary Unit in an amphibious assault using air and amphibious vehicles. Resembling small aircraft carriers, amphibious assault ships are capable of V/STOL, STOVL, VTOL, tiltrotor, and rotary wing aircraft operations. They also contain a welldeck to support the use of Landing Craft Air Cushion (LCAC) and other amphibious assault watercraft. Recently, amphibious assault ships have begun to be deployed as the core of an expeditionary strike group, which usually consists of an additional amphibious transport dock and dock landing ship for amphibious warfare and an Aegis-equipped cruiser and destroyer, frigate, and attack submarine for group defense. Amphibious assault ships are typically named after World War II aircraft carriers.
* Tarawa class (3 in commission, 2 decommissioned)
* Wasp class (7 in commission, 1 under construction)
Amphibious transport docks are warships that embark, transport, and land Marines, supplies, and equipment in a supporting role during amphibious warfare missions. With a landing platform, amphibious transport docks also have the capability to serve as secondary aviation support for an expeditionary group. All amphibious transport docks can operate helicopters, LCACs, and other conventional amphibious vehicles while the newer San Antonio class of ships has been explicitly designed to operate all three elements of the Marines' "mobility triad": Expeditionary Fighting Vehicles (EFVs), the V-22 Osprey tiltrotor aircraft, and the previously mentioned LCACs. Amphibious transport docks are named for cities, except for USS Mesa Verde (LPD-19), named for Mesa Verde National Park in Colorado, and two of the three ships named in memory of the September 11, 2001 attacks: USS New York (LPD-21), for the state of New York, and USS Somerset (LPD-25) for Somerset County, Pennsylvania.
* Austin class (9 in commission, 2 decommissioned, 1 converted to an auxiliary command ship)
* San Antonio class (2 in commission, 3 under construction, 4 more planned)
The dock landing ship is a medium amphibious transport that is designed specifically to support and operate Landing Craft Air Cushions (LCACs), though it is able to operate other amphibious assault vehicles in the United States inventory as well. Dock landing ships are normally deployed as a component of an expeditionary strike group's amphibious assault contingent, operating as a secondary launch platform for LCACs. All dock landing ships are named after locations in the United States.
* Whidbey Island class (8 in commission)
* Harpers Ferry class (4 in commission)
[edit] Surface vessels
Cruisers are large surface combat vessels that conduct anti-air/anti-missile warfare, surface warfare, undersea warfare, and strike operations independently or as members of a larger task force. Modern guided missile cruisers were developed out of a need to counter the anti-ship missile threat facing the United States Navy. This led to the development of the AN/SPY-1 phased array radar and the Standard Missile 2 with the Aegis combat system coordinating the two. Ticonderoga-class cruisers became the first to equip Aegis and were put to use primarily as anti-air and anti-missile defense in a battle force protection role. Later developments of vertical launch systems and the Tomahawk missile gave cruisers additional long-range land and sea strike capability, making them capable of both offensive and defensive battle operations. All cruisers since CG-47 have been named for famous battles with USS Thomas S. Gates (CG-51) as the only exception. Previously, cruisers were either named for cities (until CG-12), former important navy figures (CG-15 to CG-35), or states (CG-36 to CG-42).
* Ticonderoga class (22 in commission, 5 decommissioned)
USS Port Royal, a Ticonderoga class cruiser
USS Port Royal, a Ticonderoga class cruiser
Destroyers are multi-mission medium surface ships capable of sustained performance in anti-air, anti-submarine, anti-ship, and offensive strike operations. Like cruisers, the guided missile destroyers of the Navy are primarily focused on surface strikes using Tomahawk missiles and fleet defense through Aegis and the Standard missile. Destroyers additionally specialize in anti-submarine warfare and are equipped with VLA rockets and LAMPS Mk III Sea Hawk helicopters to deal with underwater threats. When deployed with a carrier strike group or expeditionary strike group, destroyers and their fellow Aegis-equipped cruisers are primarily tasked with defending the fleet while providing secondary strike capabilities. Destroyers have been named for important navy personnel and heroes since the USS Bainbridge (DD-1).
* Arleigh Burke class (52 in commission, 3 under construction, 7 more planned)
USS Milius (DDG-69) fires a Tomahawk missile during Operation Iraqi Freedom.
USS Milius (DDG-69) fires a Tomahawk missile during Operation Iraqi Freedom.
Modern U.S. frigates mainly perform undersea warfare for carrier strike groups and amphibious expeditionary groups and provide armed escort for supply convoys and merchant shipping. They are designed to protect friendly ships against hostile submarines in low to medium threat environments using torpedoes and LAMPS helicopters. Some Frigates are also able to launch Standard missiles to supply limited protection against anti-ship missiles. Independently, frigates are able to conduct counterdrug missions and other maritime interception operations. The U.S. Navy expects to retire its current class of frigates by 2020.[38] As in the case of destroyers, frigates are named after naval heroes.
* Oliver Hazard Perry class (30 in commission, 20 decommissioned)
All U.S. battleships have been decommissioned and stricken from the Naval Vessel Register. Designed to engage other capital ships in open sea warfare, battleships were the Navy's largest and most important vessels until the mid-20th century. The rise of aircraft carriers in World War II led to the declining importance of battleships and the Navy relegated them to the roles of fire support and escort. Following a long period of inactivity, the Iowa-class battleships were recommissioned in the 1980s to augment the Navy's size and were upgraded with Tomahawk cruise missile capability. They were decommissioned for the final time in the early 1990s due in part to their high maintenance costs and the Cold War's end. All battleships except USS Kearsarge (BB-5) were named for states.
[edit] Submarines
Main article: Submarines in the United States Navy
USS Virginia (SSN-774), a Virginia-class submarine.
USS Virginia (SSN-774), a Virginia-class submarine.
The primary missions of submarines in the U.S. Navy are peacetime engagement, surveillance and intelligence, special operations, precision strikes, battlegroup operations, and denial of the seas.[39] The U.S. Navy operates two types: ballistic submarines and attack submarines. Ballistic submarines have only one mission: to carry and launch the nuclear Trident missile. Attack submarines have several tactical missions, including sinking ships and subs, launching cruise missiles, gathering intelligence, and assisting in special operations. Sea attack submarines are typically named for cities while land attack submarines (Virginia- and converted Ohio-class boats) are typically named for states. Earlier attack submarines were named for "denizens of the deep", while earlier ballistic missile submarines were named for "famous Americans" (although many of them were actually foreigners).
* Ohio class (18 in commission) — ballistic missile submarines with four converted into guided missile submarines.
* Los Angeles class (45 in commission, 17 decommissioned) — attack submarines
* Seawolf class (3 in commission) — attack submarines
* Virginia class (4 in commission, 5 under construction or ordered, at least 9 more planned) — attack submarines
[edit] Historically significant vessels
USS Constitution
USS Constitution
The U.S. Navy has operated a number of vessels important to both United States and world naval history. USS Constitution, nicknamed "Old Ironsides", is the only surviving vessel of the original six frigates authorized by Congress when they re-established the United States Navy in 1794. It served with distinction in the War of 1812 and is currently docked in Charlestown, Massachusetts, as the oldest commissioned warship afloat. USS Monitor and CSS Virginia are together known for participating in the first engagement between two steam-powered ironclads, known as the Battle of Hampton Roads. USS Monitor was the first ironclad built by the U.S. Navy and its design introduced the rotating gun turret to naval warfare. The first submarine built by the U.S. Navy was USS Alligator, which sank in 1863 while being towed during a storm and never saw combat. The submarine USS Nautilus (SSN-571), commissioned in 1954, was the first nuclear-powered warship in the world. It demonstrated its capabilities by traveling 62,562 miles (100,684 km), more than half of which was submerged, in two years before having to refuel while breaking the record for longest submerged voyage.[40] USS Long Beach (CGN-9) was the first nuclear-powered surface warship in the world and signaled a new era of United States naval weaponry by being the first large ship in the Navy to have guided missiles as its main battery.
[edit] Aircraft
Four F/A-18F Super Hornets fly over the Western Pacific Ocean.
Four F/A-18F Super Hornets fly over the Western Pacific Ocean.
Main articles: List of US Naval aircraft and List of military aircraft of the United States (naval)
See also: List of United States Navy aircraft squadrons
Carrier-based aircraft are able to strike air, sea, and land targets far from a carrier strike group while protecting friendly forces from enemy aircraft, ships, and submarines. In peacetime, aircraft's ability to project the threat of sustained attack from a mobile platform on the seas gives United States leaders significant diplomatic and crisis-management options. Aircraft additionally provide logistics support to maintain the Navy’s readiness and, through helicopters, supply platforms with which to conduct search and rescue, special operations, anti-submarine warfare (ASW), and anti-surface warfare (ASuW).
The U.S. Navy began to research the use of aircraft at sea in the 1910s and commissioned its first aircraft carrier, USS Langley, in 1922.[41] United States naval aviation fully came of age in World War II, when it became clear following the Attack on Pearl Harbor, the Battle of the Coral Sea, and the Battle of Midway that aircraft carriers and the planes that they carried had replaced the battleship as the greatest weapon on the seas. Navy aircraft also played a significant role in conflicts during the following Cold War years, with the F-4 Phantom II and the F-14 Tomcat becoming military icons of the era. The Navy's current primary fighter and attack airplanes are the multi-mission F/A-18C/D Hornet and its newer cousin, the F/A-18E/F Super Hornet. The F-35 Lightning II is presently under development and is scheduled to replace the C and D versions of the Hornet in 2012.[42]
[edit] Weapons systems
Main article: List of US Navy weapons
Current U.S. Navy shipboard weapons systems are almost entirely focused on missiles, both as a weapon and as a threat. In an offensive role, missiles are intended to strike targets at long distances with accuracy and precision. Because they are unmanned weapons, missiles allow for attacks on heavily defended targets without risk to human pilots. Land strikes are the domain of the BGM-109 Tomahawk, which was first deployed in the 1980s and is continually being updated to increase its capabilities. For anti-ship strikes, the Navy's dedicated missile is the Harpoon missile. To defend against enemy missile attack, the Navy operates a number of systems that are all coordinated by the Aegis combat system. Medium-long range defense is provided by the Standard Missile 2, which has been deployed since the 1980s. The Standard missile doubles as the primary shipboard anti-aircraft weapon and is undergoing development for use in theater ballistic missile defense. Short range defense against missiles is provided by the Phalanx CIWS and the more recently developed RIM-162 Evolved Sea Sparrow Missile. In addition to missiles, the Navy employs Mark 46 and Mark 50 torpedoes and various types of mines.
Aviation Ordnancemen loading GBU-12 bombs.
Aviation Ordnancemen loading GBU-12 bombs.
Naval fixed-wing aircraft employ much of the same weapons as the United States Air Force for both air-to-air and air-to-surface combat. Air engagements are handled by the heat-seeking Sidewinder and the radar guided AMRAAM missiles along with the M61 Vulcan for close range dogfighting. For surface strikes, Navy aircraft utilize a combination of missiles, smart bombs, and dumb bombs. On the list of available missiles are the Maverick, SLAM-ER, and JSOW. Smart bombs include the GPS-guided JDAM and the laser-guided Paveway series. Unguided munitions such as dumb bombs and cluster bombs round out the rest of the weapons deployed by fixed-wing aircraft.
Rotary aircraft weapons revolve around anti-submarine warfare (ASW) and light to medium surface engagements. To combat submarines, helicopters use Mark 46 and Mark 50 torpedoes. Against small watercraft, they utilize Hellfire and Penguin air to surface missiles. Helicopters also employ various types of mounted anti-personnel machine guns, including the M60D, M240, GAU-16/A, and GAU-17/A.
Nuclear weapons in the U.S. Navy arsenal are deployed through ballistic missile submarines and aircraft. The Ohio-class submarine carries the latest iteration of the Trident missile, a three stage, underwater launched, nuclear ICBM with MIRV capability; the current Trident II (D5) version is expected to be in service past 2020.[43] The Navy’s other nuclear weapon is the aircraft-deployed B61 nuclear bomb. The B61 is a thermonuclear device that can be dropped by strike aircraft such as the F/A-18 Hornet and Super Hornet at high speed from a large range of altitudes. They can be released through free-fall or parachute and can be set to detonate in the air or on the ground.
[edit] Special warfare
SEALs coming ashore
SEALs coming ashore
The major players in U.S. Navy special operations are the United States Navy SEALs and the Special Warfare Combatant-craft Crewmen (SWCCs, pronounced "swicks").
The SEALs derive their name from the environments in and from which they can operate: SEa, Air, and Land. Their distinguishing specialty, however, is maritime operations—striking from and returning to the sea.[44]The SEALs are a flexible group of naval Special Forces who are trained to conduct clandestine warfare, most often in small-unit actions.
SWCCs are trained in small ship and watercraft special operations and often work closely with their SEAL counterparts. Organized into Special Boat Teams, SWCCs have expertise in inserting and extracting SEALs in hostile territory, coastal patrol and surveillance, and boarding and searching vessels.[45]
[edit] Naval special operations groups
Navy special operations fall under the jurisdiction of Naval Special Warfare Command, the Navy branch of United States Special Operations Command. Within Naval Special Warfare Command are seven operational entities: four Special Warfare Groups, the Special Warfare Development Group, the Operational Support Group, and the Special Warfare Center.
* Naval Special Warfare Group ONE and Group TWO each consist of four teams of Navy SEALs and a few Naval Special Warfare (NSW) Units. NSW units are charged with overall command and control and planning of special operations within their geographic jurisdiction.
* Group THREE is made up of SEAL Delivery Vehicle (SDV) Teams. SEALs who are assigned to SDV teams specialize in the use of Swimmer Delivery Vehicles (known as "SEAL Delivery Vehicles" in American service) and Advanced SEAL Delivery Systems (ASDSs). These watercraft are submersibles that are designed to insert SEAL operators underwater, from long distances offshore.
* Group FOUR comprises all of the Navy's Special Boat Teams.
* The U.S. Naval Special Warfare Development Group, also known as Dev Group or DEVGRU, is the United States military's premier Maritime Counter-Terrorism unit. While the Navy confirms the existence of the unit, it merely states that the role of Dev Group is to test, evaluate, and develop technology and maritime, ground and airborne tactics for Navy Special Warfare; no official mention of counter-terrorism concerning DEVGRU is made. Though much of the information regarding this unit is classified, it is estimated that the group consists of approximately 200 active operators.[46]
* The Operational Support Group is the reserve element of NSWC, providing support to active units when necessary.[47]
* The Naval Special Warfare Center, located in Coronado, California, is the main training center for Navy special operations personnel including the United States Navy SEALs's.
Although not under the jurisdiction of NSW Command, Navy Explosive Ordnance Disposal Units often work closely with special operations teams. Trained to be combat-ready and highly mobile, EOD units are entrusted with nullifying hazardous ordnance in a number of different maritime environments.[48] They are also able to conduct underwater anti-mine operations using marine mammals.[49]
[edit] Naval Expeditionary Combat Command
Navy Expeditionary Combat Command (NECC), established in January 2006, serves as the single functional command for the Navy's expeditionary forces and as central management for the readiness, resources, manning, training and equipping of those forces.
NECC consolidates, aligns and integrates diverse expeditionary capabilities and combat support elements to create consistent expeditionary practices, procedures, requirements and logistics in the battle space. NECC’s enterprise approach will yield improved efficiencies and effectiveness through economies of scale and common processes.
NECC is a command element and force provider for integrated maritime expeditionary missions. NECC is a core expeditionary force providing effective waterborne and ashore anti-terrorism, force protection, theater security cooperation and engagement, and humanitarian assistance/disaster relief contingencies. Upon request, NECC supplements Coast Guard homeland security requirements while training and equipping forces to support mission requirements.
NECC capabilities include; Explosive Ordnance Disposal, Maritime Expeditionary Security, Riverine, Diving Operations, Naval Construction, Maritime Civil Affairs, Expeditionary Training, Expeditionary Logistics, Expeditionary Intelligence, Combat Camera, Expeditionary Combat Readiness, and Maritime Expeditionary Security.
The Maritime Expeditionary Security Force’s (MESF) (formerly known as Naval Coastal Warfare) primary mission is force protection conducted through fleet support with operations around the world. Anti-Terrorism and Force Protection missions include harbor and homeland defense, coastal surveillance, and special missions. Specialized units work together with MESF squadron staffs providing intelligence and communications. MESF units deploy worldwide to detect, deter, and defend an area, unit, or High Value Asset. Recent locations include the United States, Korea, Saudi Arabia, Kuwait, Bahrain, United Arab Emirates, and Egypt.
Two Maritime Expeditionary Security Groups in San Diego and Portsmouth, Va. provide centralized planning, control, training, coordination, equipping, and integration of coastal warfare assets trained to operate in high density, multi-threat environments. Units conduct force protection of strategic shipping and naval vessels operating in the inshore and coastal assets, anchorages and harbors, from bare beach to sophisticated port facilities.
Members of Inshore Boat Unit 24 patrol near Kuwait Naval Base.
Members of Inshore Boat Unit 24 patrol near Kuwait Naval Base.
Coastal and harbor defense and protection of naval assets are placed under the jurisdiction of two Naval Coastal Warfare Groups: one for the Pacific Fleet and one for the Atlantic Fleet. Within these groups are Mobile Security Squadrons and Naval Coastal Warfare Squadrons. MSSs deploy Mobile Security Detachments that provide force protection for high value naval targets in ports and harbors where U.S. shore infrastructure is limited or does not exist. Naval Coastal Warfare Squadrons provide surveillance and security in harbors, coasts, and inshore areas. They comprise Mobile Inshore Undersea Warfare Units (MIUWUs) and Inshore Boat Units (IBUs). MIUWUs are charged with security, observation, and communications support for commanders operating in an inshore/coast environment, including anchorages and harbors. In the same operating environment, IBUs manage water craft for security, interdiction and surveillance.
[edit] Naval culture
First and Current U.S. Naval Jack
First and Current U.S. Naval Jack
Former U.S. Naval Jack
Former U.S. Naval Jack
The Lone Sailor Statue at the United States Navy Memorial in Washington DC
The Lone Sailor Statue at the United States Navy Memorial in Washington DC
John Paul Jones, America's first well-known navy hero.
John Paul Jones, America's first well-known navy hero.
The current naval jack of the United States is the First Navy Jack, traditionally regarded as having been used during the American Revolutionary War. On May 31, 2002, Secretary of the Navy Gordon England directed all U.S. naval ships to fly the First Navy Jack for the duration of the War on Terrorism. Many ships chose to shift colors later that year on the first anniversary of the September 11, 2001 attacks. The previous naval jack was a blue field with 50 white stars, identical to the canton of the ensign (the Flag of the United States) both in appearance and size. A jack of similar design was used in 1794, though with 13 stars arranged in a 3–2–3–2–3 pattern. When a ship is moored or anchored, the jack is flown from the bow of the ship while the ensign is flown from the stern. When underway, the ensign is raised on the mainmast. The First Naval Jack, however, has always been flown on the oldest ship in the American fleet. Currently, USS Kitty Hawk (CV-63) holds that honor.
Over the course of the United States Navy's 207-year existence, a distinct jargon has evolved among American sailors and has become a normal part of their everyday speech. Modern U.S. Navy slang draws from a number of varied sources. It includes traditional sailing terms, archaic English words, and a plethora of acronyms, joke phrases, crude expressions, and abbreviations that have been created within the past hundred years.[50]
[edit] Notable sailors
Main article: List of United States Navy people
Many past and present United States historical figures have served in the Navy. Notable officers include John Paul Jones, James Lawrence, whose last words "Don't give up the ship" are memorialized in Bancroft Hall at the US Naval Academy, Oliver Hazard Perry, Commodore Matthew Perry, who fully opened Tokugawa-era Japan to the West, and Chester Nimitz, Admiral of the Pacific Fleet in World War II. A number of former Presidents were in the Navy as well, including John F. Kennedy, Lyndon Johnson, Richard Nixon, Gerald Ford, Jimmy Carter, and George H.W. Bush. Both Theodore Roosevelt and Franklin D. Roosevelt were the Assistant Secretary of the Navy prior to their Presidencies. Some members of the United States Senate and House of Representatives, for example John McCain and John Kerry, have also seen Navy service. Other notable former members of the U.S. Navy include astronauts, entertainers, authors, and professional athletes such as David Robinson and Roger Staubach.
Breaking in some new shoes today. I’ve officially graduated to “old man” shoes now prioritizing comfort and lightness for my wedding day. I’ve been a Nike guy since my teenage years, but lately I just haven’t found a pair that lives up to the expense. Weddings are long, demanding days on your feet, so comfort wins. Let’s see how these go!
"Enough is Enough!"
Anti-UCP Rally
Edmonton, AB
From the event organizers:
"We're here to unite concerned citizens of Alberta in a movement against the current government, the United Conservative Party (UCP), because Enough is Enough.
We believe the UCP has let us down across various fronts, failing to prioritize the needs of everyday Albertans. Whether it's healthcare, electricity pricing, forest management, climate change, education, housing, the cost of living, renewables, or any other issue affecting our province, we share a common frustration: our government isn't working for us.
It's time for change. It's time for a government that truly represents the interests of all Albertans, present, and future. Join us as we mobilize and demand accountability. This is democracy in action.
Enough is Enough! Together, let's make our voices heard and build a better future for Alberta."
The Chicago Alternative Policing Strategy (CAPS) was implemented in 1993.
The five-step process:
1) identifying and prioritizing problems
2) analyzing problems
3) strategizing designs to deal with problems
4) implementing a plan
5) evaluating effectiveness
1:64 GreenLight Collectibles:
1995 Ford Crown Victoria Police Interceptor
Chicago Police Department
City of Chicago, Illinois, USA
Vehicle #7733
Hot Pursuit Series 36
Olympus OM-D E-M5 Mark II
Olympus M.14-42mm F3.5-5.6 II R
For more info about the dioramas, check out the FAQ: 1stPix FAQ
The Kö-Bogen I and II projects in Düsseldorf, Germany, represent a major urban revitalization effort that has transformed a former elevated motorway and traffic hub into a modern, pedestrian-friendly city center. The projects were conceived as two distinct but interconnected architectural ensembles that re-establish the connection between the city's main shopping street, Königsallee, and the Hofgarten park. Both projects feature cutting-edge, sustainable design and have received international recognition for their innovative approach to urban planning and architecture. The overall goal was to create a new, vibrant public space that prioritizes pedestrians and greenery, while also housing high-end retail and office spaces.
Kö-Bogen I was the first phase of the project, completed in 2013, and was designed by the renowned architect Daniel Libeskind. The ensemble consists of two curved buildings, connected by a bridge, which sit on the site of the former elevated motorway. The buildings are characterized by their striking façade of white natural stone and glass, with diagonal incisions that are planted with greenery. These "cuts" are a signature element of Libeskind's design, creating a dynamic visual effect and providing additional shading. The complex houses luxury retail spaces and high-end offices, and its design was intended to create a seamless transition between the urban environment of Königsallee and the natural landscape of the Hofgarten.
Kö-Bogen II, completed in 2020, is perhaps the most iconic part of the development. Designed by Ingenhoven Architects, this commercial and office building ensemble features a spectacular and sustainable design element: Europe's largest green façade. The building is covered in more than 30,000 hornbeam hedges, a native hardwood species that retains its leaves in winter. This greening concept is not just for aesthetics; it plays a crucial role in improving the city's microclimate by absorbing carbon dioxide, reducing urban heat, dampening noise, and promoting biodiversity. The building's sloping facades, which are inspired by Land Art, face the Hofgarten and create a deliberate visual conversation with the neighboring post-war modernist landmarks like the Dreischeibenhaus and Schauspielhaus.
Together, the Kö-Bogen I and II projects have successfully redefined a key area of Düsseldorf's city center. By dismantling a 1960s motorway and replacing it with these architecturally significant and environmentally conscious buildings, the city has transformed a car-centric space into a vibrant, green, and walkable urban destination. The project as a whole has received numerous awards and is considered a lighthouse example of modern "city repair," demonstrating how cities can address climate change and urban design challenges through innovative, sustainable, and people-oriented architecture.
s/n 0585GT
240 bhp, 2,953 cc single overhead camshaft V-12 engine with three Weber carburetors, four-speed all-synchromesh manual gearbox, independent front suspension with unequal-length A-arms and coil springs, live rear axle with semi-elliptic leaf springs and parallel trailing arms, and four-wheel drum brakes. Wheelbase: 2,600 mm
• Very first of the second series 14-louver design
• One of nine examples built
• Featured in the Hollywood Classic, The Love Bug
• Matching numbers, extensively documented, and complete with full Ferrari Classiche certification
• Received a class award at the 2011 Quail Motorsports Gathering
• Single ownership for 14 years and offered for the first time ever at auction
• Pristine example of Ferrari’s most revered berlinetta
The tragic accident at the 1955 24 Hours of Le Mans that claimed the lives of one driver and 79 spectators had a profound effect on the shape of racing, one that ultimately led to the creation of one of Ferrari’s most celebrated models. Racing enthusiasts and competitors alike agreed that the crash was ultimately the result of the increasingly potent powertrains of the Le Mans sports cars, and in order to prevent further disaster, new regulations would be required to veer from the path of these thinly veiled race cars, which were essentially grand prix cars packaged with two-seater bodies.
The following year, the FIA responded by creating new gran turismo classes that not only prioritized safety, but also re-established the concept of competitively racing a road-based production car. Ferrari, of course, was well prepared for the challenge, having just debuted its new series-production 250 GT at the Geneva Motor Show of 1956. While the coupe on display featured an elegant body that would go on to be produced in quantity by Boano, thus providing necessary homologation, the underlying chassis proved to be the basis for the competition car, or berlinetta, that Ferrari sought to enter into the FIA’s new racing classifications. Pininfarina designed a new lightweight body that was built by Scaglietti, using thin-gauge aluminum and Perspex windows and a minimally upholstered cabin. The finished car, then known officially as the 250 GT Berlinetta, was ultimately made in a sparing quantity of 77 examples that are further sub-divided by subtle differences in coachwork over the model’s four-year production run.
Ferrari’s hopes for competitive success were quickly realized when Olivier Gendebien and Jacques Washer co-drove the very first car, chassis number 0503 GT, to a First in Class and Fourth Overall at the Giro di Sicilia in April 1956, with a Fifth Overall (First in Class) at the Mille Miglia later that month. But the model’s defining success didn’t occur until September, during the 1956 Tour de France Automobile, a grueling 3,600 mile, week-long contest that combined six circuit races, two hill climbs, and a drag race. The Marquis Alfonso de Portago, a Spanish aristocrat and privateer racer, drove chassis number 0557 GT to a dominating victory that sealed the dynamic model’s reputation. Enzo Ferrari was so pleased with the outcome that the 250 GT Berlinetta was subsequently and internally, though never officially, referred to as the Tour de France. The moniker proved to be quite fitting, as Gendebien took First Overall at the 1957, 1958, and 1959 installments of the French race, as well as a Third Overall at the 1957 Mille Miglia, a triumph that witnessed the defeat of many more purpose-built sports racers.
With the introduction of a short-wheelbase 250 GT in late-1959, the outgoing platform became retrospectively labeled as the long-wheelbase version, though the original car’s designation of 250 GT LWB Berlinetta is now largely simplified with the name ‘Tour de France.’ Through its brief production run, the TdF underwent several external body modifications, ultimately resulting in four different series-produced body styles (not including a handful of Zagato-bodied cars). The alterations in appearance are most easily recognizable in the so-called sail panels, the rear ¾-panels of the c-pillar that adjoin the roof. Initially produced with no louvers at all, these panels featured 14 louvers in the second-series cars, followed by a series with just three louvers, and ending with a series that featured just one sail-panel louver. Of all of these series, the 14-louver cars are the rarest, with only nine examples produced, and are judged by many enthusiasts to be the handsomest of the group.
This fabulous, early Ferrari 250 GT Tour de France is the very first example constructed of the second series design that featured 14-louver sail-panels. On November 15, 1956, the stunning TdF was purchased by Tony Parravano, the Italian national and Southern California building construction magnate who is better known among 1950s racing enthusiasts for the numerous Italian sports cars that he campaigned in the area’s SCCA circuit. 0585 GT was entered for the Palm Springs road races in early April of 1957, before being disqualified because the sanctioning body did not recognize it as a production car. Changing hands among a couple of Los Angeles-based owners during the early-1960s, 0585 GT eventually came into the possession of Walt Disney Studios for use in the 1966 film The Love Bug, the celebrated Disney classic about “Herbie,” the racing VW Beetle with a soul.
Following its memorable Hollywood turn, this important 250 GT fell on hard times, passing through the Schaub family, of Los Angeles, before reportedly being abandoned on the side of the Hollywood freeway. Records indicate two more owners during the 1970s and 1980s. In September 1994, the car surfaced and was offered for sale in an unrestored state by David Cottingham’s DK Engineering in Watford, England. Unable to sell 0585 GT for its true value, DK, in late-1996, elected to totally restore the historically significant Tour de France, a freshening that debuted to overwhelming acclaim at Coy’s International Historic Festival at Silverstone in July 1997. The festival proved to be a perfect stage for the immaculate car, as it was sold the following October to its current owner, a well-respected Southern California-based collector who has a 40-year history of collecting and caring for some of the most recognizable and important Ferrari cars ever built.
Registered under license plate “MY 56 TDF,” 0585 GT was soon campaigned in a number of vintage rallies, including the Tour Auto of April 1998, as well as the Mille Miglia of the following May. The car also participated in the Tour Auto in 1999 and 2000, and placed 39th Overall at the 2000 Shell Ferrari/Maserati Historic Challenge at Le Mans. 0585 GT returned to the Tour Auto in 2001, 2002, 2004, and 2006 and was displayed at Car Classic: Freedom of Motion, the 2010 exhibition held at the Art Center College of Design in Pasadena, California. The following August, 0585 GT’s extreme quality and rarity were confirmed with the ultimate in exhibitive recognition, a class award at the 2011 Quail Motorsports Gathering in Carmel, California, where the car won “The Great Ferraris” class, honoring some of the marque’s earliest and important sports and racing cars.
In addition to all of these awards and racing achievements, 0585 GT has also gone under the scrutiny of the Ferrari factory’s certification program and easily received the full “Red Book” certification through Newport Beach Ferrari specialist, John Amette. For the certification process, the original gearbox was put in the car; however, the current owner has since removed it and put a more user-friendly synchromesh gearbox in the car for much better drivability purposes. It must be noted that the original unit will be supplied with the sale of this car. A full set of original tools and a jack will also be included, as well as a booklet of documentation and various trophies and awards that the car has received over the years. In preparation for the sale, 0585 GT has also just been completely detailed and sorted at well-respected Junior’s House of Color in Long Beach, California, so it will look stunning in presentation.
On a recent track drive in preparation for RM’s video and photography efforts, the car performed flawlessly, handling directly and powering through all of the gears with ease. As the RM specialist describes, “The four-wheel drum brakes and skinny tyres can sometimes provide a different driving experience for those familiar with later cars fitted with disk brakes and wider stances; however, it allows the pilot to become much more intimate with the driving experience and to engage the engine in a much different way, creating a completely different awareness of timing and speed…The most beautiful thing about these early TDs is what most Ferraristi will attest to, and that is the sound of the exhaust note when the car breaches 3500 rpm. As you power out of the corners, there is that point when the car just feels and sounds right! All the noises, the vibrations, and the elements of speed come together to create a symphonic harmony that is unlike anything else. Moreover, the sound is not too overpowering and is pleasurable for extended periods of time, which cannot be said for many other race-bred cars. It is the ultimate dual-purpose Ferrari!”
Impeccably cared for and stunningly restored, 0585 GT is a beautiful and rare example of the second series 14-louver Tour de France, one of Ferrari’s greatest sports cars of all time. This car’s next owner can look forward to continued warm receptions at the world’s finest automotive events, including rallies such as the Tour Auto and Mille Miglia, and premium exhibitive venues, such as Pebble Beach, Amelia Island, and the Palm Beach Cavallino Classic. It is a truly unique representative of one of Ferrari’s most revered models, and in many ways, it is the ultimate symbol of Ferrari’s long pursuit of dual-purpose sports cars that can be seriously campaigned as easily as they can be road driven. Given their extremely low production numbers and desirability, these cars rarely come to the market. The availability of 0585 GT after 14-years of single ownership offers an unbeatable chance to acquire one of the most storied machines to emerge from Maranello’s legendary motoring lore.
[Text from RM Auctions]
www.rmauctions.com/lots/lot.cfm?lot_id=1052658
This Lego miniland-scale Ferrari 250 GT LWB Berlinetta 'Tour de France' (1956 - Scaglietti), has been created for Flickr LUGNuts' 89th Build Challenge, - "Over a Million, Under a Thousand", - a challenge to build vehicles valued over one million (US) dollars, or under one thousand (US) dollars.
This particular vehicle was auctioned by the RM Auction house on Saturday, August 18, 2012, where it sold for $6,710,000.
BOX DATE: 2003
MANUFACTURER: M.G.A.
DOLLS IN LINE: Cloe; Yasmin; Sasha; Jade; Dana; Cameron; Dylan; Eitan; Koby; Nevra
BODY TYPE: 2001; painted shimmer panties; bend & snap legs
HEAD MOLD: 2001; parted lips; pierced ears
PERSONAL FUN FACT: I always wanted more dolls from the Formal Funk collection when I was growing up. I had just Dylan, however, who was a Christmas gift in 2003. I'm not sure why I didn't prioritize getting any of the girls as well. Jade is probably my favorite from this line because of her awesome outfits. That's why I was so excited when I found the lady on the left side of this photo. She was at the local flea market, sometime in 2012. I purchased her from the same seller as my very first secondhand Bratz. This woman used to bag all of her dollies, and they were always dressed. At some point she moved from inside the building to setting up outside. I think that's when I bought Miss Jade--when the seller was outdoors. She was still sporting her orange prom dress too! It wasn't in the best condition, but I recognized it straight away.
In 2013 I was on the quest to build a bigger stash of extra Bratz clothes and shoes. After my first few years as an adult collector, I had depleted much of my spare Bratz wardrobe. On eBay I found a seller who had five Bratz lots, all grouped by character. So there were separate listings for Cloe, Yasmin, Sasha, Jade, and Dana. I ended up bidding on all of them and winning!!! The seller even combined the shipping for me--they arrived in a large box that weighed eleven pounds. I recall that it was less than $100 for all the goodies, and much of it was like new. The Jade on the right side of this photo is from one of those eBay lots. Even though I technically already had the Formal Funk doll, this one was majorly appealing. She came with all her fixings, was in perfect condition, and could model the purple dress on display!
Reached #253
View large on black (Hint: Clicking this makes the frame disappear)
Comment Anxiety
(I’ve been wanting to post this sentiment for a while and even though it seems awkward as my return post, I kinda don’t care since I never meant to take a flickr break in the first place and I’m not waiting any longer.)
I want to give a shout-out to my contacts today. You see, there are a handful of my contacts whose photostreams I can never seem to catch up with (I’m sure you know who you are). First, I know it's because these contacts upload every day, or just about every day, meaning, if I get even one day behind, I'm already several images behind when I finally get around to catching up. And sometimes, I prioritize my catching up by people who have the least amount of photos I've missed so I have an easier sense of accomplishment. This unfortunately means that the people who have more photos for me to catch up on are prioritized lower than they ought to be.
But more importantly, the reason I actually get behind on certain people’s photostreams more than others is because I see their newest photo and I simply loathe the idea of trying to leave an adequate comment because the photo is just. so. good. I suppose you might think I’m trying to make a compliment out of my neglect, but it’s true. Generally, the better the work, the more likely I’ll put off leaving a comment because I hate writing so much, especially having to write well. For some contacts, since their work is so unique and so terribly thoughtful, to leave a simple comment that neglects to heap on praise for every single reason I like the photograph would almost be an insult, at least in my mind.
So, I'd like to dedicate this particular b&w image to those contacts who I can never seem to catch up with and yet always finds time for my humble photostream, whose photostreams are consistently wonderful, making it impossible for me to feel comfortable leaving any sort of ineloquent comment, and specifically today, those brilliant black and white photographers who inspire me to take more b&w shots while consequently making me question why I bother taking b&w images at all! Silver Doctor and Timo Frey, thank you for your work.
And finally, to the rest of my contacts, who all have extraordinary work and fantastic artistry, I truly hope you visit Silver Doctor’s and Timo Frey’s streams and understand I mean no offense by this post as they are certainly not the only contacts who leave me with comment anxiety. :-)
to river.
"nothing will ever accidently drop. not from me. ever."
food > fetch.
and that is how all dogs prioritize.
my site:
facebook:
twitter:
twitter.com/iamboey
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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