View allAll Photos Tagged Prompting
The last couple of weeks I have been working in a moleskine, not using much ephemera or tape, etc. I have been asking myself a lot of contemplative questions and find I have been doing a lot more writing then usual. Really it ebbs and flows, and I am already feeling the tide turning back to more artsy pages.
Regardless, this be.prompted was done in the more writing mode.... Read more about this spread on my blog post, be.prompted.1, by clicking HERE
The prompt was "vices." I took a photo of a shot of whisky. Actually, not real whisky. Martinelli's sparkling apple cider. The model is my 14-year-old daughter. Settle down.
This was a really fun dozen to make. Initially I had my doubts about the green on the shafts but in the end it becomes a focal point setting the rest of the color combination off.
Best of all she loves them and they have prompted others to order arrows!
Ingrid using your prompt set with added Office Conference room location.
Ingrid Carpenter sits in an office conference room.
blonde Grand Duchess Marie lookalike
Modern (2024) makeup
dark lips
her hair hanging round her shoulders
she 27 years old
Grand Duchess Marie in modern form
blue eyed
long dark blonde hair is in a 2024 modern hairstyle and her makeup is subtle and classy but fashionable
her eyes have a tough, ruthless, bad girl, look
sophisticated glasses
dark lipstick
Chinatown, Manhattan, New York City, New York, United States
he 97 Bowery Building is a five-story, 25-footwide, early Italianate style, significantly intact, cast-ironfronted store-and-loft building. Built in 1869 for John P. Jube and designed by architect Peter L.P. Tostevin, the building was occupied until 1935 by John P. Jube & Co., a hardware and carriage supply business.
97 Bowery was built in a time when the Bowery was the major thoroughfare through the Lower East Side and a major commercial street with specialty shops, dry-goods stores and fancy hardware businesses. The 97 Bowery Building is typical of commercial cast-iron construction during the 1850s and 1860s; and it is likely that various elements of the design were selected from a catalogue of standardized cast-iron components. Notable design elements include the Corinthian columns supporting arches as well as a classical cornice with a segmental arched pediment and acanthus modillions and studs, and spandrels similar in design to the spandrels of the former McCreery’s Dry Goods Emporium at 801 Broadway .
The design features of 97 Bowery are similar to several other significant cast-iron buildings, such as the “Thomas Twins” at 317 Broadway and 319 Broadway , and the Haughwout building . Today, 97 Bowery remains an important reminder of the Bowery’s commercial emergence after the Civil War, and is a rare example of cast-iron architecture in this particular area of the city.
DESCRIPTION AND ANALYSIS
The Bowery
The Bowery is the oldest thoroughfare on Manhattan Island and is part of an old road once known as the Wickquasgeck Road, since it led to lands of that tribe, and later as the Post Road to Boston. From the city of New Amsterdam at the south end of Manhattan, it veered northeast around a freshwater pond known as the Collect, beyond which in 1625-26 Crijn Fredericks set out a dozen bouweries, or company farms, intended to supply the initial settlement. The vulnerability of these scattered farms to attacks by Native Americans prompted an order in 1660 that settlers gather in towns “after the English fashion,” and Bowery Village was established on part of what had been the Company’s Great Bowerie.
The road leading to it became known as “Bowery Lane,” which served as the city’s principal route of expansion during its first two centuries of growth. The area developed rapidly following the turn of the 19th century and by the 1830s had become a bustling neighborhood composed in large part of brick and brick-fronted Federal style row houses. By the mid-19th century, as wealthier residents moved uptown, the Bowery became more commercial in character, defined by specialty shops, drygoods and fancy hardware businesses. In 1869, John P. Jube constructed a five-story building with a cast-iron facade, at 97 Bowery to house his hardware and carriage supply store on this portion of the Bowery.
After the Civil War, the Bowery became known for its cheap amusements—some wholesome, some not—as music halls, dramatic theaters, and German beer halls shared the street with dive bars, taxidance halls, pawnbrokers, medicine shows, confidence men, and “museums” featuring sword swallowers, exotic animals, and scantily clad women. With the opening of the Third Avenue Elevated along the Bowery in 1878, the street was cast into permanent shadow, and pedestrians were showered with hot cinders from the steam trains running above. Despite its honky-tonk reputation, the Bowery also functioned as “the grand avenue of the respectable lower classes,” where Federal-era residences converted to saloons and boarding houses stood cheek-byjowl with grand architectural showpieces constructed by the neighborhood’s cultural and financial institutions, including the Bond Street Savings Bank at the northwest corner of the Bowery and Bond Street, the Germania Bank at the northwest corner of the Bowery and Spring Street, the Young Men’s Institute Building of the YMCA at 222 Bowery, Bowery Savings Bank at 130 Bowery.
In the 20th century, the Bowery became notorious as a “skid row” lined with flop houses and vagrants, but at the same time, because of low rents, became one of New York’s centers of specialty shops such as lighting fixtures and restaurant equipment. The elevated railway line, reconstructed in the middle of the Bowery in 1916, helped to deter the redevelopment of this area for decades , and 97 Bowery’s close physical proximity to the line had an undoubted role in its survival.
The Architect: Peter L. P. Tostevin
Peter L. P. Tostevin first worked in New York City as a mason. By 1866-67 he was working as a builder and is credited with 45-49 Charles Street in the Gansevoort Historic District . In 1870, Tostevin joined in partnership with William Rabold in the building firm of Rabold & Tostevin. At this time Tostevin designed a row of Italianate houses, constructed by Rabold & Tostevin, in what is now the Greenwich Village Historic District . Peter Tostevin is listed as the architect of record for 97 Bowery and Rabold & Tostevin are listed as the builders.
In 1874 Tostevin is listed as the architect of record for the enlargement of 385 Greenwich Street, an early nineteenth-century building, into a tenement with a commercial base in what is now the Tribeca West Historic District. In 1879 he is listed as architect and builder of 17-19 Bond Street located in the Noho Historic District. The partnership of Rabold & Tostevin ended by 1880, Tostevin returned to his previous profession of masonry. By the turn of the century he was working independently as a contractor and builder.
Cast-Iron-Fronted Buildings in New York City
Cast iron was used as an architectural material for entire facades of American commercial buildings in the mid-to-late-19th century, and was particularly popular in New York City. Promoted and manufactured by James Bogardus, Daniel D. Badger, as well as other firms, such as J. B. & W. W. Cornell Iron Works, cast-iron parts were exported nationally for assembly on the site. Touted virtues of cast iron included its low cost, strength, durability, supposed fireproof nature, ease of assembly and of parts replacement, ability to provide a wide variety of inexpensive ornament, and paintable surfaces.
The economy of cast-iron construction lay in the possibilities inherent in prefabrication: identical elements and motifs could be continually repeated and, in fact, could be later reproduced on a building addition, thus extending the original design. After a number of simple “constructive” cast-iron buildings in the late 1840s by Bogardus, the material was employed for commercial buildings modeled after Venetian palazzi, from the mid-1850s through the 1860s. Designed in imitation of masonry and featuring round-arched fenestration, this mode is exemplified by the Cary Building , 105-107 Chambers Street, and the Haughwout Building , 488-492 Broadway.
After the Civil War, the French Second Empire style began to influence designs in cast iron. Some buildings, such as McCreery’s store and 287 Broadway , were still Italianate but with mansard roofs. Cast-iron fronts in the Second Empire style, produced into the 1880s, were generally articulated with segmental-arched fenestration framed by columns and pilasters; large areas of glass; and a certain abstraction and paring-down of elements combined with the usage of variations on classically-inspired ornament. Examples are the Arnold Constable Store , 881-887 Broadway, and 28-30 Greene Street .
The architectural features of 97 Bowery are similar in design to several elements on the McCreery store at 801 Broadway , as well as several other cast-iron buildings including the “Thomas Twins,” 317 Broadway , and 319 Broadway . While the Haughwout building is larger in scale, it shares similar design elements with 97 Bowery such as a molded arched fenestration with keystones, and spandrel panels with a diamond pattern, framed by Corinthian columns.
With the knowledge that buildings of cast iron were not in fact fireproof, however, particularly after the Boston and Chicago fires of 1872 and the 1879 New York fire that destroyed rows of such structures on Worth and Thomas Streets, restrictive revisions were made to the New York City building code in 1885. This contributed to ending the era of cast-iron fronts in the city, although they continued to some extent through the 1890s.
J. B. & W. W. Cornell Iron Works
The company was founded by brothers John Black and William Wiggins Cornell in 1847. Starting as makers of iron rails, gates, stairs, and vaults, they established their foundry at 143 Centre Street between Walker and White Streets. John B. held patents on many inventions: the first granted in 1854, was for revolving iron shutters, and the second granted in 1856, was for metal supports for plaster fireproof partitions. The most important invention was for continuous corrugated sheet lathing, resulting in fireproof partitions and ceilings, which revolutionized the way in which buildings were constructed and popularized iron as a building material.
By the 1860s, the J.B. & J.M. Cornell Iron Works had established itself as one of the city’s major producers of cast-iron architectural elements and foremost in the construction of fireproof buildings. In the ensuing decades, the firm became one of the city’s largest manufacturing operations, employing over 1,200 people, at its peak. Providing steel and iron for projects such as the Produce Exchange , the Park Row Building , the iron base and stairways of the Statue of Liberty , as well as over 13,000 tons for elevated railroad stations throughout Manhattan and Brooklyn. During the Civil War, the company was employed in the production of turrets and pilot houses for the government, including the revolving turrets of the monitors Miantonomah and Tonawandah. By 1897, the company had expanded into Cold Spring, on the Hudson River, a location which provided it with the capacity to provide 20 tons of castings per day.
In 1900, a letterhead for the firm described more than 25 different products, among them: awnings, balcony railings, bank screens, columns, beams, doors, fire escapes, lamps, mausoleum doors, memorial tablets, rolling shutters, sidewalk elevators, and stairs, to name a few. Additional letterheads from the time advertised other work performed by the company, including to “construct, erect and repair all kinds of architectural and other work in iron, bronze, electrobronze, and brass” and “repairs of all kinds on buildings as well as repairs on skylights, patent lights, shutters, steel shutters, rolling shutters, sidewalk elevators, railings, gratings, etc; also painting.”
In 1900 the company liquidated its heavy production shops in response to the westward movement of steel and iron operations across the country. Around this time, the company began to focus on smaller-scale iron and steel products. In 1911, John M. and his sons Milton and John Jr., formed a new partnership called Cornell Iron Works.
The Cornell Iron Works continues to be a family-owned and operated business, manufacturing metal-rolling service doors, counter doors, fire doors, rolling grilles, and side folding grilles. In 2001 the company opened a new state-of-the-art production facility in Mountain Top, Pennsylvania.
John P. Jube
John Prosser Jube was born in New York to English emigrant parents. In 1838 Jube began his career as a carriage manufacturer in Newark, New Jersey. In 1843 Jube moved his business, the John P. Jube & Company carriage manufacturer, to New York City, where over the years he extended and enlarged his business. The company moved progressively northward on the Bowery beginning, in 1843, at 51 Bowery, moving to 83 Bowery in 1845 and moving to his final place of business, 97 Bowery in 1871.
Jube made his home in Newark, New Jersey. He married twice, however, all eight of his children were from his first marriage to Sarah Jube. His sons, William Uzal, John Jr., Albert B., and Thomas S., all took part in the family business. Jube made numerous contributions to Newark. He was a principal supporter of the First Congregational Church of Newark, contributing largely to the building of a new edifice, and in May of 1907, the church was renamed the Jube Memorial Church in his honor. For several years Jube was director of the National State Bank and later its president from 1889 to1893. Jube was one of the original members of the Fireman’s’ Insurance Company and its director for 40 years. Jube was also a lifetime member of the New Jersey Historical Society. Upon his death in 1905, his eldest son William Uzal inherited the family business; he was head of the company until his death in 1911. William’s brothers continued to run the business successfully at 97 Bowery for close to 25 years.
97 Bowery Building
Based on surviving historic evidence, the property was purchased by John P. Jube from William Dally in 1868. The five-story, cast-iron-fronted retail building at 97 Bowery was constructed for John P. Jube & Company, was designed and built by Peter L. P. Tostevin of Rabold & Tostevin in 1869, and the iron facade was forged by the J.B. & J.M. Cornell Iron Works. The business was located at this address for the next sixty years until 1931, when John P. Jube Carriage Wagon and Automobile Supplies moved to 6 Howard Street. An article in 1911 touted its more than 60 year existence as one of the longest running carriage manufactures in the City of New York.
The estate of Thomas Jube sold the property to the Benjamin sisters in the early part of 1931. The Gorbaty brothers leased the property starting in June of that same year and later purchased the property. The Gorbaty family operated a store fixture and display manufacturing business at 97 Bowery. The Gorbaty Brothers fixture store operated at this location for more than 50 years until 1981, before relocating to Queens Village, the family-owned business is still in operation.
Description
The 97 Bowery Building is a five-story, three-bay, Italianate style, masonry building with a cast-iron front façade and a modern non-historic storefront. The storefront has had several alterations: the first in 1908, again in 1942 and 1961. The modern ground floor storefront has been totally re-configured; a non-historic stone tile ramp leads to the modern entrance that is clad in glass-and-metal with stone tile at the bulkhead. It has a tripartite division with a central glass entrance with double-doors and transom that is flanked by a secondary entrance and a display window. The secondary entrance to the left is entirely of glass, and features sidelights and a transom.
The display window to the right is framed in metal and rests on the stone tile bulkhead. The window consists of two vertical glass panels that open at the center. The tinted green glass pilasters probably hide the iron columns that support the facade. A non-historic clear glass awning is supported by seven metal brackets, followed by four metal support anchors for metal lettering that displays the name of the establishment. A historic modillioned metal cornice with decorative florets transitions to the upper floors, and supports non-historic signage at the second story. The second through the fifth stories have a molded arched fenestration, with keystones, and spandrel panels with a diamond pattern, framed by Corinthian columns. The outer pilasters that frame the windows at the second through fourth floors support the cornice at each level, and are devoid of decoration.
There are three windows bays at each level, the first and second bay of windows, at every story have been replaced and contain non-historic two-over-two double-hung windows with transoms at the second, third, and fifth stories. The fourth floor transoms have wood panel fillers. The third bay of windows at each story is filled in, to accommodate an elevator shaft. Some of the capitals on many of the columns at each story are missing some ornament. The building is crowned by a denticulated cornice that features a segmental broken pediment that is supported by fluted brackets, with raised paneled fascia and coin ornament.
The north and south walls are of unarticulated brick that has been parged and are visible above the adjacent properties. At the roof level a one-story bulkhead addition is visible from the street which gives access to the elevator machinery, also visible are metal HVAC vents.
Despite these alterations, the 97 Bowery Building is a rare surviving relatively intact cast-iron building from the post Civil War era, and a rare example of cast-iron architecture in this particular area of the city.
- From the 2010 NYCLPC Landmark Designation Report
CHATSWORTH - A prompt call to 9-1-1 from a passerby brought the Los Angeles City Fire Department and allied agencies to quickly conquer a small non-injury brush fire in the 11500 block of North Topanga Canyon Boulevard on September 29, 2020.
© Photo by Mark Lassman
LAFD Incident: 092920-0711
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Got bored... it was raining on our way home from the Mt. Fuji climb.
When we passed into a tunnel, I took my camera and clicked.
I forgot to turn the autofocus "ON" and these tiny bokehs from the droplets were formed.
It really looks like green DOS prompt (the usual thing i see when compiling BIOS codes, and i'll surely miss it!). Geeky? LOL!
HBW Flickr Friends!
I used envelopes I picked up at an antique mall and fashioned one into a pocket for a tag. I wanted to tie the envelopes in with my word for the year (MOVE) so I made it a travel theme.
CHATSWORTH - A prompt call to 9-1-1 from a passerby brought the Los Angeles City Fire Department and allied agencies to quickly conquer a small non-injury brush fire in the 11500 block of North Topanga Canyon Boulevard on September 29, 2020.
© Photo by Austin Gebhardt
LAFD Incident: 092920-0711
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Had to record this bit of typical Southern California social life a few days ago at the car wash.
(Taken with my Blackberry and promptly put back in my pocket)
Exhibition Jean Tinguely - Machine Spectacle 1 Oct 2016 - 5 Mar 2017 in the Stedelijk Museum Amsterdam
Jean Tinguely is famous for his playful, boldly kinetic machines and explosive performances. Everything had to be different, everything had to move. Precisely twenty-five years after his death, the Stedelijk Museum opens a Tinguely retrospective: the largest-ever exhibition of the artist to be mounted in a Dutch museum.
The Swiss artist Jean Tinguely (1925–1991) played a key role in the rise of kinetic art in the fifties. With over a hundred machine sculptures, most of which are in working order, paired with films, photos, drawings, and archive materials, the presentation takes the public on a chronological and thematic journey of Tinguely’s artistic development and ideas, from his love of absurd play to his fascination for destruction and ephemerality.
The presentation features his early wire sculptures and reliefs, in which Tinguely imitated and animated the abstract paintings of artists such as Malevich, Miró, and Klee; the interactive drawing machines and wild dancing installations constructed from salvaged metal, waste materials, and discarded clothing; and his streamlined, military-looking black sculptures.
Tinguely’s self-destructive performances are a special feature of the Stedelijk presentation. The enormous installations Tinguely created between 1960–1970 (Homage to New York, Étude pour une fin du monde No. 1, Study for an End of the World No. 2, and La Vittoria) were designed to spectacularly disintegrate in a barrage of sound. The presentation also spotlights the exhibitions Tinguely organized at the Stedelijk, Bewogen Beweging (1961) and Dylaby (1962), and the gigantic sculptures he later produced: HON – en katedral (“SHE – a cathedral,” 1966), Crocrodrome (1977) and the extraordinary Le Cyclop (1969–1994), which is still on display outside Paris. The survey ends with a dramatic grand finale, the remarkable, room-filling installation, Mengele-Totentanz (1986), a disturbing display of light and shadow never previously shown in the Netherlands. Tinguely realized the work after witnessing a devastating fire, reclaiming objects from the ashes to piece together his installation: scorched beams, agricultural machinery (made by the Mengele company), and animal skeletons. The final piece is a gigantic memento mori, yet also an invocation of the Nazi concentration camps. Its juddering movements and piercing sounds evoke a haunting, grisly mood.
Jean Tinguely created his work as a rejection of the static, conventional art world; he sought to emphasize play and experiment. For Tinguely, art was not about standing in a sterile white space, distantly gazing at a silent painting. He produced kinetic sculptures to set art and art history in motion, in works that animated the boundary between art and life. With his do-it-yourself drawing machines, Tinguely critiqued the role of the artist and the elitist position of art in society. He renounced the unicity of “the artist’s hand” by encouraging visitors to produce work themselves. Collaboration was integral to Tinguely’s career. He worked extensively with artists like Daniel Spoerri, Niki de Saint Phalle (also his wife), Yves Klein, and others from the ZERO network, as well as museum directors such as Pontus Hultén, Willem Sandberg, and Paul Wember. Thanks to his charismatic, vibrant personality and the dazzling success with which he presented his work (and himself) in the public sphere, Tinguely was a vital figure within these networks, acting as leader, inspirator, and connector.
Amsterdam has enjoyed a dynamic history with Tinguely. The exhibitions Bewogen Beweging (1961) and Dylaby (1962), for which Tinguely was (co)curator, particularly underline the extraordinarily close relationship that sprang up between the museum and the artist. Not only did he bring his kinetic Méta machines to the Netherlands, he also brought his international, avant-garde network, leaving an enduring impression on museum goers who flocked to see these experimental exhibitions. Close relationships with Willem Sandberg, then director of the Stedelijk Museum, and curator Ad Petersen prompted various retrospectives and acquisitions for the collection: thirteen sculptures, including his famous drawing machine, Méta-Matic No. 10 (1959), Gismo (1960), and the enormous Méta
Quite honestly I have really disliked all my pieces this week and have found it a bit discouraging. This one is my favorite of the three I worked on this week, but still I have issues with it. This is the one I consider "complete". I did try to keep my colors brighter this time. I added less white to the paint, and used more pastels. What I like - the splashes of purple, the vibrant red tones, and the idea of layering colors over the collage bits. What I don't like - the muddiness that many of the colors took, and the fact that it feels too busy to me.
In full disclosure I skipped the prompt this time to start a new board. Again it didn't pop up until I only had one last prompt left (use white paint) so I just skipped it.
When I read the prompt I knew exactly which photo I would like to use, the only problem was I didn't have a printed copy but I did have negatives. It was before my digital days so I trekked to the photo store to get a print and because I wanted matte, I couldn't get it until tomorrow. Too late for LOAD. So I switched gears and picked another photo--that I couldn't find. While I was looking for the second photo, I found the this one. Funny how things work out because this is truly my favorite photo and all the more precious because I know someday it will probably become faded. Glad to finally have it preserved so I can enjoy it while it lasts. I love LOAD!