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This photograph was published in the Illustrated Chronicle on the 26th of May 1917.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognize anyone in the images and have any stories and information to add please comment below.
Cosmo publishes online article about "This is What a Feminist Looks Like" meme, 'No Hope for the Human Race' responds
Part of a three-piece job for my friend/art director Nathan Adams.
This was/is supposed to illustrate the capabilities of a speaker device for one's iPod. I don't really own much in the way of electronic stuff ('cept for my mac) but feel as tho I should really have a an iPod.
DoubleVision: A work by »Bash«, mirrored in the Hall of Fame at night.
First published on Streetfiles.org 2010–2013
Zippo Katalog Germany 2012 Collection Published by Zippo GmbH Germany for Austria, Belgium, Germany, Luxembourg, Netherlands 112 pages 210 x 297 mm
20190606 Copyright image 2019©
Invest Africa hosts a Togo-UK Investment Summit on 20190606 in Mayfair, London.
For photographic enquiries please call Fiona Hanson 07710 142 633 or email info@fionahanson.com
This image is copyright Fiona Hanson 2019©.
This image has been supplied by Fiona Hanson and must be credited Fiona Hanson. The author is asserting his full Moral rights in relation to the publication of this image. All rights reserved. Rights for onward transmission of any image or file is not granted or implied. Changing or deleting Copyright information is illegal as specified in the Copyright, Design and Patents Act 1988. If you are in any way unsure of your right to publish this image please contact Fiona Hanson on07710 142 633 or email info@fionahanson.com
An example of donated photos to the creative commons and where they have turned up while celebrating 15 years of digital camera technology.
Caroline Wogan Durieux 1896 - 1989
Carnival, Circus, or Green Abstraction - 1956
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Southern / Modern - Rediscovering Southern Art from the First Half of the Twentieth Century - October 26, 2024 - February 2, 2025
The first exhibition to present a comprehensive survey of works by artists working in the American South in the first half of the 20th century
Created in collaboration with Georgia Museum of Art, the exhibition includes more than 100 paintings and works on paper by artists working in states below the Mason-Dixon line and as far west as those bordering the Mississippi River, as well as some artists living outside of the region who made significant bodies of work during visits.
Curated by the Mint’s Senior Curator of American Art Jonathan Stuhlman, PhD, and independent scholar Martha Severens, Southern/Modern: Rediscovering Southern Art From the First Half of the Twentieth Century takes a broad view of the South and is structured around key themes that traverse geographic regions, including time and place, race, family ties, and social struggles. It also takes a broad, inclusive view of the art of the region, incorporating the creativity and talent of women artists and artists of color across its various thematic sections to provide a fuller, richer, and more accurate overview of the artistic activity in the American South at the time.
"The names Jackson Pollock and Mark Rothko flash to mind when thinking about the U.S. as the modern art epicenter at mid-20th century. What do Zelda Fitzgerald of Montgomery, Alabama or Dusti Bongé of Biloxi have to do with that history? More than any art narrative has said until now. A rich book published in conjunction with the exhibit “Southern/Modern” makes the case that modernism flourished in the South despite less recognition then and systemic exclusion since. The volume’s cover is Bongé’s “Where the Shrimp Pickers Live,” a 1940 oil fed by Bongé’s rent-collecting job on the Biloxi Back Bay.
The South’s painting legacy is hardly the most crucial part of southern history now under hard examination. Our era is retelling—make that telling for the first time—the truth of slavery, white supremacy and labor exploitation in the region’s DNA. Yet who paints and what is painted are questions overlapping the general reckoning. The Southern/Modern project attempts and delivers answers.
Do I, a lifelong Mississippian, sound thin-skinned that southern artists were shortchanged? Well, I am, but it’s also true. Consider the famous 1949 proclamation by the American Wing curator of the Metropolitan Museum of Art: “Little of artistic merit was made south of Baltimore.” Southern/Modern counters that verdict.
True, there have been shows on individual modernist southern artists, but Southern/Modern is the first to examine the region’s strand as part of the national modern fabric. The exhibit of about 100 paintings and prints centers on southern works between 1913 and 1955.
This kind of project is not just a real-time event, although “The New York Times” named the “daring and revisionist” show a Critic’s Choice. The ambition of Southern/Modern is to establish a basis for future art scholarship. Shows, after all, formulate our understanding of art movements. The understanding of Impressionism coalesced with the 1863 Paris Salon des Refusés. Participation in the 1951 9th Street Art Exhibition qualified a painter for the New York School abstract expressionist canon.
The essays in “Southern/Modern” define modern with a big M and small one, according to Jonathan Stuhlman, senior curator of American art at the Mint Museum in Charlotte, North Carolina and co-editor of the book. As an art term, modern means presenting artists who are “moving away from realism and toward abstraction,” he writes. But this project also includes painters modern in the sense that they frankly depict life around them. Regionalism versus modern is a false choice."
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