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There's fennel for you, and columbines; there's rue for you; and here's some for me; we may call it herb-o'-grace o' Sundays. O! you must wear your rue with a difference. There's a daisy; I would give you some violets, but they withered all when my father died.
Ophelia in Shakespeare's Hamlet
Ambonus interrogationis, uma espécie de besouro serra-pau encontrado no Brasil. Sua característica mais notável, que lhe confere o nome científico "interrogationis", é o desenho branco perfeitamente formado como um ponto de interrogação na parte posterior de suas asas rígidas (élitros). Este inseto, da família Cerambycidae, é um exemplo fascinante da diversidade e da "arte" encontrada na entomofauna neotropical. Além de sua aparência curiosa, ele desempenha um papel ecológico como decompositor, com suas larvas se desenvolvendo no interior de madeira. Estas fotografias de alta qualidade, com o inseto isolado, são um recurso visual inestimável de biologia e ciências, conceitos de mimetismo, identificação de espécies e a biodiversidade brasileira. - Stunning macro of Ambonus interrogationis, the "question mark beetle". A South American longhorn beetle isolated on white, named for the unique punctuation-like mark on its back. A perfect nature detail.
Paper and ink. 11 inches by 68. Made about 1963.
The book design follows the Japanese folded paper layout. The pictures are to be "read"
(When I made it I thought the meaning was clear. Now I am puzzled. Any ideas? what it "said"?)
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One of the most common questions from visitors to Glacier Bay is, “What makes the ice blue?” The ice is blue because that is its true color. This color is expressed because the ice is pure, which allows the light to penetrate sufficiently far that the reds, yellows and violets are differentially absorbed from the light spectrum, leaving the blues and greens to be transmitted back to one’s eye. Ice looks white when it contains too many air bubbles that scatter the light back before it can be differentially absorbed by the ice. This example came from the bottom of Lamplugh Glacier. I was camped near the base of the glacier and while exploring its edge, I was able to safely maneuver to a crevasse (a large crack). I liked the abstract pattern created by the sand contrasted against the blue ice, as well as the ambiguity of the scale. This photo frames only about five square feet of ice.
While geocaching on our Last Mountain Lake holiday we got to stop at all kinds of interesting places. One cache near Manitou Beach (near Watrous, SK) was hidden far from travelled roads in a corral used in the 1950's. The huge lumber and liberal use of iron was striking.
October 27, 2016 - The Edward M. Kennedy Institute for the United States Senate partnered with WGBH to present The Citizens' Choice: Raising the Cap on Charter Schools. This panel discussion explored both sides of Question 2 on the 2016 Massachusetts ballot, attempting to answer the question: would raising the cap on charter schools affect Massachusetts for better or for worse?
Jim Braude, host of WGBH’s Greater Boston moderated this panel discussion featuring Jessica Tang, Boston Teachers Union Director of Organizing; Chris Gabrieli, Chairman and CEO of Empower Schools, Chairman of the Massachusetts Board of Higher Education, and lecturer at Harvard’s Graduate School of Education; Michael Curry, President of the Boston branch of the NAACP; and Marty Walz, former Massachusetts State Representative and Principal at Marty Walz and Associates.
I believe this is a Question Mark butterfly. I think their wings are usually an interesting shape, but this one looked like it might have been a little worse for the wear too.
Need to hire a commercial roofer? Click below to read research done by ARC Roofing to develop a list of questions you should ask before hiring.
I posted a question on my Paris If You Please Facebook page of these welcoming spikes in silhouette asking if anyone could guess what they were. I'll include that pic in the text below.
You can see here quite clearly what they are, but that doesn't reveal for us quite the reason why the people living in these particular Parisian apartments feel the need for quite such a strong deterrent for anyone considering the idea of shinnying up the drainpipe for whatever reason.
I'd say it's effective though, as the slight urge I felt to get up there was immediately quashed upon considering the prospect of getting one of those things accidentally lodged in one of my eye sockets. I'm sure you can see what I mean.
Not that this sort of paranoid behaviour seems to be common in Paris. I'm not sure what the crime rate actually is, but you don't hear about break-ins that often (although you do hear about them). I guess digicodes and pretty public front walls have a lot to do with that.
(A Paris iPhone street photograph by Sab Will for the 'Paris and I' photo blog @ paris-and-i.parissetmefree.com )
Fred Smith - (American - born 1987)
Fred Smith: From This Disposition
Fred Smith (b. 1987) is a human navigating their day to day existence through the act of making drawings, paintings, and sculptural objects. Their work is developed with a sense of subversive irony, exploring societal norms and situations that seem off or odd.
By bending physicality and destabilizing reality, Fred Smith’s uncanny creations prompt us to ask complex questions about our surroundings and our imagination. The artist has a similar mission in mind while creating the work, stating that he’s “simply asking questions that I don’t know how to ask with words.” Molding form and spaces into open-ended queries, Smith delivers us to a site where “the world is a stage.”
The improvisational quality imbued throughout his compositions nods at Surrealism—a movement developed in post-war Paris that explored the unconscious, hidden psychological tensions, and dream states. Creative abilities permeated Smith’s immediate family, and he has made drawings since his youth. His practice deepened the summer after eighth grade, he drew constantly from National Geographic and skateboard magazines after an ACL tear forced him to direct his active energy into visual expression. More recently, Smith’s sobriety—he stopped drinking and smoking marijuana in 2020—has strengthened his vigor to make paintings; he observes that “the difference is definitely in the work.” Smith swiftly and successfully cuts through what’s “known” and approaches the absurd as a place to survey the destabilization of certain structures and systems—an illuminated unreality. It is through this choose-your-own-adventure template that we can conceive of new worlds.
www.mintmuseum.org/exhibition/from-this-disposition/
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"Mint Museum Uptown houses the internationally renowned Craft + Design collection, as well as outstanding collections of American and contemporary art.
Designed by Machado and Silvetti Associates of Boston, the five-story, 145,000-square-foot facility combines inspiring architecture with cutting-edge exhibitions to provide visitors with unparalleled educational and cultural experiences.
Located in the heart of Charlotte’s burgeoning city center, Mint Museum Uptown is an integral part of the Levine Center for the Arts, a cultural campus that includes the Bechtler Museum of Modern Art, the Harvey B. Gantt Center for African-American Arts and Culture, the Knight Theater, and the Duke Energy Center. Mint Museum Uptown also features a wide range of visitor amenities, including the 240-seat James B. Duke Auditorium, the Lewis Family Gallery, art studios, a restaurant, and a museum store.
www.mintmuseum.org/plan-your-visit/
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The Mint Museum is the largest visual arts institution in Charlotte and holds the largest public collection of Charlotte-born artist Romare Bearden's work.
The American Art collection comprises approximately 900 works created between the late 1700s and circa 1945. It includes portraiture of the Federal era, 19th century landscapes, and paintings from the group known as "The Eight" (Robert Henri, George Luks, William Glackens, John Sloan, Everett Shinn, Maurice Prendergast, Ernest Lawson, and Arthur Bowen Davies). Additional highlights in this area include works by John Singleton Copley, Gilbert Stuart, Thomas Sully, and Hudson River School painters Thomas Cole and Sanford Gifford.
The Art of the Ancient Americas collection includes roughly 2,000 objects from more than 40 cultures, spanning more than 4,500 years. The collection includes body adornments, tools, ceramic vessels, sculpture, textiles, and metal ornaments.
There are about 2,230 objects in the Mint's collection of Contemporary Art. These include the Bearden collection and other works on paper, contemporary sculpture, and photography from circa 1945 to the present.
The Mint's Decorative Arts collection, considered one of the finest in the country, centers on its holdings in ceramics. Containing more than 12,000 objects from 2000 B.C. to 1950 A.D., the collection includes a wide variety of ancient Chinese ceramics, 18th century European and English wares, American art pottery, and North Carolina pottery. The Mint has the largest and most comprehensive collection of North Carolina pottery in the nation. Its collection of North Carolina pottery comprises some 2,200 objects, dating from the 1700s.
The museum's Delhom collection, given to the Mint in 1966, contains 2,000 pieces of historic pottery and porcelain, as well as pre-Columbian pieces that are more than 4,500 years old.
Almost 10,000 items of men's, women's, and children's fashions from the early 18th century to present-day haute couture are included in the museum's collection of Historic Costume and Fashionable Dress, which approaches fashion as an art form.
en.wikipedia.org/wiki/Mint_Museum
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