Doesn't want to see the world

Tring to learn things for my exams...I'm sure there is a better way.

In the months before the exhibition, Zineddine Bessai set about applying for a UK immigration visa to attend the opening events. Despite appropriate credentials and the support of Cornerhouse, his request was declined. Zineddine's own experience of the frontiers placed between Europe and North Africa began to resonate with the themes explored in his work.

Greens/EFA MEPs mark the rejection of ACTA by the European Parliament

After more than two years of campaigning by the Greens, the ACTA agreement was finally rejected by the European Parliament today.

The last few months have seen heavy lobbying by pro-ACTA forces come head to head with grass roots anger at the agreement as more and more information on it became public.

...

Today was a victory for the Citizens of Europe who contacted their MEPs, signed the petitions and marched in the streets.

The Greens/EFA group will continue keep a close eye on developments, keep citizens informed and fight for internet freedom and digital rights.

Find out more about our work on ACTA on our ACTA Diary

www.greens-efa.eu/acta-diary-7326.html

Press Release:

ACTA consigned to history; EU must now start honest debate on IPR protection

www.greens-efa.eu/acta-anti-counterfeiting-agreement-7752... more

This photo is copyright free, but must be credited: "© European Union 2012 - European Parliament". (Attribution-NonCommercial-NoDerivs Creative Commons license). For HR files please contact: webcom-flickr(AT)europarl.europa.eu

1st 1980

by miriamsarah4 ift.tt/1ZVwFUD

Self portrait assignment

For some reason, it took me a while to approach this man sitting on a bench. This project was, for a large part, a mental game. Fear of rejection, fear of being intrusive, fear of lack of skill, questioning my motives... so what held me back from talking to this man on the bench? I don’t honestly know. I generally avoid people that appear to be homeless for the simple reason that I feel I don’t have much to offer them - the transaction is very one sided. The world has already extracted a heavy toll from them and I do not want to ask more. Finally deciding to go for it, I went and sat on the bench next to him and said hello.

This is Clark. He is nearing retirement age and has one of the most interesting retirement plans I have ever heard. He plans to go teach English to adults working in the construction business in either mid or South America. He wants to help enable folks to understand how to get a job in North America, how to read construction plans, etc. He had the construction background and recently took an ESL certification course to enable him to teach. He told me he had a teaching offer in Costa Rica. Clark and I talked for close to forty minutes about a variety of topics, a truly genial person. Though things have not always gone well for this man, the world does not seem to have beaten him down. He says life has taught him that there are cycles and when some opportunity closes another will open, so he patiently waits for another door to open. He stays positive, hopeful and proud. This encounter with Clark has provided a small bit of hope, that maybe what I can offer anybody, no matter what they look like or where they are, is time to listen to them.

_______________ _ _ _ _

Find out more about the project and see

pictures taken by other photographers

at the 100 Strangers Flickr Group page.

_______________ _ _ _ _

Taken on a day in Sydney for the Foto Riesel Foto Rally with a great group of friends in the Wollongong Pictorial Mafia.

"Total rejection of the Education Reforms of [President] Peña Nieto!"

"Those who lie to the nation: Televisa and TV Azteca [Mexico's two biggest television companies]. They distort information in 10 seconds. CNTE [Coordinadora Nacional de Trabajadores de la Educación, the teachers' union] in permanent struggle, and not one step back. Until we have victory!"

a writer's rejection letter. sniff.

Or aka "I'll just leave the creative titling of photos to Fubuki"

rejection of Joachim's sacrifice, carved by Henrik van Holt ~1536

On the back of two rejections in a row (most recently a bride-to-be on a hen party dressed as Marilyn Monroe) I struck very lucky today …

Rachel was sat on the steps of Grey’s Monument in Newcastle talking to her Mum when I approached and asked if I could take her photograph. I already had my card ready so when she asked why, I handed it over and explained about the project. As ever “why” is a very promising response and has always turned into a “yes” - on this occasion it turns out that Rachel is anything but shy and retiring and is pursuing a career in the performing arts (my second such stranger) and moreover her Dad is a keen photographer and currently building up a portfolio for her to use. With a quick “what do you think” to her Mum she agreed quite happily.

Rachel was in Newcastle today shopping for some ballet gear but I got the impression that her real passion and ambition lies with her singing. She mentioned that she had recently posted a video of her singing on YouTube so I offered to include a link with the photo if she wanted me to so she wrote down her website address so that I could find the address. The video quality is quite (actually very) poor unfortunately but Rachel does indeed appear to be a very talented singer - Chasing Pavements by Adele. I’m fairly sure she wouldn’t mind me posting her website address but as I did not actually get permission to do so I won’t (she wrote it down specifically so that I could find the video). If the photographs on her website were taken by her Dad though then he is doing an excellent job that I would love to be able to match. With hindsight I didn't catch whether her Dad is a professional photographer or amateur but he appears to have access to a studio so he at least takes it seriously.

For the second time I was interrupted during a “100 Strangers” encounter but this time I hadn’t even really got started so after a couple of non-committal responses I had to politely (I hope) explain that I was in the middle of something and the man (a fellow photographer who was admiring my camera) took his leave apologetically.

I asked Rachel to stand up and took one shot with the street as the background then asked her to stand against the monument to get a less cluttered background - I took two profile shots there then another with her looking at me smiling but on review the image pretty much picked itself - you just couldn't ignore a lovely smile like that! The focus is a bit soft but I still like this shot and the little things like the upturned collar make it a better pose than the other candidate which is nice and sharp (I'll post it in the comments).

Thank you very much Rachel (and to your Mum) for taking the time to talk to me today and taking part in my project, our meeting was quite short but it felt relaxed throughout and I enjoyed it. Good luck with your career, perhaps I will see you again someday ;).

_____________________________

This picture is #15 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page

This guy is a photographer from Clinton Township, MI and he was visiting Silver lake with his fiance. Unfortunately, I did not get his name.

He was kind enough to take my family's photo and unknowingly, be the subject of this composition.

I know all of my Flickr friends can appreciate this shot :)

The camera is so pissed it can't even look at him!

This was my very first image accepted into PPG. It's interesting that that acceptance came up after I nearly gave up the hobby partially because of PPG rejection. :-/

Anyways, this was part of my failed 2007 PAD project. Here's the description that accompanied it:

Well, I got up early this morning and headed out to Blue Mountain Road in hopes of catching an Eastbound in the early morning light and fresh snow. Alas! The only train I caught in the 2 to 3 hours I was out and about was an eastbound coal train well before daylight. After catching a Hi-railer, I decided to call no joy, and head back.

I guess there's always tomorrow!

LOL...yup...I hated it, and it was my first accepted image. Go me!

No quieres darles tu numero a cada Fulano, Zutano, y Mengano? Usa el Rejection Hotline: 631-960-7174. When you need to reject a Spanish-speaking suitor, have them call the Rejection Hotline en Español!

www.fundstiger.com/home-loans-rejection-reasons/

I suspect because it's nearing the 2nd anniversary of getting dumped by my now-ex-husband, my skin is paper thin right now. Sometimes I get tired of putting on a brave face. Today I'm damn tired, pissed off and hurt. Not just one thing, but a whole lotta snowballing things, mostly to do with cliques.

After a few rejections (they always come on the same nights) Joe let us snap a photo of him behind Independence Hall facing south with the Penn Mutual LIfe building in the background.

Location

5th and Walnut St

Philadelphia, PA

Strobist Info:

NIkon SB-26 in mini softbox left of camera

“THE REALITY OF TODAY IS NOT THE SAME THAN THE ONE FROM YESTERDAY ” tent art work by Thierry Geoffroy / Colonel / temporary dialogue installation at the Neue Sachlichkeit section ( New Objectivity ) at the Kuma Museum / Kunsthalle Mannheim Germany

spray paint on Tent, 205 × 140 × 100 cm . 2018

During the exhibition “Konstruktion der Welt: Kunst und Ökonomie” curated by Sebastian Baden, “I installed several tents around the museum as part of a dialogue with the museum’s collections”.

Sebastian Baden contributed a text to the retrospective book Thierry Geoffroy | Colonel: A PROPULSIVE RETROSPECTIVE

published by Museum Villa Stuck:

www.snoeck.de/book/670/Thierry-Geoffroy--%7C-Colonel%3A-A...

en.wikipedia.org/wiki/Thierry_Geoffroy

www.colonel.dk/

www.emergencyrooms.org/formats.html

—------------------------------

Installation part of Konstruktion der Welt: Kunst und Ökonomie - Teilnehmende Künstler*innen 2008-2018

:Maja Bajevic - BBM (Beobachter der Bediener von Maschinen) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski

—------about The New Objectivity (in German: Neue Sachlichkeit) from wikipedia —-

The New Objectivity (in German: Neue Sachlichkeit) was a movement in German art that arose during the 1920s as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit.[1] As these artists—who included Max Beckmann, Otto Dix, George Grosz, Christian Schad, Rudolf Schlichter and Jeanne Mammen—rejected the self-involvement and romantic longings of the expressionists, Weimar intellectuals in general made a call to arms for public collaboration, engagement, and rejection of romantic idealism.

Although principally describing a tendency in German painting, the term took a life of its own and came to characterize the attitude of public life in Weimar Germany as well as the art, literature, music, and architecture created to adapt to it. Rather than some goal of philosophical objectivity, it was meant to imply a turn towards practical engagement with the world—an all-business attitude, understood by Germans as intrinsically American.[1]

The movement essentially ended in 1933 with the end of the Weimar Republic and the beginning of the Nazi dictatorship.

Meaning

Although "New Objectivity" has been the most common translation of "Neue Sachlichkeit", other translations have included "New Matter-of-factness", "New Resignation", "New Sobriety", and "New Dispassion". The art historian Dennis Crockett says there is no direct English translation, and breaks down the meaning in the original German:

Sachlichkeit should be understood by its root, Sache, meaning "thing", "fact", "subject", or "object." Sachlich could be best understood as "factual", "matter-of-fact", "impartial", "practical", or "precise"; Sachlichkeit is the noun form of the adjective/adverb and usually implies "matter-of-factness".[2]

In particular, Crockett argues against the view implied by the translation of "New Resignation", which he says is a popular misunderstanding of the attitude it describes. The idea that it conveys resignation comes from the notion that the age of great socialist revolutions was over and that the left-leaning intellectuals who were living in Germany at the time wanted to adapt themselves to the social order represented in the Weimar Republic. Crockett says the art of the Neue Sachlichkeit was meant to be more forward in political action than the modes of Expressionism it was turning against: "The Neue Sachlichkeit is Americanism, cult of the objective, the hard fact, the predilection for functional work, professional conscientiousness, and usefulness."[1]

Background

Main article: Post-expressionism

Leading up to World War I, much of the art world was under the influence of Futurism and Expressionism, both of which abandoned any sense of order or commitment to objectivity or tradition. Expressionism was in particular the dominant form of art in Germany, and it was represented in many different facets of public life—in dance, in theater, in painting, in architecture, in poetry, and in literature.

Expressionists abandoned nature and sought to express emotional experience, often centering their art around inner turmoil (angst), whether in reaction to the modern world, to alienation from society, or in the creation of personal identity. In concert with this evocation of angst and unease with bourgeois life, expressionists also echoed some of the same feelings of revolution as did Futurists. This is evidenced by a 1919 anthology of expressionist poetry titled Menschheitsdämmerung, which translates to “Twilight of Humanity”—meant to suggest that humanity was in a twilight; that there was an imminent demise of some old way of being and beneath it the urgings of a new dawning.[3]

Critics of expressionism came from many circles. From the left, a strong critique began with Dadaism. The early exponents of Dada had been drawn together in Switzerland, a neutral country in the war, and seeing their common cause, wanted to use their art as a form of moral and cultural protest—they saw shaking off the constraints of artistic language in the same way they saw their refusal of national boundaries. They wanted to use their art in order to express political outrage and encourage political action.[3] Expressionism, to Dadaists, expressed all of the angst and anxieties of society, but was helpless to do anything about it.

Bertolt Brecht, a German dramatist, launched another early critique of expressionism, referring to it as constrained and superficial. Just as in politics Germany had a new parliament but lacked parliamentarians, he argued, in literature there was an expression of delight in ideas, but no new ideas, and in theater a "will to drama", but no real drama. His early plays, Baal and Trommeln in der Nacht (Drums in the Night) express repudiations of fashionable interest in Expressionism.

After the destruction of the war, more conservative critics gained force particularly in their critique of the style of expressionism. Throughout Europe a return to order in the arts resulted in neoclassical works by modernists such as Picasso and Stravinsky, and a turn away from abstraction by many artists, for example Matisse and Metzinger. The return to order was especially pervasive in Italy.

Because of travel restrictions, German artists in 1919–1922 had little knowledge of contemporary trends in French art; Henri Rousseau, who died in 1910, was the French painter whose influence was most apparent in the works of the New Objectivity.[4] However, some of the Germans found important inspiration in the pages of the Italian magazine Valori plastici, which featured photographs of recent paintings by Italian classical realists.[4]

Painting[edit]

Hartlaub first used the term in 1923 in a letter he sent to colleagues describing an exhibition he was planning.[5] In his subsequent article, "Introduction to 'New Objectivity': German Painting since Expressionism", Hartlaub explained,

what we are displaying here is distinguished by the—in itself purely external—characteristics of the objectivity with which the artists express themselves.[6]

The New Objectivity was composed of two tendencies which Hartlaub characterized in terms of a left and right wing: on the left were the verists, who "tear the objective form of the world of contemporary facts and represent current experience in its tempo and fevered temperature"; and on the right the classicists, who "search more for the object of timeless ability to embody the external laws of existence in the artistic sphere".[6]

The verists' vehement form of realism emphasized the ugly and sordid.[7] Their art was raw, provocative, and harshly satirical. George Grosz and Otto Dix are considered the most important of the verists.[8] The verists developed Dada's abandonment of any pictorial rules or artistic language into a “satirical hyperrealism”, as termed by Raoul Hausmann, and of which the best known examples are the graphical works and photo-montages of John Heartfield. Use of collage in these works became a compositional principle to blend reality and art, as if to suggest that to record the facts of reality was to go beyond the most simple appearances of things.[3] Artists such as Grosz, Dix, Georg Scholz, and Rudolf Schlichter painted satirical scenes that often depicted a madness behind what was happening, depicting the participants as cartoon-like. When painting portraits, they gave emphasis to particular features or objects that were seen as distinctive aspects of the person depicted.

Other verists, like Christian Schad, depicted reality with a clinical precision, which suggested both an empirical detachment and intimate knowledge of the subject. Schad's paintings are characterized by "an artistic perception so sharp that it seems to cut beneath the skin", according to the art critic Wieland Schmied.[9] Often, psychological elements were introduced in his work, which suggested an underlying unconscious reality.

Max Beckmann, who is sometimes called an expressionist although he never considered himself part of any movement,[10] was considered by Hartlaub to be a verist[11] and the most important artist of Neue Sachlichkeit.[12]

Compared to the verists, the classicists more clearly exemplify the "return to order" that arose in the arts throughout Europe. The classicists included Georg Schrimpf, Alexander Kanoldt, Carlo Mense, Heinrich Maria Davringhausen, and Wilhelm Heise.[11] The sources of their inspiration included 19th-century art, the Italian metaphysical painters, the artists of Novecento Italiano, and Henri Rousseau.[13]

The classicists are best understood by Franz Roh's term Magic Realism, though Roh originally intended "magical realism" to be synonymous with the Neue Sachlichkeit as a whole.[14] For Roh, as a reaction to expressionism, the idea was to declare "[that] the autonomy of the objective world around us was once more to be enjoyed; the wonder of matter that could crystallize into objects was to be seen anew."[15] With the term, he was emphasizing the "magic" of the normal world as it presents itself to us—how, when we really look at everyday objects, they can appear strange and fantastic.

Regional groups

Most of the artists of the New Objectivity did not travel widely, and stylistic tendencies were related to geography. While the classicists were based mostly in Munich, the verists worked mainly in Berlin (Grosz, Dix, Schlichter, and Schad); Dresden (Dix, Hans Grundig, Wilhelm Lachnit and others); and Karlsruhe (Karl Hubbuch, Georg Scholz, and Wilhelm Schnarrenberger).[11] The works of the Karlsruhe artists emphasize a hard, precise style of drawing, as in Hubbuch's watercolor The Cologne Swimmer (1923).[16]

In Cologne, a constructivist group led by Franz Wilhelm Seiwert and Heinrich Hoerle also included Gerd Arntz. Also from Cologne was Anton Räderscheidt, who after a brief constructivist phase became influenced by Antonio Donghi and the metaphysical artists.

Artists active in Hanover, such as Grethe Jürgens, Hans Mertens, Ernst Thoms, and Erich Wegner, depicted provincial subject matter with an often lyrical style.[17]

Franz Radziwill, who painted ominous landscapes, lived in relative isolation in Dangast, a small coastal town.[18] Carl Grossberg became a painter after studying architecture in Aachen and Darmstadt and is noted for his clinical rendering of industrial technology.[19]

Photography

Albert Renger-Patzsch and August Sander are leading representatives of the "New Photography" movement, which brought a sharply focused, documentary quality to the photographic art where previously the self-consciously poetic had held sway.[20] Some other related projects as Neues Sehen, coexisted at the same moment. Karl Blossfeldt's botanical photography is also often described as being a variation on New Objectivity.[21]

Architecture

New Objectivity in architecture, as in painting and literature, describes German work of the transitional years of the early 1920s in the Weimar culture, as a direct reaction to the stylistic excesses of Expressionist architecture and the change in the national mood. Architects such as Bruno Taut, Erich Mendelsohn and Hans Poelzig turned to New Objectivity's straightforward, functionally minded, matter-of-fact approach to construction, which became known in Germany as Neues Bauen ("New Building"). The Neues Bauen movement, flourishing in the brief period between the adoption of the Dawes plan and the rise of the Nazis, encompassed public exhibitions like the Weissenhof Estate, the massive urban planning and public housing projects of Taut and Ernst May, and the influential experiments at the Bauhaus.

Film

Main article: New Objectivity (film)

In film, New Objectivity reached its high point around 1929. As a cinematic style, it translated into realistic settings, straightforward camerawork and editing, a tendency to examine inanimate objects as a way to interpret characters and events, a lack of overt emotionalism, and social themes.

The director most associated with the movement is Georg Wilhelm Pabst. Pabst's films of the 1920s concentrate on social issues such as abortion, prostitution, labor disputes, homosexuality, and addiction. His cool and critical 1925 Joyless Street is a landmark of the objective style. Other directors included Ernő Metzner, Berthold Viertel, and Gerhard Lamprecht.

Literature

The primary characteristic of New Objective literature was its political perspective on reality.[22] It renders dystopias, in a non-sentimental, emotionless reporting style, with precision of detail and veneration for "the fact". The works were seen to provide a rejection to humanism, a refusal to play the game of art as utopia, a negation of art as escapism, and a palpable cynicism about humanity.[23] Authors associated with New Objectivity literature included Alfred Döblin, Hans Fallada, Irmgard Keun, Erich Kästner, and, in Afrikaans literature, Abraham Jonker, the father of poet Ingrid Jonker.

Theater

Bertolt Brecht, from his opposition to the focus on the individual in expressionist art, began a collaborative method to play production, starting with his Man Equals Man project.[24] This approach to theater-craft began to be known as "Brechtian" and the collective of writers and actors who he worked with are known as the "Brechtian collective".

Music

New Objectivity in music, as in the visual arts, rejected the sentimentality of late Romanticism and the emotional agitation of expressionism. Composer Paul Hindemith may be considered both a New Objectivist and an expressionist, depending on the composition, throughout the 1920s; for example, his wind quintet Kleine Kammermusik Op. 24 No. 2 (1922) was designed as Gebrauchsmusik; one may compare his operas Sancta Susanna (part of an expressionist trilogy) and Neues vom Tage (a parody of modern life).[25] His music typically harkens back to baroque models and makes use of traditional forms and stable polyphonic structures, together with modern dissonance and jazz-inflected rhythms. Ernst Toch and Kurt Weill also composed New Objectivist music during the 1920s. Though known late in life for his austere interpretations of the classics, in earlier years, conductor Otto Klemperer was the most prominent to ally himself with this movement.

Legacy

The New Objectivity movement is usually considered to have ended with the Weimar Republic when the National Socialists under Adolf Hitler seized power in January 1933.[26] The Nazi authorities condemned much of the work of the New Objectivity as "degenerate art", so that works were seized and destroyed and many artists were forbidden to exhibit. A few, including Karl Hubbuch, Adolf Uzarski, and Otto Nagel, were among the artists entirely forbidden to paint. While some of the major figures of the movement went into exile, they did not carry on painting in the same manner. George Grosz emigrated to America and adopted a romantic style, and Max Beckmann's work by the time he left Germany in 1937 was, by Franz Roh's definitions, expressionism.

The influence of New Objectivity outside of Germany can be seen in the work of artists like Balthus, Salvador Dalí (in such early works as his Portrait of Luis Buñuel of 1924),[27] Auguste Herbin, Maruja Mallo, Cagnaccio di San Pietro, Grant Wood, Adamson-Eric, and Juhan Muks.

---------------------

About the Collection of Kunsthalle Mannheim

After its foundation in 1909, Kunsthalle Mannheim took on a pioneering role on the German museum scene with its modern collection concepts. As early as 1910, Fritz Wichert (1909-1923) acquired its most famous painting: Édouard Manet's "The Execution of Emperor Maximilian of Mexico". Gustav Friedrich Hartlaub (1923-1933) coined the term "New Objectivity" in 1925 and brought the realistic painting of the late 1920s to Mannheim. After the Second World War, the Kunsthalle became one of the leading museums with a focus on sculpture. It developed into a key museum of classical modern and contemporary art. The collection currently comprises around 2,300 paintings, 860 sculptures and installations, 34,000 graphic artworks, and 800 objects of applied art. In addition to masterpieces of painting and graphic art from Max Beckmann to Francis Bacon, the collection highlights include a range of sculptures from Auguste Rodin to Thomas Hirschhorn. It also features installations by Alicja Kwade, Rebecca Horn, William Kentridge, Joseph Kosuth and James Turrell.

Abraham Bloemaert, Abraham Hulk, Abraham Storck, Achille Funi, Adolf Abel, Adolf Dietrich, Adolf Erbslöh, Adolf Hildenbrand, Adolf Hölzel, Adolf Jutz, Adolf Luther, Adolph von Menzel, Adriaen Collaert, Adriaen van der Werff, Aegidius Sadeler II, Agostino Carracci, Aimé Barraud, Alan Baxter, Alan Beeton, Albert Aereboe, Albert Birkle, Albert Glockendon, Albert Haueisen, Albert Ihrig, Albert Lang, Alberto Giacometti, Albrecht Dürer, Albrecht Hohlt, Alessandro Casolani, Alexander Archipenko, Alexander Kanoldt, Alexej von Jawlensky, Alf Lechner, Alfonso Parigi, Alfred Hrdlicka, Alfred Kubin, Alfred Sisley, Alfred Ungewiß, Algernon Newton, Alicja Kwade, Alison Britton, Aloisi-Galanini Baldassare, Ambera Wellmann, André Derain, André Gill, André Masson, André Volten, Andrea Zaumseil, Andreas G. Hofer, Andreas Paul Weber, Andreas Werner, Andrew Walford, Ann Reder, Anna Mahler, Annette Kelm, Anselm Feuerbach, Anselm Kiefer, Antje Brüggemann-Breckwoldt, Antoine Pevsner, Anton Eberwein, Anton Henning, Anton Hiller, Antonio Amoroso, Antonio Baratti, Antonio Capellan, Antonio Corpora, Anys Reimann, Aristide Maillol, Arno Henschel, Arnold Böcklin, Arnold Zahner, Arthur Kaufmann, Arturo Bonfanti, August Gaul, August Macke, August Wilhelm Dressler, Auguste Gaspard Louis Desnoyers, Auguste Herbin, Auguste Johanne Papendieck, Auguste Rodin, Barbara Hepworth, Barthel Gilles, Bartholomäus Spranger, Beate Kuhn, Ben Vautier, Ben Willikens, Benjamin Godron, Bernard Buffet, Bernard Meadows, Bernard Schultze, Bernardino Capitelli, Bernhard Bleeker, Bernhard Heiliger, Bernhard Kretzschmar, Bernhard Sandfort, Betty Blandino, Bo Kristiansen, Bogomir Ecker, Bonaventura Genelli, Brigitte Meier-Denninghoff, Brigitte Schuller, Bruno Asshoff, Bruno Diemer, C. David, Cagnaccio di San Pietro, Camille Pissarro, Carel van Falens, Carel Willink, Carl Blechen, Carl Ernst Christoph Hess, Carl Friedrich Lessing, Carl Kuntz, Carl Rottmann, Carl Schuch, Carl Spitzweg, Carlo Mense, Carlos Cruz-Diez, Carry Hauser, Caspar David Friedrich, Charles André van Loo, Charles Crodel, Charles David, Charles Despiau, Charles H. Hodges, Charles Meryon, Charley Toorop, Cherubino Alberti, Christa von Schnitzler, Christian Friedrich Gille, Christian Rohlfs, Christiane Baetcke, Christiane Maether, Christine Atmer de Reig, Claude Mellan, Claude Monet, Clive Barker, Colin Pearson, Constantin Brâncuşi, Constantin Guys, Cornelis Poelenburgh, Curt Stenvert, D. Maiotto, Daher Zidany, Dan Graham, Daniel Spoerri, David Leach, Dawid Dawidowitsch Burljuk, Diamond Stingily, Dick Ket, Dieter Crumbiegel, Diethelm Koch, Domenico Maria Bonavera, Dominique-Vivant Baron Denon, Eberhard Doser, Eberhard Eckerle, Edgar Degas, Edgar Ende, Edgar Gutbub, Edgar John, Edgar Schmandt, Edmund Kanoldt, Edouard Chapallaz, Édouard Manet, Edouard Vuillard, Eduard Bick, Eduard Gubler, Edvard Munch, Edward von Steinle, Edwin Scharff, El (Eliezer) Lissitzky, Elfriede Balzar-Kopp, Elfriede Lohse-Wächtler, Élisabeth Joulia, Elisabeth Schaffer, Elisabeth Tutti Veith, Emil Bizer, Emil Lugo, Emil Nolde, Emil Schumacher, Emile Bernard, Emma Talbot, Enrico Castellani, Enrique Marty, Eric Astoul, Erich Drechsler, Erich Hauser, Erich Heckel, Erich Ockert, Erich Schilling, Erich Wegner, Erika Streit, Erna Dinklage, Ernest Neuschul, Ernesto De Fiori, Ernst August von Mandelsloh, Ernst Barlach, Ernst Czerper, Ernst Fries, Ernst Fritsch, Ernst Haider, Ernst Hermanns, Ernst Ludwig Kirchner, Ernst Pleuger, Ernst Reinold, Ernst Wilhelm Nay, Erwin Bechtold, Erwin Heerich, Erwin Pfefferle, Etienne Jehandier Desrochers, Eugen Bracht, Eugen Knaus, Eugène Delacroix, Ewald Mataré, Fabio Berardi, Felice Casorati, Felix Nussbaum, Félix Vallotton, Ferdinand Bol, Ferdinand Georg Waldmüller, Ferdinand Hodler, Fernand Léger, Florian Slotawa, Fra Bartolommeo, Francesco Messina, Francis Bacon, Francisco José de Goya y Lucientes, François Barraud, François Lafranca, Frans Masereel, Franz Erhard Walther, Franz (Frantisek) Kupka, Franz Gelb, Franz Gutmann, Franz Horny, Franz Lenk, Franz Marc, Franz Nölken, Franz Radziwill, Franz Sedlacek, Franz von Stuck, Fred Goldberg, Fred Stauffer, Fred Thieler, Fridel Dethleffs-Edelmann, Friedensreich Hundertwasser, Friedrich Kallmorgen, Friedrich Klementz, Fritz Burmann, Fritz Cremer, Fritz Gniesmer, Fritz Klemm, Fritz Koenig, Fritz Paravicini, Fritz Schaefler, Fritz Skade, Fritz Tröger, Fritz Vehring, Fritz von Uhde, Fritz Winter, G. Mellan, Gabriele Dahms, Georg Friedrich Kersting, Georg Kolbe, Georg Scholz, Georg Schrimpf, George Grosz, George Minne, George Rickey, George Segal, Georges Kars, Georges Lallemand, Georges Mathieu, Georges Noël, Georges Rouault, Gerald Weigel, Gérard Deschamps, Gerd Knäpper, Gerd Lind, Gerda Bier-Buck, Gerhard Hoehme, Gerhard Marcks, Germaine Richier, Gerolamo Cairati, Gerold Miller, Gert H. Wollheim, Gertrud Beinling, Giacomo Manzù, Gilles Demarteau, Giorgio de Chirico, Giovanni Battista Piranesi, Giovanni Battista Pittoni, Giovanni Domenico Tiepolo, Giovanni Jacopo Caraglio, Gisela Schliessler, Giulio Antonio Bonasone, Giulio Carpioni, Giulio Romano, Giuseppe Canale, Giuseppe Varotti, Gordon Baldwin, Görge Hohlt, Gotlind Weigel, Gottfried Brockmann, Gottfried Honegger, Guido Joseph Kern, Guido Sengle, Günter Ferdinand Ris, Gunter Frentzel, Günter Oehlbach, Günther Förg, Günther Uecker, Gusso Reuss, Gussy Hippold-Ahnert, Gustav Klimt, Gustav Kraitz, Gustav Schönleber, Gustav Seitz, Gustave Courbet, H. David, Hanna Nagel, Hanns Maria Barchfeld, Hans Adolf Bühler, Hans Arp, Hans Baldung Grien, Hans Cassar, Hans Christiansen, Hans Dochow, Hans Gsell, Hans Heckmann, Hans Lifka, Hans Mertens, Hans Meyboden, Hans Nagel, Hans Otto Schönleber, Hans Scheib, Hans Thoma, Hans Uhlmann, Hans von Marées, Hans Wimmer, Hans-Theo Richter, Harmen Jansz. Muller, Harmensz van Rijn Rembrandt, Harry Kramer, Hedwig Bollhagen, Heidi Kippenberg, Heiner Balzar, Heinrich Aldegrever, Heinrich Bürkel, Heinrich Maria Davringhausen, Heinrich Nauen, Heinrich Zernack, Heinz Mack, Heinz R. Fuchs, Heinz Schifferdecker, Heinz Sommer, Helene von der Leyen, Helga Föhl, Hendrick Goltzius, Henri de Toulouse-Lautrec, Henri Laurens, Henri Matisse, Henry Luyten, Henry Moore, Herbert Garbe, Herbert Hamak, Herbert Tannenbaum, Herbert Volwahsen, Hermann Blumenthal, Hermann Geibel, Hermann Kupferschmid, Hermann Scherer, Hermann Sprauer, Hermann Tiebert, Hieronymus Cock, Hildegund Schlichenmaier, Honoré Daumier, Horst Kerstan, Hubert Griemert, Hugo von Habermann, I. L. Deliguon, I. Stella, Ian Tyson, Ilona Singer, Inga Dorner, Ingeborg Asshoff, Isa Genzken, Israhel van Meckenem, Iwan Babij, Jacob Isaackszoon van Ruisdael, Jacob Sarazin, Jacoba van Heemskerck, Jacopo de Barbari, Jacques Callot, Jacques Claude Danzel, Jacques Dassonville, Jacques Lipchitz, Jacques Mahé de La Villeglé, Jakob Philipp Hackert, James Ensor, James Lloyd, James Turrell, Jan Bontjes van Beek, Jan Brueghel d. J., Jan Harmensz. Muller, Jan J. Schoonhoven, Jan Tschichold, Jannis Kounellis, Jean - Baptiste Oudry, Jean Baron, Jean Daullé, Jean Fautrier, Jean Tinguely, Jean-Baptiste Greuze (zugeschrieben), Jean-Baptiste-Camille Corot, Jean-Francoise de Troy, Jean-Michel Moreau le jeune, Jesse Darling, Jesús Rafael Soto, Joachim Bandau, Joachim Kuhlmann, Joachim Lutz, Joachim Schmettau, Joan Miró, Johan Christian Clausen Dahl, Johan Grimonprez, Johann Christian Reinhart, Johann Elias Haid, Johann Georg Dillis, Johann Wilhelm Schirmer, Johanna Jacoba (Johnny) Rolf, Johannes Gebhardt, John Bock, Jon Kessler, Joseph Anton Nikolaus Settegast, Joseph Beuys, Joseph Kosuth, Joseph Parrocel, Joseph von Führich, Josh Kline, Joshua Reynolds, Juan Gris, Julio González, Julius Bissier, Julius Schnorr von Carolsfeld, Jürgen Brodwolf, Jürgen Goertz, Jürgen Riecke, Juscha Schneider-Döring, Kaari Upson, Karl Adlmannseder, Karl Albiker, Karl Bertsch, Karl Bobek, Karl Dillinger, Karl Fred Dahmen, Karl Friedrich Korden, Karl H. Hödicke, Karl Hartung, Karl Heinz Wulf, Karl Hentschel, Karl Hofer, Karl Hubbuch, Karl Ostertag, Karl Otto Götz, Karl Roux, Karl Scheid, Karl Schmidt-Rottluff, Karl Schmoll von Eisenwerth, Karl Stohner, Karl Theodor Boehme, Kate Diehn-Bitt, Käte Hoch, Katharina Hinsberg, Käthe Kollwitz, Kay Heinrich Nebel, Kenneth Armitage, Kiki Smith, Klaus Rinke, Koch Pyke, Krištof Kintera, Kuno Gonschior, Kurt Lehmann, László Moholy-Nagy, Leo Erb, Leo Kahn, Leonore Maria Stenbock-Fermor, Lodovico Ottavio Burnacini, Lore-Lina Schmidt-Roßnagel, Lothar Fischer, Lotte B. Prechner, Lotte Reimers, Louis de Boullogne, Louis de Silvestre, Louis Desplaces, Louis Le Nain, Louise Nevelson, Lourdes Castro, Lovis Corinth, Lucas Cranach d.Ä., Lucas Cranach d.J., Lucas Hugensz van Leyden, Lucio Fontana, Ludwig Deurer, Ludwig Friedrich, Ludwig Kasper, Ludwig Kuntz, Ludwig Meidner, Ludwig Schmid-Reutte, Lynette Yiadom-Boakye, Lynn Chadwick, Lyonel Feininger, Maarten van Heemskerck, Man Ray, Marc Chagall, Marc Sterling, Marcantonio Bellavia, Marcel Wyss, Marcus Behmer, Marcus Sadeler, Margarete Schott, Margret Eicher, Marianna Simnett, Mariano Bovi, Marie-Hélène Vieira da Silva, Marino Marini, Mario Ceroli, Mario Merz, Mario Tozzi, Mario von Bucovich, Markus Walleitner, Marten Jacobs van Hemskerck, Martin Honert, Martin Lauterburg, Martine Andernach, Mary White, Matthäus Merian, der Ältere, Matthias Gerung, Maurice de Vlaminck, Maurice Denis, Max Beckmann, Max Bill, Max Ernst, Max Joseph Wagenbauer, Max Laeuger, Max Liebermann, Max Pechstein, Max Slevogt, Medardo Rosso, Meredith Frampton, Michael Cleff, Michael Croissant, Michael Schoenholtz, Michael Wohlgemut, Michel Majerus, Michel Pastore, Milly Steger, Mimmo Rotella, Mo Jupp, Monika Grzymala, Moritz von Schwind, Mykola Hlushchenko, Nairy Baghramian, Nam June Paik, Naum Gabo, Nicolas Fouché, Nicolas Mathieu Eekman, Nicolas Vanni, Nicolas-Dauphin de Beauvais, Nigel Hall, Niki de Saint Phalle, Niklaus Stoecklin, Niklaus Stoecklin, Norbert Kricke, Odilon Redon, Olaf Gulbransson, Olaf Nicolai, Olafur Eliasson, Orazio Bertelli, Orazio Borgianni, Oskar Just, Oskar Kokoschka, Oskar Schlemmer, Ossip Zadkine, Oswald Achenbach, Oswald Herzog, Otobong Nkanga, Ottilie Roederstein, Ottmar Hörl, Otto Coester, Otto Dill, Otto Dix, Otto Douglas-Hill, Otto Dressler, Otto Freundlich, Otto Gleichmann, Otto Greis, Otto Herbert Hajek, Otto Lange, Otto Lindig, Otto Mindhoff, Rudolf Belling, Rudolf Bergander, Rudolf Großmann, Rudolf Hellwag, Rudolf Lunghard, Rudolf Maeglin, Rudolf Schlichter, Rudolf Wacker, Rudolph Carl von Ripper, Rudolph Kuntz, Rupprecht Geiger, Ruth Duckworth, Ruth Francken, Ruth Koppenhöfer, Rutilio di Lorenzo Manetti, S. Desmaretz, S. Drury, Sabine Rosenbach, Sally Falk, Sergius Pauser, Silvia Ullmann, Silvio Siermann, Simona Andrioletti, Simone Cantarini, Toni Stadler, Trude Petri, Trude Stolp-Seitz, Ubaldo Oppi, Umberto Boccioni, Ursula Scheid, Valentin Ruths, Vera Isler-Leiner, Vera Vehring, Victor Bonato, Vincent van Gogh, Volker Ellwanger, Agnelli, Albreliaca, Arman, Calabrois, César, Dado, Delanau, Delonguelle, Denys, Derinet, Desmoulins, Dodo, Fossier, Manolo, Waldemar Grzimek, Walter Schulz-Matan, Walter Stallwitz, Walter Waentig, Wassily Kandinsky, Wendelin Stahl, Werner Hofmann, Wieland Förster, Wilfried Otto, Wilhelm Gerstel, Wilhelm Gimmi, Wilhelm Heise, Wilhelm Laage, Wilhelm Lehmbruck, Wilhelm Leibl, Wilhelm Loth, Wilhelm Schnarrenberger, Wilhelm Süs, Wilhelm Trübner, Wilhelm von Kobell, Willi Baumeister, Willi Roerts, William Kentridge, William Mehornay, William Turnbull, William Wauer, William Woollett, Willy Jaeckel, Wim Mühlendyck, Winfred Gaul, Wladimir von Zabotin, Wolf Spitzer, Wolf Vostell, Wolfgang Kessler, Xaver Fuhr, Ximena Ferrer Pizarro, Young-Jae Lee, Yves Klein, Zanele Muholi

Do you know how to turn down a job offer gracefully? Explore to find out!

askopinion.com/how-to-turn-down-a-job-offer-politely

Thai food (and Mai Thais) with friends.

April 21, 2014

I had been sick the previous week and in that short time, it seemed I had lost my mojo. I was turned down three times in row - a record. The rejections didn’t bother me intellectually, but they did sap my energy. The sun was shining and the air was warm, so it lifted my spirits and I happily wandered around the downtown, enjoying the outdoors. I spotted a woman with a coordinated wardrobe and a playful bow in her hair. It took me almost a block to catch up to her though. Once I did and explained my intent and she was happy to oblige.

This is Amy. She asked what I wanted her to do and seemed to relax into a pose quite quickly. I asked if she had modeled before, she said no, but was definitely comfortable in front of the camera; which was nice as it made my job so much easier. Amy was a real estate lawyer working for the city and was out and about enjoying the day. Regrettably, the week off rusted my social skills and I missed the opportunity to chat more with Amy. She seemed like she would have been open to a longer conversation. My loss. After I photographed Amy, I offered my card for her to view her photo, but I had forgotten the small stack that I usually have in my pocket! So, being flustered I dug around in my bag before remembering that I keep a couple in my wallet for this exact reason. I gave my card to Amy and we parted ways.

Thank you Amy for stopping and chatting with me; I apologize that my conversation was so short, in hindsight I had more questions for you and would have enjoyed chatting with you more. If I see you out and about I will stop and say hello.

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Find out more about the project and see

pictures taken by other photographers

at the 100 Strangers Flickr Group page.

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As I was leaving Blacksburg, I saw these on the ground. I guess someone didn't appreciate them.

For ilustration Friday

The Indyish Monthly Mess Post-Valentines Show: Rejections and Knock Outs

and also rejection

Champion Team with supercoach

Wrap from www.hepburnburras.com

HEPBURN FLAWLESS CHAMPIONS

The Hepburn Seniors netball team made club history on Saturday by icing the perfect CHNL season with a Grand Final win in overtime against a defiant Waubra. Continuing their unbeaten run for 2011, the Burras took out the premiership for the 1st time in a gruelling battle in wet conditions.

There was a large crowd there to watch the two teams in what was expected to be a tough game for both. Fifth placed Waubra having strength and height in attack had begun to peak at the right time of the year, knocking out other top 4 teams to be there. However Hepburn had speed and strength in defence and had been focussing on their challenge for sometime.

First centre pass to the Burras was turned over due to an early error allowing Waubra to take the first couple of goals. Settling quickly, a composed Hepburn began to find their rhythm and push the ball down court and into their goals. Waubra seemed to look lost for options once Hepburn grabbed a 4 goal lead, but full court defensive pressure kept them to within one at half time.

Waubra’s Goal Shooter, Kelly Moran and Hepburn’s Goal Keeper, Ebony Place were providing the crowd with a display of outstanding skills and footwork. Backed up by Sarah Dowell at Goal Defence, the Burras slowly managed to upset Waubra’s shooters and allow Hepburn to take a 4 goal lead at three quarter time. With the flag in sight, the Burras only had to maintain possession.

Waubra had changed it’s attacking line up in an attempt to open space in the circle. Applying physical pressure through the mid court, Waubra began to outscore Hepburn and close the gap in the dying minutes. With Waubra about to take the lead, Goal Keeper Ebony Place successfully produced the rejection of the year on her tall shooter and managed to keep the ball in Hepburn’s possession and cause a draw at the final whistle, getting Hepburn off the hook.

The atmosphere was intense as both teams re-grouped and prepared themselves for the final 10 minutes of overtime. Hepburn’s Goal Attack Kristina Clohesy stepped it up a gear and played one of her best games for the season. The Burras were prepared to move the ball quickly down court in an attempt to shake off a tight Waubra defence. Remembering the pain of last years grand final loss, Hepburn began to exert more pressure and manage to pull out that extra bit of effort in the dying seconds and hold on for a 2 goal win, 41 to 39.

“A perfect way to finish off a flawless year” said Coach Gary Cooke. “The girls have worked incredibly hard all year for this win and they really deserve to be the CHNL Champions”.

Goals: Jane – 29/37 78%, Kristina – 12/19 63%