View allAll Photos Tagged Relatable
Image from '[Historical Collections of the State of New Jersey ... relating to its history and antiquities, with geographical descriptions of every township in the State. [With illustrations.]]', 000194808
Author: BARBER, John Warner and HOWE (Henry)
Page: 164
Year: 1852
Place: Newark, N.J
Publisher: J. H. Bradley
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
March 19, 2014. Boston, MA.
Kick Butts Day 2014. Representatives from the Department of Public Health (DPH) today joined more than 250 young people from across the Commonwealth at the State House for the national observance of Kick Butts Day, recognizing the contributions of teenagers in smoking cessation and prevention efforts.
The young people participating in today’s event are part of DPH’s youth movement, The 84, which represents the 84 percent of young people in Massachusetts who don’t smoke.
High school students involved in The 84 have been educating their communities and their local lawmakers about issues relating to tobacco and, working with local health boards and other programs; have promoted effective tobacco prevention strategies in their communities. Members of The 84 Movement have been vital in fighting the way tobacco industry markets its products to youth.
© 2014 Marilyn Humphries
HB430 (Relating to Taxation) exempts charitable deductions from the itemized state income tax deduction caps.
Gretchen Bender, Born Seaford, DE 1951-
died New York City 2004
TV Text & Image (DREAM NATION), 1989, live television broadcast on a monitor with vinyl lettering, dimensions variable,
How does today's news relate--or not--to your idea of a "dream nation"?
Unlike most screens in an art gallery, this monitor is not showing prerecorded, artist-made imagery. Instead, the artist intervenes in regular broadcast television by printing DREAM NATION on the surface of the screen. Gretchen Bender's work invites you to contrast your current take on these words with what is on TV at this very moment. When displayed in the nation's capital of Washington, DC, it can also feel site-specific, invoking this country's dreams and dreamers.
Bender was part of a generation of artists, including Barbara Kruger (whose work is on view nearby), who responded to the rising power of mass media. Using what she described as "guerilla tactics . . . to make some kind of break or glitch in the media," Bender took on television to make the "underlying patterns of social control" visible.
____________________________________
"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
..
Brasília 28/03/2017 Relator da reforma política na câmara, Vicente Cândido, durante entrevista para agência PT.
Foto: Lula Marques/Agência PT
July 4th 1938
Improvements in or relating to Roll Film Photographic Cameras, looks like the magazine back for the Kodak Ektra
Lex Musta relates history of the Parsons home on 18th Street NW during a walking tour of sites associated with the 1912 visit by 'Abdu'l-Baha. The stately building is undergoing renovation by its current owner, the German Marshall Fund. Photo by Tom Mennillo
The Problems relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as reported in Foreign Press (1904-2002). Prof. A. de Franciscis (SAP), Pompeii Ruins Threatened, N.Y. Times, Jan 19, 1969, XX51. [3/3].
These women watching the ceremony for the small kid....Looks like they are relating the moments to the memories they have gathered on the canvas of their memories.
Shot at Hardiya, Mahottari(Nepal)
Go to Page 29 in the Internet Archive
Title: Hospital plans : five essays relating to the construction, organization & management of hospitals
Creator: Johns Hopkins Hospital
Creator: Billings, John S. (John Shaw), 1838-1913
Creator: Folsom, Norton, 1842-1903
Creator: Jones, Joseph, 1833-1896
Creator: Morris, Caspar, 1805-1884
Creator: Smith, Stephen, 1823-1922
Publisher: New York : William Wood
Sponsor: Wellcome Library
Contributor: Wellcome Library
Date: 1875
Language: eng
Essays with the general title: Hospital construction and organization, by J. S. Billings, N. Folsom, J. Jones, C. Morris, and S. Smith
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
"My story relates to my husband, Stig "Mad Dog" Slaughter; ex Cheshire Regt and Royal Corps of Signals who took his own life on 04th October 2017. I have a black poppy tattooed on my back in his memory. In the morning and the going down of the sun..."
FTP01057
relates to FTP00694 and FTP1067
Unknown place. Snow did fall in Whittlesea in 1929
Fay Thomas Collection
Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Permission to use or share this image is granted provided the orignal URL link is provided along with the image and an acknowledgement to Yarra Plenty Regional Library.
Enquiries: Yarra Plenty Regional Library
Trying to relate these images to Uta Barth, I first shot images that were focused on the window pane, or not the view out the window. In editing these images, I made the colors higher in saturation, but to where they are still realistic. I also raised the temperature to make the images warmer, as Barth's images always contain warm landscapes that are in the background.
The Painting
This painting is currently (2025) on display at Tate Britain on Millbank, London. The Tate provide the following information relating to the work:
'Arthur Hughes 1832 - 1915
Born and lived in London.
April Love 1855 - 6
Oil paint on canvas.
Arthur Hughe's painting shows a moment
of tension between a young couple. The
woman turns away as the man bows his
head, pressing her hand between his.
The sunlit lilacs are symbols of young love,
but the crushed rose in the shadows on the
ground suggests that the relationship is
troubled.
By contrast, Hughes married the model
Tryphena Ford the year this picture was
painted.
It brought Hughes success, and was
purchased by William Morris.
The brilliantly coloured dress was typical
of the time. New industrial dyes, factory
labour and cheaper textiles enabled men
and women to dress for show.
Purchased 1909.'
Arthur Hughes
Arthur Hughes, who was born on the 27th. January 1832, was an English painter and illustrator associated with the Pre-Raphaelite Brotherhood.
In 1846 he entered the art school at Somerset House, his first master being Alfred Stevens, and later entered the Royal Academy schools.
It was there, after reading a copy of The Germ, that he met John Everett Millais, Holman Hunt, and Dante Gabriel Rossetti, although he never became an official member of the Pre-Raphaelite group of painters.
Arthur's first picture, Musidora, was hung at the Royal Academy when he was only 17, and thenceforth he contributed almost annually not only to the Royal Academy but later also to the Grosvenor and New Gallery exhibitions.
After having his painting Ophelia hung near Millais' version of the same name, they became friends and Hughes served as the model for the male figure in The Proscribed Royalist.
In 1855 Hughes married Tryphena Foord, his model for April Love. They had five children, of whom one, Arthur Foord Hughes, also became a painter.
Arthur died in Kew Green, London on the 22nd. December 1915, leaving about 700 known paintings and drawings, along with over 750 book illustrations.
Following the death of Tryphena Hughes in 1921, their daughter Emily had to move to a smaller house. This resulted in a shortage of space, and so she had her father's remaining preparatory sketches, and all his private papers and correspondence, destroyed.
Hughes was laid to rest in Richmond Cemetery.
-- The Paintings of Arthur Hughes
Arthur's best-known paintings are April Love and The Long Engagement, both of which depict troubled couples contemplating the transience of love and beauty.
They were inspired by John Everett Millais's earlier "couple" paintings, but place far greater emphasis on the pathos of human inability to maintain the freshness of youthful feeling in comparison to the regenerative power of nature.
Like Millais, Hughes also painted Ophelia (which is housed at the Toledo Museum of Art), and illustrated Keats's poem The Eve of St. Agnes. Hughes's version of the latter is in the form of a secular triptych, a technique he repeated for scenes from Shakespeare's As You Like It.
His works are noted for their magical, glowing colouring and delicate draughtsmanship.
The oil portrait Springtide, first exhibited in Dublin in 1855, features his wife Tryphena.
In 1857 Hughes was persuaded by Dante Gabriel Rossetti to join with the group of young artists who were to head to Oxford to paint the walls of the newly-finished debating chamber of the Oxford Union Society. Rossetti had chosen the Legend of King Arthur as the theme of frescoes and Hughes was delegated to paint a panel depicting The Death of Arthur.
Unfortunately the walls were not properly prepared for the paintings and they soon deteriorated, and now only the barest outlines remain of the works.
-- Arthur Hughes' Illustrations
Although most of Hughes's later paintings are not well regarded, the black and white drawings of his later career were some of his best.
He illustrated several books, including Tom Brown’s Schooldays (1869), George Macdonald's At the Back of the North Wind (1871), The Princess and the Goblin (1872), Christina Rossetti’s Sing Song (1872), and Speaking Likenesses (1874).
He also produced numerous illustrations for Norman MacLeod's monthly magazine, Good Words.
Image from 'Historical collections of Virginia ... relating to its history and antiquities; together with geographical and statistical descriptions. To which is appended an historical and descriptive sketch of the District of Columbia', 001748053
Author: HOWE, Henry.
Page: 376
Year: 1845
Place: Charleston, S.C
Publisher:
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.