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#Donniedarko #donnie #darko #cant #watch #or #relate #to #this #movie #without #thinking #of @d0nnyanderson
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martinacorleonee: You can suck my fuck anytime lmfao sounds like a Darko valentine card
nickvernoski: @martinacorleonee exactly
d0nnyanderson: Hahaha god damn it. I knew it was coming before I even read the comments. Love you dude.
Postcard
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
Words cannot relate how elated I am to have finally obtained this critical piece to my "Philip II, Alexander the Great, and the Era of the Diadochi" collection. It's a siglos from Kalchedon, issued between 340 to 320 BCE. Let me now explain the amazing fit this coin has for that collection.
Kalchedon sits across the bay from Byzantion, which was besieged along with Perinthos by Philip II around 340 BCE. While Kalchedon likely supported its sister city, it was never directly besieged or confronted by Philip.
The city's next chance of fame was with the arrival of Alexander the Great, who chose a more southerly route over the Hellespont and avoided the region entirely. During this momentous period, no major battles were fought at Kalchedon, though an important one was fought in neighboring Byzantion.
So critical was Kalchedon's contribution to this era's history that Arrian never mentions it. Quintus Curtius Rufus gives it similar mention and Diodotus Siculus, who's narrative spans the entire period from Philip II through the Diadochi, also found no interesting story there.
Given the city's importance, you may wonder why I had to add this coin. Well, it took me four attempts to actually acquire one. During the first attempt, I researched the history and, finding nothing of interest, added a note that a coin from Kalchedon must not be purchased due to no strong tie to the story. When another interesting copy showed up at auction, I reviewed my note and failed to bid.
On the third attempt, I found a copy with the city name well-centered and added it to my watch list. When the bids ascended, I checked my notes to verify how crucial it was and, upon reading them, neglected to bid. However, on my fourth attempt I was successful! The coin appeared at an online store with a great price, well-centered name, and a reputation for selling quickly. I immediately placed the order and got the coin!
Even though I'd now read my notes and realized the mistake, I couldn't wait to receive it after having fended off every attempt to prevent myself from buying one. Finally the package arrived and I tore it open, then remarked how close it looked to its sister city Byzantion. However, on closer look I found it was a coin of Byzantion. I'd accidentally received the wrong coin.
The seller was quick to rectify the mistake, and I soon had the correct coin. It now occupies a vaunted place in my collection from this turbulent period.
On Mnet‘s ‘Beatles Code 3D,’ Woohyun related an interesting story about how his behavior converted an anti-fan into just a simple fan.
MC Shin Dong Yup brought this up by saying, “There’s a story going around that after a few words from Woohyun, an anti-fan...
360kpop.info/kpop-news-korean/woohyun-relates-a-story-of-...
Local legend relates that when the Vietnamese fought invading Chinese armies, the gods sent a family of dragons to help defend the land. That family of dragons began spitting out jewels and jade. Those jewels turned into the islands and islets dotting the bay, linking together to form a great wall against the invaders. The people kept their land safe and formed what later became the country of Vietnam. After that, dragons decided to live in Ha Long Bay. The place where Mother Dragon flew down became Hạ Long, the place where the dragon children attended upon their mother received the name Bái Tử Long island (Bái: attend upon; Tử: children; Long: dragon), and the place where the dragon children wriggled their tails violently became known as Bạch Long Vỹ island (Bạch: white- color of the foam made when Children Dragon wriggle; Long: dragon, Vỹ: tail).
This image relates to wildness because a shell is one of the many wild things that can be found in the deep waters all around the earth. It defines the concept of "wildness" because it is unconventional and admired by many. Methods Used:I molded some purple and white clay to form the shape of a sea shell, then I placed a real pearl inside and set it down on the shore at the beach, surrounded it by a crab shell and a real sea shell. I had my camera on Manual mode and I set it to ISO 800, no flash, Cloudy White Balance, and 1/1600 shutter speed. This model was 2 inches long and 2.5 inches wide.
If you don't know which movie this is your childhood sucked. I'm so sorry. #InspirationalQuotes #GirlQuotes #Quotes #TeenageLife #LifeQuotes #BeautifulQuotes #RelationshipQuotes #SuccessQuotes #DontGiveUp #QuotesForTeens #PositiveQuotes #TeenQuotes #WomenQuotes #Follow4follow #Adult #Love #Forever #LDR #LongDistanceRelationship #S4S #Relateable #Allgirls #Repost #followme #beyonce #nickiminaj - _relate.quotess
"relating to the motion of material bodies and the forces and energy associated therewith"
A creative outing with my photo club - Inland Empire Photo Club - where we played with light and motion and long exposures to create kinetic art. It was a wonderful, creative evening.
Image from 'A Lytell Geste of Robin Hode, with other ancient & modern ballads and songs relating to this celebrated yeoman. To which is prefixed his history and character, grounded upon other documents than those made use of by ... “Mister Ritson.” Edited by J. M. Gutch', 001726444
Author: HOOD, Robin.
Volume: 02
Page: 361
Year: 1847
Place: London
Publisher: Longman, Brown, Green & Longmans
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.
Minister of Defence and Military Veterans; Nosiviwe Mapisa-Nqakula reports to the relating Government's decision to procure transportation for the country's VVIP's at a media briefing held in Pretoria on the 06/07/2012.
A concept piece relating to the transience and unreliability of memory using audio and physical record/playback process.
Audio was dubbed between two magnetic cassette tapes a total of 45 times.
Postcard
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
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...
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View this map on the BL Georeferencer service.
Image taken from:
Title: "Memoirs relating to European and Asiatic Turkey; edited from manuscript journals, by R. Walpole. (Travels in various countries of the East; being a continuation of Memoirs relating to European and Asiatic Turkey, &c.)"
Author: WALPOLE, Robert - Rev
Shelfmark: "British Library HMNTS 1786.d.13.", "British Library HMNTS 982.i.7."
Volume: 02
Page: 218
Place of Publishing: London
Date of Publishing: 1817
Publisher: Longman & Co.
Issuance: monographic
Identifier: 003842704
Explore:
Find this item in the British Library catalogue, 'Explore'.
Open the page in the British Library's itemViewer (page image 218)
Download the PDF for this book Image found on book scan 218 (NB not a pagenumber)Download the OCR-derived text for this volume: (plain text) or (json)
Click here to see all the illustrations in this book and click here to browse other illustrations published in books in the same year.
Postcard
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), likely dating between 1890-1922.
The slide shows the black text 'How the Sun affects the Earth and the Seasons. Eclipses.' on a yellow/orange oval.
Inscription Details: Handwritten in blue ink on lower left corner of plate 'U57'.
Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.
Rights: No known copyright restrictions.
Reference: 236043|PH-1984-1-LS78-4-36|57
For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033173
The central idea behind this project was to make this decayed piece of driftwood beautiful again by abstracting its shape. This has been done with plastic (which I find is so versatile it can be anything you want it to be) to generate a primitive polygonal enclosure.
The first image refers to biomimicry and its inherent inability for perfect replication of nature; the second shows how the two materials can work together to achieve something either could not do alone; the third reflects on the simultaneously convergent and divergent relationship between nature and machine.
The Problems relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as reported in Foreign Press (1904-2002). "Pompeii: Rifling the Ruins...", THE WASHINGTON POST., Apr. 4, 1977, p. D1 [2/2].
Image from 'Papers relating to the Island of Nantucket, with documents relating to the original settlement of that island, Martha's Vineyard, and other islands adjacent, known as Dukes County, while under the Colony of New York. Compiled from official records, etc. F.P', 001742300
Author: HOUGH, Franklin Benjamin.
Page: 25
Year: 1856
Place: Albany
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.
Blog relating to this story .... peterjemmett.blogspot.com/2018/08/the-year-that-was-part-...
Image from 'A Lytell Geste of Robin Hode, with other ancient & modern ballads and songs relating to this celebrated yeoman. To which is prefixed his history and character, grounded upon other documents than those made use of by ... “Mister Ritson.” Edited by J. M. Gutch', 001726444
Author: HOOD, Robin.
Volume: 02
Page: 477
Year: 1847
Place: London
Publisher: Longman, Brown, Green & Longmans
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.
I chose to relate my photo to the song,"If I die Young." By Band Perry. I chose this song because it reminds me of my friend that died a year ago in the river. Her middle name is Rose so I wanted to choose a rose for my subject. 1. I took this shot close up about 2 inches away from my subject. I found the closer shots made the rose bigger to shoow that it is the dominant subject. There is also a lot of texture going on in this photo with the carpet in the background and the leather bible. 2. My subject like I said earlier is the rose. Its hue stands out of the background because the black and white colors. I really like the contrast with the black bible. 3. I turned my flash off and took this photo both during the day and night. I tried getting only light from artificial soft light but it didnt turn out as I hoped. So the shots during the day worked better. In this one the left half of the rose has soft light from my artificial light going up the stairs. The other side is darker and leaves a shadow from the leaves. 4. The hardest part in capturing this photo was trying to get a natural tinted light. It was too dark to have my flash off and the light from my flash made the mood too bright. During the day it was complicating because it looked almost too bright out and also made the mood bright. Overall this is a reminder of death and i needed a dimmer mood.5. The purpose of my photo was for brittney. She was a sweet girl whose life was cut short. I chose the rose to represent brittney and the bible to represent death.
SB 525 Relating to certification for Emergency Medical Training for the Mining Industry
SB 626 Relating generally to coal mining
HB 4626 Relating to West Virginia Innovative Mine Safety Technology Tax Credit Act 4-11-18
This couple dancing is actually an cake topper & also relates to the song, "Dance with me" by T Carter.
1.) Composing this picture, I had to take this real close & have the camera up in the air looking down at the couple to get a better angle of it. The colors with be white, black and crystal clear & green stems from the white flowers. This has alot of shapes going on with the shape of her dress, his tuxedo & the flowers.
2). The seperation from my subject and the value would be the crystal clear white to a black fabric as the background and more white flowers to have it stand out more. I thought this looked best together, since its an light subject with a dark background.
3.) About the lighting, I had my flash off, because when I had it on, It would give the background a more dark shadow on the flowers and didnt look as well, So I had my flash off with only my lamp on that was near & thats why it has some light bouncing off the couples bodies. This would give it a more romantice mood then an cold mood since it does look like an ice craving.
4.) The challenges I had was the lighting, I actually had my first idea to put a candle behind the topper to make it look like it was light up, but when I did the flash and flash off, neither one would look right, So I had to change my whole idea background because I couldnt figure anything else to make it look right. The light was the most challenging part about this.
5.) I just wanted to do something with marriage, and when I saw this I knew it would be perfect. It fits well with the song Dance with me, It creates a cute and happiness beginning to life:
The day is here
And the time has come
For you and I
Together as one
For a lifetime
United we'll be
So take my hand and Dance With Me
Take my hand and Dance With Me
Let's celebrate for the world to see
We'll have a lifetime to make our history So c'mon baby and Dance With Me
All eyes are watching
As I draw you near
and as we dance
It's perfectly clear
That I'm the luckiest
Guy that I know
To hold you in my arms till I'm old
Take my hand and Dance With Me
Let's celebrate for the world to see
We'll have a lifetime to make our history So c'mon baby and Dance With Me
Oh...we'll dance together
Oh...we're gonna dance forever
This moment now
Will come and go
But when it's gone
I want you to know
There's not one thing
That I'd rather do
Than stop the world and dance with you
Take my hand and Dance With Me
Let's celebrate for the world to see
We'll have a lifetime to make our history So c'mon baby and Dance With Me
"relating to the motion of material bodies and the forces and energy associated therewith"
A creative outing with my photo club - Inland Empire Photo Club - where we played with light and motion and long exposures to create kinetic art. It was a wonderful, creative evening.
The intervention relates World War II to the global crisis. The phrase "Arbeit macht frei" (work will set you free), cruel slogan that was placed at the entrances of many Nazi concentration camps, is decontextualized and integrated into existing economic structures by the ownership of the logo of the IMF (International Monetary Fund ).
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.