View allAll Photos Tagged Relation
Man glaubt, daß ich mich gräme,
In bitterm Liebesleid,
Und endlich glaub ich es selber,
So gut wie andre Leut.
Du Kleine mit großen Augen,
Ich hab es dir immer gesagt,
Daß ich dich unsäglich liebe,
Daß Liebe mein Herz zernagt.
Doch nur in einsamer Kammer
Sprach ich auf solche Art,
Und ach! ich hab immer geschwiegen
In deiner Gegenwart.
Da gab es böse Engel,
Die hielten mir zu den Mund;
Und ach! durch böse Engel
Bin ich so elend jetzund.
Heinrich Heine
Relation/Route : Jakartakota-Jakarta Tanahabang-Parungpanjang-Rangkasbitung-Serang-Merak.
Locomotive : CC201 77R/CC 201 89 05
Class : Economy Class
Photo taken at : Cimonyong Bridge, Parungpanjang, West Java, Indonesia.
Relation Keywords:sheet metal part car sheet metal part chevy impala
metal part sheet auto sheet metal part
From the left: my maternal uncle, Jaleswar Panigrahi, My father, Achyutananda Panda, My dada, Santosh Panda, Sambandhi of Shesha kaka, my uncle, sheshadev Panda
The Selfie in relation to identity
The selfie, the world renowned name for taking a self-portrait, hugely popular among the mass public and even celebrities. A small time thing turned into an infectious disorder of a sort of narcissism. I think this strongly relates to identity, for example you’ll take about 200 selfies and then delete about 199 because you don’t like how you look, but you feel that 1 selfie out of those 200 has really portrayed how you see yourself, how you think you look pretty, how you look in correlation to how everyone else thinks you look. It’s a very happy thing when you take a good picture of yourself, as in today’s world the idea of self-image is trodden and stamped on as your own perception of yourself can be torn down with only a certain amount of likes, or mean vicious comments on your picture. Social networking, once again ruining people’s lives, has strong impact on how people see themselves. The way only a few small things can instantly tear down anything you’ve built your self-confidence up to. But some people, sort of, like myself have built a tolerance up to what other people think about them. And I think you know, I’m quite happy with the way I look. I mean everyone has his or her bad days, right? “I look fat today, ugh what is my hair? why do I even have a face?” we have all been there. But your own self-portrait, a picture you post that you think you look great in can be the most satisfying feeling ever. It’s even more enlightening when you get likes and nice comments, but just the thought that you can look good, all by yourself, without anyone making you up, or dressing in expensive brands is more than enough to make your day. Personally I don’t like my smile, I think it’s crooked and weird, but in my pieces I really like the way I look, it does not look too bad. But the whole idea behind I, is I like how I look myself, I don’t care what everyone else thinks, in that picture I’m happy with myself, and each little aspect is a small Lego brick in my head starting to build a foundation for self-confidence. Filters are a new light in which to view yourself, LITERALLY, a filter is like a new way to mask a small flaw or a blemish, maybe a stretch mark, and although everyone could say “using filters is faking it” I think they can do whatever the hell you want to yourself, as long as you, yourself are happy with the outcome. In my final piece I used a no filter selfie, I woke up at my best friends, I put on her snow leopard print dressing gown and I took a picture because I thought it looked kind of cute, kind of edgy, I didn't care, I just woke up, I was tired. I think sharing a bit into your personal life is a really intricate way of saying think what you like but this is what I do.
Photo © Greg Staley
Relation to and yet not (homage to Mondrian), Kate Shepherd.
June 10-September 5, 2010
Kate Shepherd is best known for large, vertical, mostly monochrome paintings in hi-gloss enamel on wooden panels. Using intense colors, delicate lines, and multiple perspectives, she suggests structures and patterns—wallpaper, steps, stones, lace—that create illusory three-dimensional space. Her work in the former dining room of the Phillips house incorporates painting and sculpture, and focuses on architectural details, while paying homage to Mondrian's work in the permanent collection.
Kate Shepherd lives and works in New York City. She earned a B.A. from Oberlin College in 1982 and an M.F.A. from the School of Visual Arts in 1992. She has had numerous solo exhibitions in the U.S and abroad and has been awarded residencies at the Chinati and Lannan Foundations. Her work is in the collections of the Los Angeles County Museum of Art, Albright-Knox Art Gallery, the Detroit Institute of Arts, the Museum of Fine Arts, Boston, and the Indianapolis Museum of Art, among others.
www.phillipscollection.org/exhibitions/intersections
www.youtube.com/user/PhillipsArtMuseum#grid/user/F203B3ED...
WORK RECORD
Title - Red Barn
Relation -
relation.type -
relation.notes -
Work, Collection or Image - Work
refid - 112
Work Type - paintings (visual works)
Style Period -
Agent Name - Cavaliere, Thomas
Agent Role - painter (artist)
Cultural Context - American
Material, medium - watercolor (paint)
Material, support -
Technique -
Measurements - 10 in (H) x 14 in (W)
Date Created -
Date Completed -
Date Collected -
Date Allocated - 1939-08-08
Date Rejected -
Location Former Repository - Laurel Heights Sanatorium, Shelton, Connecticut
Description -
Inscription -
Subject - Barns; Federal Art Project
IMAGE RECORD
Work, Collection or Image - Image
Work Type - black-and-white photographs
Style Period - New Deal
Agent Name -
Agent Role -
Material - black-and-white photographs
Technique - black-and-white photography
Measurements - 8 in (H) x 10 in (W)
Date Created - ca. 1935-1943
Date Digital - 2009-04-29
Description -
Inscription -
Source - Connecticut State Library, State Archives, RG 033, Works Progress Administration, Box 1.
Filename - wpaart_cavalieret_003
Photo © Greg Staley
Relation to and yet not (homage to Mondrian), Kate Shepherd.
June 10-September 5, 2010
Kate Shepherd is best known for large, vertical, mostly monochrome paintings in hi-gloss enamel on wooden panels. Using intense colors, delicate lines, and multiple perspectives, she suggests structures and patterns—wallpaper, steps, stones, lace—that create illusory three-dimensional space. Her work in the former dining room of the Phillips house incorporates painting and sculpture, and focuses on architectural details, while paying homage to Mondrian's work in the permanent collection.
Kate Shepherd lives and works in New York City. She earned a B.A. from Oberlin College in 1982 and an M.F.A. from the School of Visual Arts in 1992. She has had numerous solo exhibitions in the U.S and abroad and has been awarded residencies at the Chinati and Lannan Foundations. Her work is in the collections of the Los Angeles County Museum of Art, Albright-Knox Art Gallery, the Detroit Institute of Arts, the Museum of Fine Arts, Boston, and the Indianapolis Museum of Art, among others.
www.phillipscollection.org/exhibitions/intersections
www.youtube.com/user/PhillipsArtMuseum#grid/user/F203B3ED...
It shows the relation between two generations of our culture. they jointly
collect tea leaves for the factory of tea garden. This is the way of their earning and living.
Photo © Greg Staley
Relation to and yet not (homage to Mondrian), Kate Shepherd.
June 10-September 5, 2010
Kate Shepherd is best known for large, vertical, mostly monochrome paintings in hi-gloss enamel on wooden panels. Using intense colors, delicate lines, and multiple perspectives, she suggests structures and patterns—wallpaper, steps, stones, lace—that create illusory three-dimensional space. Her work in the former dining room of the Phillips house incorporates painting and sculpture, and focuses on architectural details, while paying homage to Mondrian's work in the permanent collection.
Kate Shepherd lives and works in New York City. She earned a B.A. from Oberlin College in 1982 and an M.F.A. from the School of Visual Arts in 1992. She has had numerous solo exhibitions in the U.S and abroad and has been awarded residencies at the Chinati and Lannan Foundations. Her work is in the collections of the Los Angeles County Museum of Art, Albright-Knox Art Gallery, the Detroit Institute of Arts, the Museum of Fine Arts, Boston, and the Indianapolis Museum of Art, among others.
www.phillipscollection.org/exhibitions/intersections
www.youtube.com/user/PhillipsArtMuseum#grid/user/F203B3ED...
The relationship between a ship and water is absolutely clear...but without the water and seen from this point of view it's a bit strange, don't you think so?
--x--
This three-day conference is offered in the Group Relation tradition which offers a unique opportunity to study the conscious and unconscious dynamics involved in how groups organize themselves and interact with each other. This conference is not a passive learning event that relies upon lectures. Instead, the learning is experiential. Participants study how leadership, followership, authority, task, boundaries, and roles operate in the different group experiences they enter during the conference.
WorkType: mural
Measurement: Entire Wall
Support: wall
Relation: full view
Technique: brush
Inscription: Hattie Carthan
Subject: historical event
Description: Hattie Carthan - a hero in Bed-Stuy known for her environmental activism
Photo © Greg Staley
Relation to and yet not (homage to Mondrian), Kate Shepherd.
June 10-September 5, 2010
Kate Shepherd is best known for large, vertical, mostly monochrome paintings in hi-gloss enamel on wooden panels. Using intense colors, delicate lines, and multiple perspectives, she suggests structures and patterns—wallpaper, steps, stones, lace—that create illusory three-dimensional space. Her work in the former dining room of the Phillips house incorporates painting and sculpture, and focuses on architectural details, while paying homage to Mondrian's work in the permanent collection.
Kate Shepherd lives and works in New York City. She earned a B.A. from Oberlin College in 1982 and an M.F.A. from the School of Visual Arts in 1992. She has had numerous solo exhibitions in the U.S and abroad and has been awarded residencies at the Chinati and Lannan Foundations. Her work is in the collections of the Los Angeles County Museum of Art, Albright-Knox Art Gallery, the Detroit Institute of Arts, the Museum of Fine Arts, Boston, and the Indianapolis Museum of Art, among others.
www.phillipscollection.org/exhibitions/intersections
www.youtube.com/user/PhillipsArtMuseum#grid/user/F203B3ED...
Relation/Route : Yogyakarta-Jakarta
Locomotive : CC201 41/CC201 83 03 Series Locomotive.
Class : Economy with Air Conditioner.
Photo taken at : Pasarsenen Railway Station.
This three-day conference is offered in the Group Relation tradition which offers a unique opportunity to study the conscious and unconscious dynamics involved in how groups organize themselves and interact with each other. This conference is not a passive learning event that relies upon lectures. Instead, the learning is experiential. Participants study how leadership, followership, authority, task, boundaries, and roles operate in the different group experiences they enter during the conference.
Adding a maxspeed enforcement relation for a road and a speed camera. I forgot to have the microphone on. Select edit. Select existing speed camera node (or add new one). Check that the from and to nodes exist in the way where you want them. Select the node. Add the new relation, set type=enforcement, enforcement=maxspeed, maxspeed=whatever (30 mph in this example). Set role for camera to device. Select "from" node, add it to relation, set role. Do same for "to" node. Save.
Life is beautiful. Life doesn't change. We people change, our relation change - we can be happy or we can be miserable. It's up to us, what we make out of our life.
WORK RECORD
Title - Unidentified
Relation -
relation.type -
relation.notes -
Work, Collection or Image - Work
refid - 162
Work Type - paintings (visual works)
Style Period -
Agent Name - Cuming, Beatrice (1903-1974)
Agent Role - painter (artist)
Cultural Context - American
Material, medium -
Material, support -
Technique -
Measurements -
Date Created -
Date Completed -
Date Collected -
Date Allocated -
Date Rejected -
Location Former Repository -
Description -
Inscription -
Subject - Railroad shops & yards; Piers & wharves; Federal Art Project
IMAGE RECORD
Work, Collection or Image - Image
Work Type - black-and-white photographs
Style Period - New Deal
Agent Name -
Agent Role -
Material - black-and-white photographs
Technique - black-and-white photography
Measurements - 8 in (H) x 9.5 in (W)
Date Created - ca. 1935-1943
Date Digital - 2009-04-29
Description -
Inscription -
Source - Connecticut State Library, State Archives, RG 033, Works Progress Administration, Box 1.
Filename - wpaart_cumingb_015WORK RECORD
Title - Unidentified
Relation -
relation.type -
relation.notes -
Work, Collection or Image - Work
refid - 162
Work Type - paintings (visual works)
Style Period -
Agent Name - Cuming, Beatrice (1903-1974)
Agent Role - painter (artist)
Cultural Context - American
Agent Name -
Agent Role -
Cultural Context -
Agent Name -
Agent Role -
Cultural Context -
Material, medium -
Material, support -
Technique -
Measurements -
Date Created -
Date Completed -
Date Collected -
Date Allocated -
Date Rejected -
Location Former Repository -
Description -
Inscription -
Subject - Railroad shops & yards; Piers & wharves; Federal Art Project
IMAGE RECORD
Work, Collection or Image - Image
Work Type - black-and-white photographs
Style Period - New Deal
Agent Name -
Agent Role -
Material - black-and-white photographs
Technique - black-and-white photography
Measurements - 8 in (H) x 9.5 in (W)
Date Created - ca. 1935-1943
Date Digital - 2009-04-29
Description -
Inscription -
Source - Connecticut State Library, State Archives, RG 033, Works Progress Administration, Box 1.
Filename - wpaart_cumingb_015