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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: 15
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.
This relates to my window installation, I researched other artists that use repeated shapes in sculpture. I particularly looked at the work of Carl Andre and Donald Judd (see next image), but this also links to Brancusi's "Cup" 1917, which denied the function.
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.
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"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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All these pictures relate to my blog for Gardeners World Magazine
while you are at it, try my other blog
Throughout the training program visuals relating to the city—ranging from spectacular environments to souvenirs and high-energy activities—help create a rapport with those who will soon be representing Vancouver to prospective travelers.
View full case study here.
Image from 'Rambles in Europe ... With historical facts relating to Scotch-American families, gathered in Scotland and the North of Ireland ... Illustrated', 002557311
Author: MORRISON, Leonard Allison.
Page: 279
Year: 1888
Place: Boston, Mass
Publisher: Cupples, Upham & Co.
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.
Open the page in the British Library's itemViewer (page: 000279)
#Donniedarko #donnie #darko #cant #watch #or #relate #to #this #movie #without #thinking #of @d0nnyanderson
22 Likes on Instagram
3 Comments on Instagram:
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.
This is a copy of the original teletype message relating the news that Senator Ted Kennedy was driving when Mary Jo Kopechne was killed in 1969. From the recently released files of the FBI.
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AKHIL BHARATIYA VIDYARTHI PARISHAD .
.
01/11/2004 .
THE REWRITING OF HISTORY .
.
Friends, .
One of the most contentious issues of the last few years relates to the rewriting of history textbooks by the NDA government and their .
rejection by the UPA government. If there can be any legitimate criticism of the new NCERT textbooks, it can only be that, perhaps owing to the .
pulls and pressures of coalitioh politics, no real paradigm shift was attempted and no alternative, Indigenous vision of Indian history was sought to .
be constructed. .
The charges regarding 'saffronization' -one fails to understand how this term has come to acquire a negative meaning -fall flat at the .
most cursory of glances; for the Supreme Court verdict in September, 2002, that the teaching of religious ideals is not against Indian secularism, .
and the fact that Marxist academics talking of 'saffronization' were, in fact, referring only to some factual errors which crept into the new textbooks .
as a result of oversight, and not to any concrete instances of 'saffronization', come as a resounding slap in the face of Marxist propaganda. .
So far as 'distortion' of history -another catchword from the Marxist lexicon -is concerned, any serious student of social sciences .
understands that history is not a body of factual information, but a discipline based on contesting interpretations and approaches to questions of the .
past. Every model of historical 'knowledge' is thus only a construct; a way of looking al the past. Any historical narrative based on legitimate .
sources and coherently argued does constitute a valid contribution to historiography. .
However, 'distortions' are possible In the case of school textbooks, for any attempt of selective concealment and projection of facts by an .
ideology having no popular base in order to indoctrinate young minds can be considered nothing but a devious attempt at 'distortion'. Instances .
galore of such attempts can be seen in the old NCERT textbooks. R.S Sharma's 'Ancient India' talks about 'Aryan migration'-a theory that was .
passed on by imperialist writers to the child people, the Indian Marxists, as 'Aryan invasion' before it got toned down for want of evidence -without .
any archaeological evidence, which is indispensable for the study of pre-history, proto-history and early historical societies. AU that the theory rests .
on is a weak philological basis. Even Romila Thapar has now been compelled to accept that there is no conclusive proof of Aryan migration. That .
beef eating was common in early India is enthusiastically argued, despite the fact that while early literary evidences are often contradictory, the .
archaeological evidence on beef eating Is far from conclusive. The bones, wHh cut marks, found in different excavations are those of cattle, a .
generic term which includes cow, buffalo, bison etc. Nowhere in these excavations have cow bones been conclusively found to establish beef .
eating. While accounting for the rise of heterodoxies, R.S. Sharma takes refuge in economic determinism, arguing that the altered material context .
-the need to work an iron plough in the middle Gangetic plains and the consequent need to preserve cattle wealth -led to a change in ideology. Thus, the simplistic 'base-superstructure' model is used by a Marxist ideologue to convince young minds that historical evolution is a result of the dialectics of material forces, without mentioning that this is only 'one' philosophical approach to the understanding of societies and 'he', being a Marxist himself, prefers it over others. This Marxist regime of truth is calculated to create a band of future Marxists -note that history students in DU, JNU, etc. are often Marxists despite the ideology otherwise having only a peripheral presence in India-who have been 'converted' at a young age! Only a rewriting ofhistory textbooks can prevent further conversions byMarxist missionaries/ .
The textbooks on medieval India have sought to project the medieval state in India as non-theocratic, ignoring the fact that 'theocracy' is .
not the real issue, as far as the medieval state is concerned. For, the basis of state in medieval India was unequivocally Islam, which provided .
almost all the symbols of state, and provided legitimacy to that state. Numerous instances of temple destructions are rationalized as quests for .
power, wealth and legitimacy from the Ulema, despite the fact that no evidence can show that fanaticism was not a reason for the destruction of .
Hindu religious symbols. .
In drviding the entire political history of modem India into two compartments -'the secular and anti-imperialisr as counterposed to the 'communal and pro-imperialisf -Bipan Chandra has been guilty of a distortion of the worst kind. Nowhere tn the Class XII textbook does he mention that there was a profound overlap -right from the grassroots to the level of top leadership -between the Congress and the Hindu Mahasabha, till the Congress, under the influence of the left, chose to break that connection around 1938. Men like Lajpat Rat and W!alaviya, to name just two, had been actively involved with both the organizations. Since such a dialogue between the supposedly 'secular' and 'communal' presupposes the absence of a 'secular-communal' dichotomy, Bipan Chandra's entire model is a flawed one. Paying obeisance to the Communists, the Modern India textbook makes no mention of their boycott of all Gandhian mass movements and their act of sabotaging the 1942 Quit India Movement. Understanding that any mention of the support offered by the 'secular' CPI to the 'communal' Muslim League over tts demand for the formation of an Islamic State, i.e., Pakistan, from 1942 to 1946, would simply collapse the 'secular-communal' model, Prof. Chandra has -as have all other 'secular' historians -taken reooursa to strategic silence : this glaring evidence of the CPI's treachery has been made to disappear from all history textbooks. If such partisan history wri~ng is not 'distortion', then the word 'distortion' should itself be given a decent burial. Thus, what is required is a rejection of Marxist history and the construction of an alternative, indigenous reading of our nationaJ past. .
.
CENTRAL PANEL .
.
DHANANJA Y SINGH - PRESIDENT .
ANKITA BHATTACHARJEE - VICE-PRESIDENT .
PRITISH KUMAR SAHU - GEN-SECRETARY .
MANOJPANT - JOINT-SECRETARY .
SL SIS s s s Sanskr-It Centre .
BHARTI TANWAR ARIJIT RAKSHlT RAJEEV NARAY AN .
DZHKHA KARUNA SAURABJYOTISARMA RAKESH RANJAN VIKAS SHA RMA .
NAVNEET RADHAY SHYAM .
PUSP RANJAN VIKAS ANAND .
SATISH VIVEK KUMAR OJHA .
.
.
Attend Public Meeting tonight at 9:30 P.M. .
in the Ganga Mess. .
SPEAKER: MR. MUKHTAR ABBAS NAQVI .
.
VANDE MATARAMI .
Sd/-Ran Vijay Central Campaign Coordinator .
.
.
.
.
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
Okay, I know the title does not relate to the picture at all :3 but i went to see that movie with kian today :) and it was AMAZING.
chris pine <3 <3 <3 <3
btw, this is char wong x ; in case you didn't realize (;
Definition: Technical:
1. Of, relating to, or derived from technique.
2.
a. Having special skill or practical knowledge especially in a mechanical or scientific field: a technical adviser.
b. Used in or peculiar to a specific field or profession; specialized: technical terminology.
3.
a. Belonging or relating to a particular subject: technical expertise.
b. Of, relating to, or involving the practical, mechanical, or industrial arts or the applied sciences: a technical school.
4.
a. Abstract or theoretical: a technical analysis.
b. Of, relating to, or employing the methodology of science; scientific.
5. According to principle; formal rather than practical: a technical advantage.
6. Industrial and mechanical; technological.
7. Relating to or based on analysis of market indicators, such as trading volume and fluctuations in securities prices, rather than underlying economic conditions such as corporate earnings, inflation, and unemployment: a technical correction in the stock market.
Idea: This is my third Technical Tree. I based the design of this tree on the design of an eclipse viewer or an old brown box camera, but instead of using a small hole I used a tree shape. I am hoping I will be able to capture the sunrise through it tomorrow. I had hoped to capture the sunset through it this afternoon, but sadly it was so overcast that we didn't have one.
Process: I made this tree by cutting the shape of a palm tree into the bottom of the box Optus sent me my new modem in and then painting the whole thing green. This is the view from the outside.
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
While visiting San Francisco I was invited to attend a panel discussion on a poster series relating to the Summer of Love. The posters were created by artists to commemorate the event and its 50th anniversary. I was actually surprised to find that this discussion was about some of the posters that I had seen while riding the streetcars along Market Street and craning to get a better look at them.
During the discussion the artists talked about things like their processes, ideals, history, and collective memory. Two ideas that stood out were those of "collective memory" and feminism. Collective memory is a topic that seems a little bit odd, and controversial at times - as it tends to be about what everyone remembers, and can sometimes be mistaken for groupthink.
The second idea was more about feminism. The first in this series of posters was designed and created by Kate Haug who seemed be a bit of a feminist, but in a good way. Typically feminism (from a male point of view) is about destroying all the men, and allowing women to control everything and raise a bunch of ignorant, loveless children. And somehow men and women are supposed to coexist. But I'm not a supporter of "Destroy the Men" feminism, while there are lots of men/fetishists who are. But I did gain a new perspective on feminism from Haug, as maybe there are different...chapters? Instead of "Destroy the Men", she tends to be more of a "Button Your Blouse" feminist, which probably could coexist in a modern society. Although Haug's posters were not so much about feminism, but about the people in a society and how they shape and contribute to it.
All-in-all, the discussion was very informative about much of the history of The Summer of Love, as well as the people and personalities back then. And I came away with some new perspective of ideas.
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
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.
This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), dated 22 February 1913.
The slide shows the image of a heavily cloaked person emerging from a small building covered in snow. The ground is also covered in snow. In the background is a ship's mast and other larger structures. Beyond that is a large mountain.
Inscription Details: Handwritten in blue ink at top of plate 'Hut Point, Antarctica Holland ap '22 Handwritten in black ink in lower left corner of plate 'U 54a' Handwritten in blue ink at bottom of plate '[illegible signature] 'sphere' 22-2-13' VERSO Handwritten in blue ink at bottom of plate 'Observation Hill in background. Cross on top to Captn Scott.'.
Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.
Rights: No known copyright restrictions.
Reference: 236039|PH-1984-1-LS78-4-32|54a
For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033177
Mural No 3
Climate change / Ocean acidification by Askew One
Council Building, Hastings Street
“With my mural for Sea Walls, Napier, I was attempting to address several interrelated issues. I think the deeper I look into issues like ocean conservation I realize that nothing happens in a vacuum. Everything is connected because we live on a planet that is actually a closed system. To allow things to recycle within that system we have to be conscious of consuming more harmoniously with the system as opposed to being so disruptive. I can talk about how we are driving climate change, how it is warming the planet and subsequently causing ocean acidification which is destroying the reefs and their complex ecosystems - what’s harder is to then unpack the myriad of related consequences. Those range from the harm to all the planets creatures, the environment, economics, social and political. I cannot stress this enough - if you strip away all the talk, the political posturing and all the corporate spin, every issue we face as a species relates back to our relationship with this planet. Something that may sound as random or inconsequential to your life as a dead reef in small island nation will have an impact on everyone at some point. This mural is inspired by those thoughts and dedicated to all our neighboring Pacific Island nations, most likely the least contributors to the problem yet on the very frontline of the consequences of climate change.
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
This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), dated 10 August 1922.
The slide shows the illustration of a yellow sun in lower right corner with radiating red lines and white smoke emerging from surface of the sun. In the upper left corner of the image is Earth. The image is set against a black background.
Inscription Details: Handwritten in blue ink at top of plate 'Dust-Shoals from Sun bombarding Earth' Handwritten in blue ink at bottom of plate 'U68a CLW [repd] 10-8-22.
Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.
Rights: No known copyright restrictions.
Reference: 236026|PH-1984-1-LS78-4-19|68a
For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033190
This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), likely dating between 1890-1922.
The slide is of an image showing the size of Earth (on left) compared to the Moon (on right).
Inscription Details: Handwritten notes on tape surrounding image outlining comparitive diameters of Earth and Moon, and 'density compared with water' of the Sun, Earth, and Moon. Tape covers original title exposed on the glass plate 'Comparative dimensions of the Earth and Moon.'. RECTO: handwritten in black ink on orange tape top of plate, 'Earth and Moon', handwritten in ink on orange tape at base of plate, "Sun's density compared with water 1.4 [Earth's?] ", " 5.6 Moon's ", " 3.5", handwritten in ink on white tape at top of plate "Dia:Moon 2.160", " Earth 9.918". Handwritten in black ink on white tape lower right corner, '23'. VERSO: In reverse at base of plate, 'Comparative dimensions of the Earth and Moon.'.
Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.
Rights: No known copyright restrictions.
Reference: 235686|PH-1984-1-LS78-2-12|23
For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033526
"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.