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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: 481
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.
This relates to my theme of gender equality because both girls and boys are provided the same food and drinks at games. For example at both genders meets or games there is water available and food you can buy.
All these pictures relate to my blog for Gardeners World Magazine
while you are at it, try my other blog
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)
Ministro de Justicia y Derechos Humanos, Luis Cordero se reúne con el Relator Especial de Medio Ambiente ONU
Fotos: Francisco León Puga
#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.
Art Toronto's Opening Night Gala, Metro Convention Centre, Toronto, October 2013 (photo by Cheryl Rondeau)
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.
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.
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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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
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.
Yesterday's question relates to this bridge. (See pic below) As many of you guessed, those huge blocks of concrete and bundles of cables are the anchor points for the suspension cables for this bridge.
This bridge connects main land NY with Wellsely Island and passes over the St. Lawrence river. On the other side (N) of the island is the bridge to Canada.
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.
This photo relates to Bravo’s use of black and white and really provokes an emotion in the student sitting in the desk alone. It creates a sense of loneliness. If you want to imagine this as a story, the story would most likely say the kid got in trouble by the teacher and is now sad. He feels bad for what he did. He’s looking down and is all by himself. You kind of feel bad for him. He may even be crying, but that is for you to interpret. Everyone can see this photo in their own way and depict their own feelings from it.
Eduardo Rosas-Ruiz | Pre-AICE Photography | Mrs. Debra Markley | Sarasota High School |Grade 11
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].
Pictured with the Relate team is GB Security Director Dave Simpson.
A unique new fundraising venture has been launched in Lincoln by the charity Relate to support their counselling work with children and teens, and it’s got off the ground thanks to the support of local security company, GB Security Group
The Problems relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii during the 20th / 21st century as reported in Foreign Press (1904-2002). "THE STATE OF POMPEY," The N.Y. Times, July. 7. 2002, p. D2.
Blog relating to this story .... peterjemmett.blogspot.com/2018/08/the-year-that-was-part-...
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.
Relates to this blog post about sponsored tweets:
www.friendswithbenefitsbook.com/2009/11/22/sponsored-twee...