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A project imaging the future of hackney 2050 with local primary school children, as commissioned by the Museum of the Home. The project happened during lock down 2020/2021 and resulted in 5 audio pieces and 3 maps- created by lead artist Bernadette Russell with Kremena Dimitrova (illustrator) Wendy Shearer (storyteller) Erik Perera (sound artist) and Hannah Marshall (theatre maker and musician). This project was created and conceived in response to children fears for the future, and we researched current scientific innovation and asked th children what they liked and didn't like and Hackney now, and what changes they would like to see
These are the ideas from Queensbridge Primary School
Fidelity Security Operations has recorded the video below shows the aftermath of Hurricane Michael in Mexico Beach. Many homes were destroyed or damaged, and many people were left homeless.
Click on the link to know more - fsofl.com/
Invitation, Response Card, RSVP, Invite, Handmade, GreenerMe, Custom, Personalized, Ribbon, Emboss, Butterfly, Gold, Ivory
July 28, 1994 - Boston, Massachusetts - Boston Junk - Scanned photographs from MassDEP waste site, solid waste and hazardous waste investigations, inspections and responses, including those conducted by the Environmental Strike Force (ESF).
Parts of Ellis County suffered extensive damage following the wildfires in February 2024. OSU Extension recently received a grant from the USDA to better prepare Extension offices and research stations for future disasters. (Photo by Mitchell Alcala, OSU Agriculture)
Raoul Dufy - French, 1877 - 1953
July 14 in Le Havre, 1906
East Building, Mezzanine — Gallery 217-B
Dufy depicted Bastille Day in a dozen paintings. Here he captured a celebration of the French holiday in Le Havre, Normandy, his native coastal city. As is typical of Dufy's style, in this painting he rendered the building facades and figures strolling up the street in a loose, simplified manner. The subdued tones of the buildings and figures contrast with the vibrant hues of the tricolored French flags. Prominently displayed and carefully choreographed, they are the protagonists in the composition, relegating all other elements to a secondary position.
Raoul Dufy was born in Le Havre in 1877. It was where he trained and took his first steps as an artist. He retained a deep, lifelong attachment to the city, and its maritime setting provided subjects for many of his works. More than any other subject, Le Havre embodies his successive explorations of the field of light and colour, from his early Impressionist works to his final Black Cargo Ships series via his early attraction to Realism, Fauvism, the influence of Cézanne and what could be called his blue period between the two world wars.
Dufy remained moored to Le Havre throughout his life. It was his ideal city - a landscape of the mind that supplied his favourite subjects.
Raoul Dufy (1877-1953) ranks among the major artists of the first half of the twentieth century. He was born in Le Havre and, like Eugène Boudin and Claude Monet, retained a lifelong attachment to the city and harbour that formed the backdrop for their childhoods and artistic beginnings. Le Havre was the scene of Dufy’s first forays into art. The harbour and the seaside resort took pride of place in his oeuvre, furnishing a host of subjects which he constantly revisited throughout his career, dwelling alternately on particular motifs. But Le Havre is as much an atmosphere as a city. Few of its buildings feature in Dufy’s works. He was chiefly interested in the ambience of port life and the seaside holiday resort:the harbour and the quays, the casino, the beach and the never-ending spectacle of the boats and bathers. Le Havre also has a particular light. Unhappy the man who lives far from the sea. The painter needs constantly to have before his eyes a certain type of light, a glittering quality, an aerial caress that bathes what he sees, as Dufy put it.
Dufy still had family in Le Havre, and regularly stayed there. Even when he was far away, he constantly painted his home city from memory. It was the beach of Le Havre and Sainte-Adresse, flanked by Le Havre’s harbour entrance and jetties at one end and the cliffs of the Pays de Caux at the other, that provided the setting for his last experiments with
light and colour in his final Black Cargo Ships series of paintings.
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
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