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Woman and Child
Mary Cassatt (United States, Pennsylvania, Allegheny City, active France, 1844-1926)
United States, late 19th or early 20th century
Through the generosity of Deborah and John Landis, the museum acquired its second Mary Cassatt painting, Woman and Child (Mathilde Holding a Child). Cassatt was one of the foremost American artists of the 19th century. Almost her entire career was spent in France as an expatriate, and it was there she became a confidant of Degas and a member of the radical circle of French impressionists. The only American invited to exhibit with them in Paris, Cassatt first presented her famous “mother and child” images at their annual shows. Mother About to Wash Her Sleepy Child (1880), the museum’s other Cassatt oil, is believed to be the artist’s earliest dated modern Madonna. Woman and Child is slightly smaller but equally rich in palette. Manifold are the discussions about Cassatt’s maternal themes and their relationship both to her own life (she remained single, but lived in close rapport with her extended family) and to a contemporary religious revival in France. Recently, scholars have begun questioning the identity of these so-called mothers, and clues can sometimes be found in their attire. Is the woman in our 1880 painting the mother or a servant? She appears to be wearing intimate at-home attire, but an upper-middle-class woman probably would have relegated the domestic chore of her children’s toilet to a nursemaid. One of Cassatt’s servants, Mathilde Vallet, often posed for the artist; but in the context of Woman and Child is she to be read as the mother? There is not enough detail to know what she is wearing. Moreover, although the young child hugs Mathilde, her eyes express a slight skepticism rather than the confidence one would expect. Woman and Child actually has two subjects, for the paint surface is as significant as the imagery. The canvas was intentionally left unfinished (it is signed), suggesting that the artist wanted the viewer to luxuriate in the paint’s physicality. Its surface consists of neutral-colored passages of underpaint as well as areas finished to varying degrees. Cassatt varied her approach, using sweeping strokes, wiggles, parallel lines, and even rubbing out the pigment. The canvas also offers insight into the artist’s working methodology. Typical of an academically trained artist, the faces are the most fully realized. Yet Cassatt built up her three-dimensional forms, first drawing in cobalt blue a quick, sure outline, than applying strokes one over another so that her figures simultaneously suggest solidity and movement. Cassatt had been criticized for her defective drawing by her teachers, who considered her approach slovenly. Today we realize how brilliant a draftsman she was. Mother About to Wash Her Sleepy Child and Woman and Child document Cassatt’s importance to both American and French painting.
Blue Grass, Green Skies: American Impressionism and Realism from the Los Angeles County Museum of Art
JANUARY 24, 2025 - MAY 18, 2025
"It must not be assumed that American Impressionism and French Impressionism are identical. The American painter accepted the spirit, not the letter of the new doctrine." - Christian Brinton, 1916
In 1874, a group of avant-garde French artists, including Edgar Degas, Claude Monet, Camille Pissarro, and Pierre-Auguste Renoir, organized the first exhibition of the “Anonymous Society of Painters, Sculptors, Printmakers, etc.” in Paris. Although working independently, rather than as a unified movement or school, they came to be known as the Impressionists—a term first used to disparage their works as unfinished “impressions.” Defined by their loose brushwork, vibrant color palettes, and attention to capturing the ephemeral effects of light and atmosphere, these artists rejected established academic traditions and developed innovative approaches to depicting modern life.
Impressionism’s influence was felt globally, but perhaps nowhere as profoundly or as long lasting as in the United States. American artists working abroad had opportunities to see and study Impressionist works, but it was not until 1886—when the movement had lost some of its radical edge—that the first large-scale exhibition of French Impressionism was held in the United States. The New York Tribune reported that although Impressionist pictures were often criticized for their “blue grass, violently green skies, and water with the coloring of a rainbow,” Americans would nevertheless benefit from studying the “vitality and beauty” in these works.
Over the next three decades, artists working across the United States adapted Impressionist aesthetics to depict modern American life. While their works embody the optimism and nationalism that then defined American culture, by the turn of the twentieth century, rapid urbanization and industrialization had transformed the nation, giving rise to new artistic tendencies. A group of younger artists, often described as Realists, rejected Impressionism’s colorful palette, instead portraying the grittier side of urban life. However, like their Impressionist contemporaries, they continued to paint the American scene, focusing on life in the city, the country, and the home. Drawn from the collection of the Los Angeles County Museum of Art, the works in this exhibition highlight the evolution of Impressionism’s blue grass and green skies into a distinctly American art.
________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
Mercedes Benz cabins are always nice places to be, everything fits snug, and feels, well, Germanic lol Having had Japanese cars for so long, it was nice to experience solidity, and real timber veneer, not simulated wood, plastic lol
Insubstantial, untouchable, lacking any kind of solidity, London fog still inspired many writers and artists from the 1840s to the 1950s. Dr Christine L Corton tells the story as seen through the eyes of Charles Dickens, Robert Louis Stevenson, Henry James, Joseph Conrad, James McNeill Whistler, Claude Monet, and many lesser-known writers and artists.
The middle section of the City Chambers that most people probably don't notice. The architecture is sublime, with an imposing solidity in its structure.
Northumberland used to be a lot more violent than the Wild West ever was. There was a tradition of fortified buildings (Peles and Bastles) to defend people against violence from raiders. Pursuit of cattle and sheep rustlers ("reivers") across the border was legally allowed for six days and feuds were common. On one occasion the Robsons' sheep caught scab from sheep they had rustled from the Grahams. The Robsons took revenge and hanged seven Grahams, saying "The neist time gentlemen cam to tak their schepe They are no te' be scabbit!".
This is not a Bastle or Pele but the solidity of this house is a reminder of the past.
Matrix III, 2019
Approximately 6 tonnes of 6 mm mild steel reinforcing mesh
This vast cloud is a mesmerising visual labyrinth, hewn from an ordinary industrial material. 98% recycled, the steel mesh – commonly used to reinforce concrete walls – is transformed into a complex phenomenon, by way of hundreds of thousands of spot welds done by hand. Designed especially for this gallery, 21 suspended room-size cages intersect, surrounding a small concentrated chamber. This void at the core is what Gormley calls “the space of dreaming”, and is equivalent to the average size of a European new-build bedroom. Looking up at this structure, our ability to perceive distance is challenged: our eyes struggle to decide what is close or far, in front or behind.
The certainty and solidity of the three-dimensional world is undermined. Gormley has described ‘Matrix III’ as “the ghost of the environment we’ve all chosen to accept as our primary habitat”.
[Royal Academy]
Taken at Antony Gormley
(21 September — 3 December 2019)
The exhibition will explore Gormley’s wide-ranging use of organic, industrial and elemental materials over the years, including iron, steel, hand-beaten lead, seawater and clay. We will also bring to light rarely-seen early works from the 1970s and 1980s, some of which led to Gormley using his own body as a tool to create work, as well as a selection of his pocket sketchbooks and drawings.
Throughout a series of experiential installations, some brand-new, some remade for the RA’s galleries, we will invite visitors to slow down and become aware of their own bodies. Highlights include Clearing VII, an immersive ‘drawing in space’ made from kilometres of coiled, flexible metal, and Lost Horizon I, 24 life-size cast iron figures set at different orientations on the walls, floor and ceiling – challenging our perception of which way is up.
Perhaps best-known for his 200-tonne Angel of the North installation near Gateshead, and his project involving 2,400 members of the public for Trafalgar Square’s the Fourth Plinth, Antony Gormley is one of the UK’s most celebrated sculptors.
[Royal Academy]
ZEN MAGNETS - Neodymium Magnetic Balls (@~1631) - Stegosaurus;
Contest Entry for: 58: Unlimited Zen Dinosaurs;
www.zenmagnets.com/blog/58-zen-dinosaurs/
Video: youtu.be/Nt-WRZBeu9s
I approached this by creating a core center blueprint to define the overall shape/proportions of the Head, rounded Body, and Tail shape silhouette using coupled layering. Next I build layers outward (on both sides) to provide the 3D body volume. From those layers, grew the front and rear legs, which continued the outward layering. The top plate radiators (normally split apart and staggered, but not feasible for this scale since they would have been too thick) were created using triangle to diamond shapes of varying sizes (tiny, small, medium, large). The quadruple spiked tail finished off this iconic herbivore dino. The completed build is completely solid and heavy.
The challenging aspects with this build include: how to generate a 3D look building outward, how to create the legs strong enough to support the body, how to get the rounded body profile layer by layer, how to balance & prevent the head and tail from tipping, and how to create and arrange the plates. Coupled magnetic fields across multi-stacked layers proved difficult to maintain alignments at times. Solidity density amplified the field attraction, especially when adding new single-layer components, causing strong attraction and/or deflection to target area affecting magnet positioning.
en.wikipedia.org/wiki/Stegosaurus
Build Component Breakdown:
===========================================================
(@952)= Core Center head,body,tail(top-bottom = 2x(10+20+26+32+40+48+8+58+10+74+52+20+9+28+8+20+10 -> (1+2x4+1)+(1+2x9+1)+(1+2x12+1)+(1+2x15+1)+(1+2x19+1)+((1+2x23+1)+(1+2x3+1))+((1+2x31+1)+(1+2x4+1))+(1+2x36+1)+(1+2x25+1)+(1+2x9+1))+((2x4+1)+(1+2x16+1)+(1+2x3+1))+(1+2x6+1)+(1+2x4+1));
(@456)= 1st outer layer = 2x(3+8+11+14+17+(22+3)+(27+4)+35+35+(4+14)+13+18);
(@252)= 2nd outer layer = 2x(5+8+11+13+15+16+16+15+13+14);
(@080)= 2nd rear leg layer = 2x(3+4+5+4+6+5+4+3+3+3);
(@070)= 2nd front leg layer = 2x(2+3+(6x4)+3+3);
(@082)= 3rd rear leg layer = 2x(3+4+5+5+5+4+3+(3x2));
(@020)= 3rd front leg layer = 2x(2+3+3+3+(4x2)+1);
(@068)= Large plate - 4x(4x(9-ball triangle)-(1x2 mount point));
(@048)= Medium plate - 2x(4x(6 triangle));
(@032)= Small plate - 2x(2x(6 triangle)+4);
(@006)= Tiny plate - 2x3 triangle;
(@027)= Tail - 4x(4+1 spikes)+(6+1 tip);
================================================================
~1631 Total (approximate due to fine tuning and changing on fly)
Invasion at Yorkshire Sculpture Park consists of five massive cylindrical asphalt forms each 1.83m high and weighing almost 5 tonnes. The work is made by pouring liquid asphalt into large steel formers.
The subtitle to the sculpture “The noise of the road penetrates into the park” may be a reference to a 1911 Futurist painting by Boccini, “The noise of the street enters the house”.
The work is sited on a former football field and from a distance resembles black hay bales. However, closer inspection reveals the solidity and potential menace of the material demonstrating a collision between the man-made and nature.
(work loaned by the artist and Galerie Scheffel, Germany)
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
ZEN MAGNETS - Neodymium Magnetic Balls (@~1631) - Stegosaurus;
Contest Entry for: 58: Unlimited Zen Dinosaurs;
www.zenmagnets.com/blog/58-zen-dinosaurs/
Video:https://youtu.be/Nt-WRZBeu9s
I approached this by creating a core center blueprint to define the overall shape/proportions of the Head, rounded Body, and Tail shape silhouette using coupled layering. Next I build layers outward (on both sides) to provide the 3D body volume. From those layers, grew the front and rear legs, which continued the outward layering. The top plate radiators (normally split apart and staggered, but not feasible for this scale since they would have been too thick) were created using triangle to diamond shapes of varying sizes (tiny, small, medium, large). The quadruple spiked tail finished off this iconic herbivore dino. The completed build is completely solid and heavy.
The challenging aspects with this build include: how to generate a 3D look building outward, how to create the legs strong enough to support the body, how to get the rounded body profile layer by layer, how to balance & prevent the head and tail from tipping, and how to create and arrange the plates. Coupled magnetic fields across multi-stacked layers proved difficult to maintain alignments at times. Solidity density amplified the field attraction, especially when adding new single-layer components, causing strong attraction and/or deflection to target area affecting magnet positioning.
en.wikipedia.org/wiki/Stegosaurus
Build Component Breakdown:
===========================================================
(@952)= Core Center head,body,tail(top-bottom = 2x(10+20+26+32+40+48+8+58+10+74+52+20+9+28+8+20+10 -> (1+2x4+1)+(1+2x9+1)+(1+2x12+1)+(1+2x15+1)+(1+2x19+1)+((1+2x23+1)+(1+2x3+1))+((1+2x31+1)+(1+2x4+1))+(1+2x36+1)+(1+2x25+1)+(1+2x9+1))+((2x4+1)+(1+2x16+1)+(1+2x3+1))+(1+2x6+1)+(1+2x4+1));
(@456)= 1st outer layer = 2x(3+8+11+14+17+(22+3)+(27+4)+35+35+(4+14)+13+18);
(@252)= 2nd outer layer = 2x(5+8+11+13+15+16+16+15+13+14);
(@080)= 2nd rear leg layer = 2x(3+4+5+4+6+5+4+3+3+3);
(@070)= 2nd front leg layer = 2x(2+3+(6x4)+3+3);
(@082)= 3rd rear leg layer = 2x(3+4+5+5+5+4+3+(3x2));
(@020)= 3rd front leg layer = 2x(2+3+3+3+(4x2)+1);
(@068)= Large plate - 4x(4x(9-ball triangle)-(1x2 mount point));
(@048)= Medium plate - 2x(4x(6 triangle));
(@032)= Small plate - 2x(2x(6 triangle)+4);
(@006)= Tiny plate - 2x3 triangle;
(@027)= Tail - 4x(4+1 spikes)+(6+1 tip);
================================================================
~1631 Total (approximate due to fine tuning and changing on fly)
Couples hook locks through a railing on Pont de l'Archevêché, just in front of Notre Dame, symbolising the solidity of their union.
In 1970 this castle was close to being demolished before restoration work restored it to the solidity now seen,
This morning about an hour and a half after sunrise, when the green from the trees on the opposite sunlit bank was reflected in the water, I decided to experiment with photographing the movement of water around one of the blue granite rocks within twenty feet of me. I used various apertures and shutter speeds. Three of the best shots are in this commentary. I like the third one best, because it records the movement most expressively, and also shows a contrast between solidity (of the rock) and movement of the water.
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
Was sind Smart Contracts, wie genau funktionieren sie und was ist ihre Anwendung? In diesem Video erklären wir das Konzept.
Der Begriff Smart Contract wurde erstmal 1997 von Nick Szabo verwendet - knapp 15 Jahren von dem großen Krypto- und Bitcoin Boom.
Smart Contracts sind eine Art digitale Verträge. Ein Smart Contract
wird auch gern als kleines Computerprotokoll bezeichnet, welches innerhalb eines Blockchains die Transaktionen verwaltet.
Die Anwendung der Smart Contracts und die Blockchain Technologie erlauben die sichere Übertragung von Daten zwischen 2 Parteien. Das Ziel ist den sog. Mittelsmann oder Zwischenhändler (am Beispiel von Crowdfunding wäre das ein Plattform wie Kickstarter) zu eliminieren, der einen Prozentsatz der Transaktionen verlangt.
Ein Smart Contract kann so programmiert werden, dass es alle empfangenen Gelder enthält, bis er ein bestimmtes Ziel erreicht hat. Die Unterstützer des Projektes können ihr Geld auf das Smart Contract übertragen. Wenn das Projekt vollständig finanziert wird, überweist der Smart Contract das Geld automatisch an den Ersteller des Projektes. Falls das Projektziel nicht erreicht wird, dann ist der Smart Contract so programmiert dass er das Geld zurück an die Anleger zuschickt.
Smart Contracts sind unveränderlich und verteilt. Unveränderlich heißt, dass das Smart Contract nach der Erstellung nicht mehr abgeändert werden kann. Verteilt bedeutet, dass die Leistungen des Vertrages von jedem innerhalb des Netzwerkes bestätigt wird. So können Täuschungsversuche von den anderen Teilnehmer verhindert werden.
Smart Contracts finden eine Anwendung in mehreren Bereichen unseres Lebens - für Krediten, Versicherungen und viele mehr.
Smart Contracts werden auf Basis von Ethereum und Solidity erstellt.
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Link zum Artikel
krypto-vergleich.de/smart-contracts
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Über uns
Krypto Vergleich ist eine Krypto Agentur aus Berlin & München mit Fokus auf Blockchain und ICO Entwicklung. Unser Ziel ist neuen Krypto und Blockchain Unternehmen bei der Entwicklung und Marktdurchbruch Ihrer Blockchain Projekte zu helfen.
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Wenn Sie Fragen über das Video haben oder an eine Zusammenarbeit interessiert sind, bieten wir Ihnen eine kostenlose und unverbindliche Beratung.
ift.tt/2NZPIRz Blockchain has achieved revolution in various aspects of technology. It has a wide range of applications especially those that fall into the data storage and protection of manipulation and forgery. Currently, blockchain is one of the most requested technology. Everyone is looking to integrate them into their products. Like most techniques, the roots of blockchain development are programming languages.
Programming language must be used to design, configure and develop the functionality of this technique. So, what are the programming languages needed for this technology? If you have blockchain programming preferences, try to master the following programming languages.
1. C ++
All technology enthusiasts know C ++ programming language. It is one of the oldest programming languages that have managed to maintain its validity to date. C ++ is a high-level localized language that can be used to develop complex applications without memory stress or device performance. These are the main aspects of blockchain technology.
Due to the efficiency of memory management and performance, C ++ allows different endpoints to interact simultaneously. This is the basic concept of blockchain technology where users in the network can interact at one time. C ++ can be seen in some of the most popular blockchain applications, such as Bitcoin and Ethereum.
2. Java
Java has been a major computing force since 1995. Object Oriented Programming Language is owned by Oracle Corporation. One of the main factors behind the enormous popularity of this language is independence. Java-enabled applications can be run on any computer as long as it has a Java operating environment (JRE).
For years, Java has been used to develop web applications. This function makes it an ideal candidate for blockchain technology. It is capable of working in a network while maintaining the independence of its structure. Different devices in a blockchain network can remain independent even while accessing the network.
3. Python
Python programming language dates back to 1991 when it was created by Guidi van Rossum, a Dutch programmer. Today, Python is one of the most popular programming languages. Programmers love it because of its simplicity and also uses minimal resources. There is also a strong community of Python programmers. This makes it easy for a person to access the resources and even get the necessary help
When it comes to programming blockchain, Python has proven to be very reliable. Given that it is used to create a standalone Web-based application, Python can easily fit with the development of blockchain.
4. Simplicity
The Simplicity programming language was created by Contact O'Connor. He describes it as a simple programming language that can be used to create smart contracts in blockchain development. From an overview, Simplicity is an improved version of two common methods for developing blockchain. Etherium Virtual Machine and Bitcoin Script.
This programming language uses a static analysis algorithm to make predictions and analyze the cost of running the application. Although more research is still being done on this language, many people predict that Simplicity will be a substitute for most programming languages that are used to create smart contracts.
5. Solidity
Solidity is a programming language invented by the Ethereum team. It is object-oriented programming language used to create smart contracts. Many people see it as an improved version of Ethereum. This is because it uses the strengths of the EVM and improves the weak areas.
Solidity is a static programming language. This simply means that the language checks for errors during the encryption phase and not at the assembly stage. Currently, it is the most preferred programming language for creating smart contracts. Experts predict that the trend will remain as it is in some years. The good news is that there are lots of courses and tutorials created for this programming language.
As you can see, there are several different programming languages for blockchain. Just select the one that suits you via ift.tt/2NZPUQN
The Cathedral of Saint Anthony in Detroit, originally founded in 1857 to serve the city’s burgeoning German Catholic population, began as a modest mission before outgrowing its first structure. In 1901, the distinguished architectural firm of Donaldson & Meier laid the cornerstone of the present Romanesque Revival red-brick edifice, and by October 1902, its twin-jerkinhead towers and rose-windowed façade were complete. The lofty arches and robust masonry embody the solidity and cohesion prized by early 20th-century Catholic communities, while the imported artistry signals international connections and devotion to sacred beauty . Though the parish declined in the mid-2000s and was closed by the archdiocese in 2006, it found new life in 2010 as the seat of the Ecumenical Catholic Church of Christ under Dr. Karl Rodig, preserving both its architectural legacy and its role as a beacon of faith in a changing neighborhood.
Background
Lloyd’s Insurance and Investments is a small, newly-formed financial concern located in Pittsburgh. As such, they wanted an identity package that conveyed the solidity and competence of a more well-established firm.
Design and Implementation
I chose green and blue for their associations with the banking and insurance industries as well as for their connotations of growth and maturity as was the elegant serif font. I rounded the edges of the logo box to make the identity more welcoming than hard edges would.
Outcomes
The client subsequent implemented the identity across all their communications pieces and recommended my services to many other local businesses.
The painting constitutes one of the wings of a large altarpiece executed around 1473 to a commission from the merchant Floriano Griffoni and intended for the family chapel in the Bolognese church of San Petronio.
The polyptych, dedicated to St. Vincent Ferrer, was ordered just a few years after the saint’s canonization (1458) and painted by the artist in collaboration with Ercole de’ Roberti, who executed the small panels of the predella. The work remained in the Griffoni Chapel until 1725-30, when the individual panels were sold separately on the antique market and dispersed: the panels in Brera were acquired by the collector Giuseppe Cavalieri in 1893, at the suggestion of Adolfo Venturi, but was only through the insight of Roberto Longhi that, in 1934, the fragments in Brera, the National Gallery in London and the National Gallery in Washington were identified as parts of single, imposing structure, one of the cornerstones of Cossa’s production and Ferrarese Renaissance painting.
The two saints, displaying all the solidity of wooden sculpture, stand on rocky outcrops which serve to isolate them, almost like the base of a statue, from the bizarre landscape where arches with unstable keystones frame plains criss-crossed by rivers and dotted with buildings.
The 2014 Serpentine Pavilion by Smiljan Radić
A semi-translucent, cylindrical structure that resembled a shell and rested on large quarry stones, the 2014 Pavilion occupied 350 square metres of the Serpentine’s lawn...Designed as a flexible, multi-purpose social space, the Pavilion had a café sited inside.
[Serpentine Galleries]
The shell is made from fibreglass sheets 10mm thick, settled on 60 tonnes of rocks.
"I wanted to make it look like it came from the hands of a giant,..In the tradition of the English garden folly, it should be something that surprises the public and draws their attention, providing a spatial experience that you don't get every day."
Smiljan Radić
During the day, this rough-cast blob, which was made in Yorkshire, has the solidity of a pebble. But once inside, or when seen by night, it glows with a yellowish tinge, its fibrous surface giving it the look of shed skin. It is jagged and smeary, a texture offset by fine steel wires that hang a zigzagging lighting rail through the space, and an angular window, sharply sliced out to capture views of the lake beyond. It is a careful assembly of things that are both ragged and refined, contrasting roughly hewn with smoothly polished.
Oliver Wainwright, The Guardian
Looking into the Warming Room and out to the yard beyond where the fuel store was located. The rib vaulting gives a sense of weight and mass but still very attractive in its solidity.
Today, these cars are appreciated for their embodiment of the legendary Mercedes build quality and are recognized as among the last of the old-style cars that still retain the immense, and yes, even bank-like solidity that saw Mercedes automobiles regularly running to five hundred thousand (and more) miles.
This is a clean kitchen sponge floating on water inside a rectangular glass container. Upon placing the sponge in water, the yellow portion of the sponge immediately took on water and raised the overall water level. Yet, the green portion of the sponge remains just at or slightly above water level. After several minutes of observation, the sponge remains floating. A quick adjustment was made to see how the sponge and water would react by forcing the sponge to submerge under water. The sponge floats back up and the green portion of the sponge stays on or above water level.
There are two applicable principles to explain why a sponge floats on water. First, the density of the object determines whether it sinks or floats. A sponge contains numerous pores and channels allowing the water to circulate through them. If the density of the water is greater than the density of the object, then the object will float. The porous nature of sponge also means the overall water level in the container is generally imperceptible. Since water is allowed to flow through the sponge, the lack of solidity also means the sponge weighs less than the overall volume of water, thereby allowing it to float. Essentially, the water environment remains unchanged and unaffected regardless if the sponge is floating or submerged, as the bond of water molecules outweighs the density of the sponge.
Second, the principle of cohesion and adhesion also explains why a sponge floats. First and foremost, water molecules are highly cohesive and prefers to bond to each other. The cohesive forces of a sponge are relatively weak to other objects such as a rubber ducky or a paper clip because those objects are less porous. Therefore, a sponge will not have a high water surface tension and will take on water internally much faster than other solid objects. Despite a sponge cannot resist external forces and take on water, its lack of volume keep the sponge afloat.
When an object is solid, the density of the object determines if it floats or sinks. When an object is not solid and does not promote high water tension, the volume of the object relative to the volume of water determines if it floats or sinks.
People buy gold -colored locks and lock to chain railings to symbolize the solidity of a relationship. In times of high wind it would be useful to lock yourself to the railing, i'm not sure if they throw the keys over the edge afterward or keep them in their pocket, in case the relationship sours. Anyway, there must be a huge pile of those keys at the bottom.
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The idea of a timeless reality is initially so startling that it is hard to see how it could be coherent. Everything we do, we do in time. The world is a series of events strung together by time. Anyone can see that my hair is graying, that objects move, and so on. We see change, and change is the variation of properties with respect to time. Without time, the world would be completely still. A timeless theory faces the challenge of explaining how we see change if the world is not really changing.
Although time may not exist at a fundamental level, it may arise at higher levels—just as a table feels solid even though it is a swarm of particles composed mostly of empty space. Solidity is a collective, or emergent, property of the particles. Time, too, could be an emergent property of whatever the basic ingredients of the world are.
www.scientificamerican.com/article.cfm?id=is-time-an-illu...
The middle section of the City Chambers that most people probably don't notice. The architecture is sublime, with an imposing solidity in its structure.
Blythe size stand made of painted acrylic resin.
It shows a little bit of a cobbled street including a storm drain and it's inspired by cities like Rome or Lisbon.
Because of the nature of the material used, it has a nice strong and compact presence and a stone-like solidity.
Measures
Height: 7.5 inch / 19 cm.
Diameter: 4.7 inch / 12 cm.
Weight: 12 ounces / 350 g. aprox.
And the sky cut fear like diamonds
drowning in the blood of missionaries
come to steal the gold and hold it
while the people moved through the highlands
watching as the sky cloak fell
what did all of this sweat and panic mean
with jagged woven patterns
draped over the wild horse
saddle blankets buckskin amid the barrage
and the telegraph beat out messages
but the day was pushing on to night
down below the bay was swarming
with hidden efforts painted long boats
striped in fools gold moved from shore
the jail house is full of remembrances
as the aces and deuces fall
cold comfort for those left in the wake
and we dream of solidarity
with solidity and solemnity in their tow
let no man tear asunder the lonely footsteps
melting in the glow
B I R D
Poem Copyright
©2006, Frederick Douglass Perry, All Rights Reserved
There are roughly three New Yorks. There is, first, the New York of the man or woman who was born there, who takes the city for granted and accepts its size, its turbulence as natural and inevitable. Second, there is the New York of the commuter — the city that is devoured by locusts each day and spat out each night. Third, there is New York of the person who was born somewhere else and came to New York in quest of something ….Commuters give the city its tidal restlessness, natives give it solidity and continuity, but the settlers give it passion. -E.B. White
If there's one place in London that merits an Art Deco Fair, it's Eltham Palace,
with its Art Deco entrance hall, created by the textile magnates the Courtaulds in 1936. The much-loved weekend fair is held twice a year - once in the summer and a second time in September - giving visitors the chance to buy original 1930s objects, from furniture and collectables to hats, handbags and jewellery. Browse the original 1930s objects, from jewellery to furniture while you take in the magnificent Art Deco surroundings of the Palace. Ticket price includes entry to Eltham Palace and gardens and you can see the house by guided tour.
About Eltham Palace
Restored by English Heritage, this fantastic house boasts Britain's finest Art Deco interior and offers visitors the chance to indulge in the opulence of 1930s Britain whilst at the same time experiencing the solidity and symbolism of medieval London. Eltham Palace began to evolve during the 15th century when Edward IV commissioned the Great Hall, which survives today as a testament to the craftsmanship of the period. More about Eltham Palace
The XE-1 was, after the SRT-101, my 2nd camera. I really wanted to have it, because with its aperture priority and professional appearance, it made a lasting impression on me as it stood in the window of the photo dealer. Although it had been out of production for 4 years, which I didn't know at the time, and even if I had, I wouldn't have cared. It wasn't about having the latest thing. My father, after decades of photographing with the Leidolf Lordomat, had bought the then brand new XD-7 in 1977 and I would never have dreamed of such a camera for myself. In addition, I was allowed to use the XD-7, under protestations on my part and teachings on his part, from time to time. Of course, the self-timer lever of the XE-1 had broken off in the window of the photo store. The typical battle scars of an XE-1, but its aura of solidity and robustness captivated me. Quite different from my buddies' Olympus OM-1 or Nikon FE. Not that they weren't rugged, and they were and are admirable cameras. But at the time I didn't want the fine but the weighty. I got that with the XE. Whole 1,080 grams with 148x97x96 mm. So I scraped together everything I had, traded in my SRT and bought the XE-1, which I took with me everywhere from then on. To this day, I am fascinated by the fact that with such a monolith, the CLS shutter (Copal-Leitz shutter) and the mirror shutter can be triggered almost without vibration. Of course, the joint development of the Copal-Leitz-Minolta companies points to another special feature of the XE-1. That there was a twin, no rather a sister, to the XE-1 in the form of Leica's R3. Leica needed after the successful years with the Leicaflex a change to a time automatic. The cooperation with Leica happened from Minolta on an equal footing. Both companies saved development costs and had a lot to bring to the partnership. Nevertheless, the results are quite different, which can certainly be explained by the significant price difference between the two cameras. What is interesting about this partnership is that it also included lenses. And even more interesting is that this exchange, to my knowledge, knew only one direction: From Minolta to Leitz. The Rokkor lenses 16mm F/2.8, 24mm F/2.8, 70-210mm F/4, 75-200mm F/4.5, 35-70mm F/3.5, and not to forget the RF 800mm F/8 were adopted by Leica for the R system. A crowning achievement of the collaboration was certainly the Leica/Minolta CL/CLE system.
Matrix III, 2019
Approximately 6 tonnes of 6 mm mild steel reinforcing mesh
This vast cloud is a mesmerising visual labyrinth, hewn from an ordinary industrial material. 98% recycled, the steel mesh – commonly used to reinforce concrete walls – is transformed into a complex phenomenon, by way of hundreds of thousands of spot welds done by hand. Designed especially for this gallery, 21 suspended room-size cages intersect, surrounding a small concentrated chamber. This void at the core is what Gormley calls “the space of dreaming”, and is equivalent to the average size of a European new-build bedroom. Looking up at this structure, our ability to perceive distance is challenged: our eyes struggle to decide what is close or far, in front or behind.
The certainty and solidity of the three-dimensional world is undermined. Gormley has described ‘Matrix III’ as “the ghost of the environment we’ve all chosen to accept as our primary habitat”.
[Royal Academy]
Taken at Antony Gormley
(21 September — 3 December 2019)
The exhibition will explore Gormley’s wide-ranging use of organic, industrial and elemental materials over the years, including iron, steel, hand-beaten lead, seawater and clay. We will also bring to light rarely-seen early works from the 1970s and 1980s, some of which led to Gormley using his own body as a tool to create work, as well as a selection of his pocket sketchbooks and drawings.
Throughout a series of experiential installations, some brand-new, some remade for the RA’s galleries, we will invite visitors to slow down and become aware of their own bodies. Highlights include Clearing VII, an immersive ‘drawing in space’ made from kilometres of coiled, flexible metal, and Lost Horizon I, 24 life-size cast iron figures set at different orientations on the walls, floor and ceiling – challenging our perception of which way is up.
Perhaps best-known for his 200-tonne Angel of the North installation near Gateshead, and his project involving 2,400 members of the public for Trafalgar Square’s the Fourth Plinth, Antony Gormley is one of the UK’s most celebrated sculptors.
[Royal Academy]
Sean Scully, Born Dublin, Ireland 1945
Maesta, 1983, oil on canvas, 89 3⁄8 × 119 1⁄2 × 9 1⁄2 in
Sean Scully says that his stripes "push out into the world, trying to be more than paintings." He thinks of color and light as expressions of life and his thick, multipaneled works are meant to create an experience that is at once physical and spiritual.
Made with bolted canvases and housepainter's brushes, Scully's paintings evoke the solidity of architecture. Yet Maesta also conjures a more transcendent realm. The work is titled after a famous multipaneled altarpiece by Duccio, the late thirteenth-century Italian painter. The power of Duccio's Maestà (1308--11) emanates from the unbroken rows of angels and saints surrounding the Virgin Mary, much as Scully's stripes, in contrasting lights and darks, appear to vibrate outward into the viewer's space.
Scully was born in Dublin, Ireland, in 1945 but was raised in London, where his family moved in 1949. He attended classes at London's Central School of Art (1962–1965) and at Croydon College of Art (1965–1968) and received a bachelor's degree from Newcastle University in Newcastle-upon-Tyne in 1972. That year, he traveled to the United States for the first time for a one-year residency at the Carpenter Center for the Visual Arts at Harvard University in Cambridge, Mass. He moved to the United States in 1975, settling in New York City. He taught at Princeton University from 1977 to 1982 and was a professor at Parsons School of Design in New York City from 1981 to 1984. In 1983, the year he became a U.S. citizen, Scully received a Guggenheim Fellowship and an artist fellowship from the National Endowment for the Arts. Scully was nominated in 1989 and in 1993 for the Turner Prize that is presented annually by the Tate Gallery in Britain. His paintings, prints, pastels and photographs have been exhibited internationally, and his work is in the permanent collections of some of the leading museum in the U.S. and Europe. Scully maintains studios in New York City, Barcelona, Spain; and Munich, Germany.
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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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Bernadette Berger is a born storyteller, an experience weaver, a maker of magic. She is an airplane nerd and a former professional dancer/choreographer. At the University of Washington she teaches Experience Design in the Masters of Human Computer Interaction and Design program. After running an R+D Incubator, designing airplanes, building eComm websites and experimenting with new VR audio experiences she has embarked on her first career sabbatical to fully experience life at a different pace.
pril’s theme is Movement, chosen by @cm_wlg, illustrated by Hannah Webster @forestdrawn, and presented by @Mailchimp. The body in motion is a thing of beauty. Our cells shake kinetic energy through the finely articulated instruments of muscle, ligament, and bone. We blink, we pulse, we dance.
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Movement is a universal state of being. Even at rest, the matter we’re composed of is in motion — subatomic particles whir about at dizzying speeds, to create the sense of solidity.
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When we move together, we can build social and collective movements. Like a murmuration of swallows, we can form sweeping visions of a world never seen before. Our collective energy directed like a mighty river flowing downstream, taking unexpected and winding turns to carve mountains. #CMMovement #CreativeMornings
The Inca`s building work is renowned and has stood the test of more than 500 years of time, including several earthquakes. The solidity of the wall contrasts well with the slightly-blurred image of the old man.
The first Avalanche Creates took place on Oct. 24-28, 2022 in Berkeley, CA, bringing together an intimate group of passional developers for a rare opportunity to receive mentorship and a chance to pitch for investments.
Check out the winning pitches: twitter.com/avalancheavax/status/1587429538270777344?s=20...
The Martyrdom of Saint Sebastian
completed 1475, Antonio del Pollaiuolo and Piero del Pollaiuolo.
The picture is composed symmetrically to tell the story taken from the 'Golden Legend' of Saint Sebastian who was sentenced to death on being discovered a Christian. He was bound to a stake and shot with arrows. Here, the six archers have three basic poses, turned through space and seen from different angles. This helps produce the three-dimensional solidity of each figure and together they define the foreground space.
The Pollaiuolo brothers were sculptors, and may have made statuettes of the archers. The male nude is central to this picture and the figures - like the landscape - have been studied from life. A number of life drawings by the Pollaiuolo brothers have survived.
The landscape takes about a third of the background of 'The Martyrdom of Saint Sebastian'. It is remarkable in its rendering of the glimmering river Arno and fading horizon. The tonal changes which occur over the receding landscape have been achieved by the use of oil paint.
The painting was placed in an oratory, built by the Pucci family in the 1450s, in the key Florentine church of the Servite order, SS. Annunziata. The Pucci family were Florentine bankers and were on close terms with the Medici family.