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Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Dining Room is one. As a well proportioned and elegant space, it runs over half of the original Burnham Beeches floor plan. It features two long tables covered in a Miss Havisham like feast of a trove of found dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I personally found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Dining Room is one. The Study is the other. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Amol G. from Standout Entertainment's annual Scorpio Birthday Bash - November 12th, 2011 (at Faces nightclub in Toronto)
A familiar, zigzag, W pattern in northern constellation Cassiopeia is traced by five bright stars in this colorful and broad mosaic. Stretching about 15 degrees across rich starfields, the celestial scene includes dark clouds, bright nebulae, and star clusters along the Milky Way. In yellow-orange hues Cassiopeia's alpha star Shedar is a standout though. The yellowish giant star is cooler than the Sun, over 40 times the solar diameter, and so luminous it shines brightly in Earth's night from 230 light-years away. A massive, rapidly rotating star at the center of the W, bright Gamma Cas is about 550 light-years distant. Bluish Gamma Cas is much hotter than the Sun. Its intense, invisible ultraviolet radiation ionizes hydrogen atoms in nearby interstellar clouds to produce visible red H-alpha emission as the atoms recombine with electrons. Of course, night skygazers in the Alpha Centauri star system would also see the recognizable outline traced by Cassiopeia's bright stars. But from their perspective a mere 4.3 light-years away they would see our Sun as a sixth bright star in Cassiopeia, extending the zigzag pattern just beyond the left edge of this frame. via NASA ift.tt/1VjfPz3
Easily the standout moment from our trip to Kruger in October 2017. On an isolated dirt track in the south of the park, we saw these three White Rhino off in the scrub, and decided to sit around and watch them for a while. One or two cars came past, stopped for a photograph and headed off again. Slowly, the Rhino made their way towards the road and our car - and I guess eventually felt comfortable enough to collapse on the road and have a nap!
We had about ten minutes watching them like this before a guided tour vehicle stumbled upon us. The Rhinos didn't take too well to this, and were showing signs of unrest - so we headed on before they were disturbed too much. Unsurprisingly, we passed another 7 or 8 tour vehicles on the road!
The Royal Botanic Gardens in Melbourne, Australia were founded in 1846 and are considered to be among the best botanic gardens in the world.
Thanks to Grenzeloos1 for identifying these as Kalanchoe luciae.
AIMG_6115
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Dining Room is one. As a well proportioned and elegant space, it runs over half of the original Burnham Beeches floor plan. It features two long tables covered in a Miss Havisham like feast of a trove of found dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I personally found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Dining Room is one. The Study is the other. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
ADDA DADA in Leah Garchik 's DATEBOOK column in the San Francisco Chronicle !
"This year's winner of Hunky Jesus Contest was 'CHEER JESUS' who wore a cheerleader outfit and roused the crowd to their feet with a great pep cheer.", reported ADDA DADA !
Among the other standouts were RIPPED JESUS, RETRO JESUS, ZOMBIE JESUS , 'OVERDOSE JESUS' and BURNING MAN JESUS.
"TV REALITY SHOW FOXY MARY with her pregnant tummy, bottle of booze, & pills easily won the FOXY MARY CONTEST. "
I'm having trouble getting her name, but it is said that she returned the prize money to the Sisters thereby providing eternal holiness."
ps: "J" is used in the title because apparently ADDA has been reported several times over posting HUNKY JESUS CONTEST photos...some people do not have a sense of humor. the photos are marked correctly : SAFE !
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From CP's mostly crusty GE fleet, rebuilt AC44 8007 stands out amongst the crowd as it leads CP 286-22 through Des Plaines.
Undefeated Dmitry “The Mechanic” Mikhaylenko (20-0, 9 KOs) scored an eight round beatdown against former WBA interim super lightweight titleholder Johan “El Terrible” Perez (20-3-1, 13 KOs) on Saturday night at Fantasy Springs Resort Casino in Indio, California. Both fighters fought fearlessly as a near sell-out rowdy crowd cheered them on. Mikhaylenko showed his strength early on in the fight and continued to corner Perez on the ropes as the fight progressed. The relentless assault by Mikhaylenko finally prompted a referee’s stoppage by Ray Corona. Time was 1:21. Mikhaylenko won the NABA welterweight title.
Undefeated super bantamweight standout Manuel “Tino” Avila (18-0, 8 KOs) scored a sixth round TKO over former world title contender Yoandris “El Nino” Salinas (21-2-2, 14 KOs). Avila dropped Salinas in round two. Salinas remained on his stool at the end of round six citing a hand injury.
Streaking lightweight Tevin Farmer (20-4-1, 5 KOs) impressively scored his thirteenth straight win by knocking out former world title challenger Daulis Prescott (30-2, 22 KOs) in round eight. Farmer dropped Prescott in round four. He put Prescott down again in round six, but was then deducted a point for hitting Prescott when he was down. Farmer finally knocked out Prescott in round eight. Time was :52.
via Fightnews.com
Standout event of the August Bank Holiday Weekend was the use by Arriva-XC of a couple of LNER HST-Sets down to the West Country.This one being '1V50' the 06:06 from Edinburgh going to Plymouth.43290 'MTU Facination of Power' with 43367 on the back-end.The sets being shortened by one coach to meet Arriva's needs.Here seen speeding down through Standish Junction south of Gloucester.The line diverging to the HST's left goes down the Golden Valley to Swindon and Paddington.
---24 august 2019---
Amol G. from Standout Entertainment's annual Scorpio Birthday Bash - November 12th, 2011 (at Faces nightclub in Toronto)
standout songs were kiss, dear mr man, and how come u don't call me anymore.
But I still prefer prince on guitar
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Dining Room is one. As a well proportioned and elegant space, it runs over half of the original Burnham Beeches floor plan. It features two long tables covered in a Miss Havisham like feast of a trove of found dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I personally found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Dining Room is one. The Study is the other. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Dining Room is one. As a well proportioned and elegant space, it runs over half of the original Burnham Beeches floor plan. It features two long tables covered in a Miss Havisham like feast of a trove of found dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I personally found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Dining Room is one. The Study is the other. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
This is a recipe published in the December 2006 issue of Gourmet magazine. The cookie looks gorgeous as promised and that was the exact reason why I made it. Shortbread cookie is always a welcome addition to any holiday baking. The addition of cinnamon, orange zest, pistachio, and cranberries make this cookie standout from the rest.
Camera: Hasselblad 501C
Lens: Zeiss Planar CB 80mm f/2.8
Film: Ilford HP5+ @ 800
Developer: Kodak HC-110 (1+49, 11 mins)
Scanner: Epson V800
Cropping, levels and dust removal done in Darktable.
20301
I'm throwing up digital images this evening... a Postapalooza's worth. I don't use my digital very much (it mainly comes out for weddings and portraits), but I manage to accumulate a handful of digital photos every year that I do like.
Amol G. from Standout Entertainment's annual Scorpio Birthday Bash - November 12th, 2011 (at Faces nightclub in Toronto)
I had some fun with this shot, and the result is almost a three dimensional look.
These trees are ficus, and are on a slope down to the river in the centre of the city in the botanic gardens.
And a few people take advantage of the sunny disposition.
MUST BE VIEWED IN STEREO TO FULLY APPRECIATE!
A 3D (stereo) crosseye view.
TO SEE THIS IN 3D, there's a tutorial here:
Just like a Chilean miner, this photo has been lifted from the depths of my archives.
Travelling through Pennsylvania in 1984 was a memorable experience, and teh countryside was so beautiful.
This was shot on file and scanned, and is SOOS which means "straight out of scanner" which I just made up. All I did was add some more border.
Can you tell teh difference in colour tones compared to modern day digital images.
Needs to be viewed LARGE for the full country experience.