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Final image for L102 Cooking Light assignment.
Strobist info:
SB600 set at 1/128 power about 6 inches above scoop slightly to camera left, triggered by D80 CLS. White background was an A3 sheet of art paper to provide a seamless look.
I always wonder what makes the Golden Gate Bridge so special. Is it because of its reputation of being the longest suspension bridge in the world when it was built ? Or is it because it is the symbol of the city of San Francisco? I have been to the Hawk Hill vista point more than a dozen times now and each time I have been there, I have always had the urge to reach out for my camera to take "one more shot" of the bridge. Last weekend was no different. As I looked through my cameras view finder to compose this frame, I saw a dull grey sky, a patch of dried yellow grass in the foreground and a few sail boats drifting along the blue waters of the bay. In the middle of all these colors, the vibrant and aesthetically pleasing structure of the bridge stood out. Painted in "International Orange", a color specifically chosen to increase its visibility to passing ships, the contrasting color of the Golden Gate Bridge is, in my mind, what makes this bridge really unique. Here is an attempt to portray how my mind's eye saw this scene.
This '41 Ford Custom was a standout of all of the American cars from the 1940's that were on display at the 2011 Channel Islands Harbor Run.
The great news for the West York boys’ basketball team Friday evening was that they proved that they could stand head-to-toe with a Class 6A power from the Mid-Penn Conference.
The bad news, however, was that fact was only proven after falling quickly behind by a 9-0 margin in the first quarter.
Taking on a quick and physical Chambersburg squad in the final contest of the West York Holiday Event, the Bulldogs were able to stay within six to 13 points of the Trojans all night. And that took all that Braedyn Detz could deliver as the West York standout poured in a game-high 26 points for his squad.
Those points, however, never came in bunches. In fact, the West York boys only were able to string together back-to-back scores twice all evening, preventing any type of run that could make the game closer as the Bulldogs fell by a 55-42 margin.
Pierce Cole the starting standout goal keeper of the 2014 Mission Vista Varsity Soccer Team has a multiple save game to secure the victory over Division 2 rival Oceanside. Pierce's performance during the 2014 season continues to draw attention of college scouts at all levels. Additional info and stats for Pierce can be found at the URL's below:
Pierce Cole - MaxPreps Stats
www.maxpreps.com/athlete/pierce-cole/OC_2a_TxEeKZ5AAmVebB...
Pierce's video highlights can be found at : www.youtube.com/channel/UCzMOOc_TClDCjyiQzlg-3_w?feature=...
Pierce Soccer recruiting Profile can be found at: new.berecruited.com/athletes/1660745
Granny Squares are a Crochet staple and can be used for so many projects, although blankets are my favorite. I have seen many fabulous purses, amigurumi , pillows, scarves, and even lamp shade covers! They are so versatile and can add such detail to a project.
All of these granny square patterns are free at the time of this posting. But, designers have the right to change their mind, and often do. So if you see one you particularly like, print it now before it’s gone forever!
www.karlasmakingit.com/new-free-granny-square-patterns
Enjoy!!
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Study is one of them. 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.
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 Study is one. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I 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.
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.
Jamiyat Tabligh-Ul-Islam Bradford Central Mosque is a Sunni mosque located in West Yorkshire, England. With its breathtaking architecture and design, it is truly a beautiful place to pray. The mosque features a spacious prayer hall with ample seating, providing a welcoming atmosphere for worshippers.
One of the standout features of this mosque is the cleanliness and size of the Wudu place. It is big and clean, with numerous cubicles available for ablution. This ensures that worshippers have a comfortable and convenient space to perform their ritual cleansing before prayer.
Parking is not a problem at Jamiyat Tabligh-Ul-Islam Bradford Central Mosque, as there are over 200 spaces available on the grounds. This makes it easy for visitors to find a parking spot and attend prayers without any hassle.
The mosque also prioritizes the needs of women, providing separate prayer space for them. This ensures that women have a designated area where they can pray comfortably and privately. Additionally, the mosque offers women's amenities, such as Odhu facilities, catering to their specific needs.
In conclusion, Jamiyat Tabligh-Ul-Islam Bradford Central Mosque is a beautiful Sunni mosque in West Yorkshire, England. With its stunning architecture, spacious prayer hall, clean Wudu place, and convenient parking, it offers a welcoming and comfortable space for worshippers. The mosque also prioritizes the needs of women, providing separate prayer space and women's amenities.
Bradford is a city in West Yorkshire, England. It became a municipal borough in 1847, received a city charter in 1897 and, since the 1974 reform, the city status has belonged to the larger City of Bradford metropolitan borough. It had a population of 349,561 at the 2011 census; the second-largest subdivision of the West Yorkshire Built-up Area after Leeds, which is approximately 9 miles (14 km) to the east. The borough had a population of 546,976, making it the 9th most populous district in England.
Historically part of the West Riding of Yorkshire, the city grew in the 19th century as an international centre of textile manufacture, particularly wool. It was a boomtown of the Industrial Revolution, and amongst the earliest industrialised settlements, rapidly becoming the "wool capital of the world"; this in turn gave rise to the nicknames "Woolopolis" and "Wool City". Lying in the eastern foothills of the Pennines, the area's access to supplies of coal, iron ore and soft water facilitated the growth of a manufacturing base, which, as textile manufacture grew, led to an explosion in population and was a stimulus to civic investment. There is a large amount of listed Victorian architecture in the city including the grand Italianate city hall.
From the mid-20th century, deindustrialisation caused the city's textile sector and industrial base to decline and, since then, it has faced similar economic and social challenges to the rest of post-industrial Northern England, including poverty, unemployment and social unrest. It is the third-largest economy within the Yorkshire and the Humber region at around £10 billion, which is mostly provided by financial and manufacturing industries. It is also a tourist destination, the first UNESCO City of Film and it has the National Science and Media Museum, a city park, the Alhambra theatre and Cartwright Hall. The city is the UK City of Culture for 2025 having won the designation on 31 May 2022.
History
The name Bradford is derived from the Old English brad and ford the broad ford which referred to a crossing of the Bradford Beck at Church Bank below the site of Bradford Cathedral, around which a settlement grew in Anglo-Saxon times. It was recorded as "Bradeford" in 1086.
Early history
After an uprising in 1070, during William the Conqueror's Harrying of the North, the manor of Bradford was laid waste, and is described as such in the Domesday Book of 1086. It then became part of the Honour of Pontefract given to Ilbert de Lacy for service to the Conqueror, in whose family the manor remained until 1311. There is evidence of a castle in the time of the Lacys. The manor then passed to the Earl of Lincoln, John of Gaunt, The Crown and, ultimately, private ownership in 1620.
By the middle ages Bradford, had become a small town centred on Kirkgate, Westgate and Ivegate. In 1316 there is mention of a fulling mill, a soke mill where all the manor corn was milled and a market. During the Wars of the Roses the inhabitants sided with House of Lancaster. Edward IV granted the right to hold two annual fairs and from this time the town began to prosper. In the reign of Henry VIII Bradford exceeded Leeds as a manufacturing centre. Bradford grew slowly over the next two-hundred years as the woollen trade gained in prominence.
During the Civil War the town was garrisoned for the Parliamentarians and in 1642 was unsuccessfully attacked by Royalist forces from Leeds. Sir Thomas Fairfax took the command of the garrison and marched to meet the Duke of Newcastle but was defeated. The Parliamentarians retreated to Bradford and the Royalists set up headquarters at Bolling Hall from where the town was besieged leading to its surrender. The Civil War caused a decline in industry but after the accession of William III and Mary II in 1689 prosperity began to return. The launch of manufacturing in the early 18th century marked the start of the town's development while new canal and turnpike road links encouraged trade.
Industrial Revolution
In 1801, Bradford was a rural market town of 6,393 people, where wool spinning and cloth weaving were carried out in local cottages and farms. Bradford was thus not much bigger than nearby Keighley (5,745) and was significantly smaller than Halifax (8,866) and Huddersfield (7,268). This small town acted as a hub for three nearby townships – Manningham, Bowling and Great and Little Horton, which were separated from the town by countryside.
Blast furnaces were established in about 1788 by Hird, Dawson Hardy at Low Moor and iron was worked by the Bowling Iron Company until about 1900. Yorkshire iron was used for shackles, hooks and piston rods for locomotives, colliery cages and other mining appliances where toughness was required. The Low Moor Company also made pig iron and the company employed 1,500 men in 1929. when the municipal borough of Bradford was created in 1847 there were 46 coal mines within its boundaries. Coal output continued to expand, reaching a peak in 1868 when Bradford contributed a quarter of all the coal and iron produced in Yorkshire.
The population of the township in 1841 was 34,560.
In 1825 the wool-combers union called a strike that lasted five-months but workers were forced to return to work through hardship leading to the introduction of machine-combing. This Industrial Revolution led to rapid growth, with wool imported in vast quantities for the manufacture of worsted cloth in which Bradford specialised, and the town soon became known as the wool capital of the world.
A permanent military presence was established in the city with the completion of Bradford Moor Barracks in 1844.
Bradford became a municipal borough in 1847, and a county borough in 1888, making it administratively independent of the West Riding County Council. It was honoured with city status on the occasion of Queen Victoria's Diamond Jubilee in 1897, with Kingston upon Hull and Nottingham. The three had been the largest county boroughs outside the London area without city status. The borough's boundaries were extended to absorb Clayton in 1930, and parts of Rawdon, Shipley, Wharfedale and Yeadon urban districts in 1937.
Bradford had ample supplies of locally mined coal to provide the power that the industry needed. Local sandstone was an excellent resource for building the mills, and with a population of 182,000 by 1850, the town grew rapidly as workers were attracted by jobs in the textile mills. A desperate shortage of water in Bradford Dale was a serious limitation on industrial expansion and improvement in urban sanitary conditions. In 1854 Bradford Corporation bought the Bradford Water Company and embarked on a huge engineering programme to bring supplies of soft water from Airedale, Wharfedale and Nidderdale. By 1882 water supply had radically improved. Meanwhile, urban expansion took place along the routes out of the city towards the Hortons and Bowling and the townships had become part of a continuous urban area by the late 19th century.
A major employer was Titus Salt who in 1833 took over the running of his father's woollen business specialising in fabrics combining alpaca, mohair, cotton and silk. By 1850 he had five mills. However, because of the polluted environment and squalid conditions for his workers Salt left Bradford and transferred his business to Salts Mill in Saltaire in 1850, where in 1853 he began to build the workers' village which has become a UNESCO World Heritage Site.
Henry Ripley was a younger contemporary of Titus Salt. He was managing partner of Edward Ripley & Son Ltd, which owned the Bowling Dye Works. In 1880 the dye works employed over 1000 people and was said to be the biggest dye works in Europe. Like Salt he was a councillor, JP and Bradford MP who was deeply concerned to improve working class housing conditions. He built the industrial Model village of Ripley Ville on a site in Broomfields, East Bowling close to the dye works.
Other major employers were Samuel Lister and his brother who were worsted spinners and manufacturers at Lister's Mill (Manningham Mills). Lister epitomised Victorian enterprise but it has been suggested that his capitalist attitude made trade unions necessary. Unprecedented growth created problems with over 200 factory chimneys continually churning out black, sulphurous smoke, Bradford gained the reputation of being the most polluted town in England. There were frequent outbreaks of cholera and typhoid, and only 30% of children born to textile workers reached the age of fifteen. This extreme level of infant and youth mortality contributed to a life expectancy for Bradford residents of just over eighteen years, which was one of the lowest in the country.
Like many major cities Bradford has been a destination for immigrants. In the 1840s Bradford's population was significantly increased by migrants from Ireland, particularly rural County Mayo and County Sligo, and by 1851 about 10% of the population were born in Ireland, the largest proportion in Yorkshire. Around the middle decades of the 19th century the Irish were concentrated in eight densely settled areas situated near the town centre. One of these was the Bedford Street area of Broomfields, which in 1861 contained 1,162 persons of Irish birth—19% of all Irish born persons in the Borough.
During the 1820s and 1830s, there was immigration from Germany. Many were Jewish merchants and they became active in the life of the town. The Jewish community mostly living in the Manningham area of the town, numbered about 100 families but was influential in the development of Bradford as a major exporter of woollen goods from their textile export houses predominately based in Little Germany and the civic life of Bradford. Charles Semon (1814–1877) was a textile merchant and philanthropist who developed a productive textile export house in the town, he became the first foreign and Jewish mayor of Bradford in 1864. Jacob Behrens (1806–1889) was the first foreign textile merchant to export woollen goods from the town, his company developed into an international multimillion-pound business. Behrens was a philanthropist, he also helped to establish the Bradford chamber of commerce in 1851. Jacob Moser (1839–1922) was a textile merchant who was a partner in the firm Edelstein, Moser and Co, which developed into a successful Bradford textile export house. Moser was a philanthropist, he founded the Bradford Charity Organisation Society and the City Guild of Help. In 1910 Moser became the first Jewish Lord Mayor of Bradford.
Jowett Cars Eight badge
To support the textile mills, a large manufacturing base grew up in the town providing textile machinery, and this led to diversification with different industries thriving side by side. The Jowett Motor Company founded in the early 20th century by Benjamin and William Jowett and Arthur V Lamb, manufactured cars and vans in Bradford for 50 years. The Scott Motorcycle Company was a well known producer of motorcycles and light engines for industry. Founded by Alfred Angas Scott in 1908 as the Scott Engineering Company in Bradford, Scott motorcycles were produced until 1978.
Independent Labour Party
The city played an important part in the early history of the Labour Party. A mural on the back of the Bradford Playhouse in Little Germany commemorates the centenary of the founding of the Independent Labour Party in Bradford in 1893.
Regimental colours
The Bradford Pals were three First World War Pals battalions of Kitchener's Army raised in the city. When the three battalions were taken over by the British Army they were officially named the 16th (1st Bradford), 18th (2nd Bradford), and 20th (Reserve) Battalions, The Prince of Wales's Own (West Yorkshire Regiment).
On the morning of 1 July 1916, the 16th and 18th Battalions left their trenches in Northern France to advance across no man's land. It was the first hour of the first day of the Battle of the Somme. Of the estimated 1,394 men from Bradford and District in the two battalions, 1,060 were either killed or injured during the ill-fated attack on the village of Serre-lès-Puisieux.
Other Bradford Battalions of The Prince of Wales's Own (West Yorkshire Regiment) involved in the Battle of the Somme were the 1st/6th Battalion (the former Bradford Rifle Volunteers), part of the Territorial Force, based at Belle Vue Barracks in Manningham, and the 10th Battalion (another Kitchener battalion). The 1/6th Battalion first saw action in 1915 at the Battle of Aubers Ridge before moving north to the Yser Canal near Ypres. On the first day of the Somme they took heavy casualties while trying to support the 36th (Ulster) Division. The 10th Battalion was involved in the attack on Fricourt, where it suffered the highest casualty rate of any battalion on the Somme on 1 July and perhaps the highest battalion casualty list for a single day during the entire war. Nearly 60% of the battalion's casualties were deaths.
The 1/2nd and 2/2nd West Riding Brigades, Royal Field Artillery (TF), had their headquarters at Valley Parade in Manningham, with batteries at Bradford, Halifax and Heckmondwike. The 1/2nd Brigade crossed to France with the 1/6th Battalion West Yorks in April 1915. These Territorial Force units were to remain close to each other throughout the war, serving in the 49th (West Riding) Division. They were joined in 1917 by the 2/6th Battalion, West Yorks, and 2/2nd West Riding Brigade, RFA, serving in the 62nd (2nd West Riding) Division.
Recent history
Bradford's Telegraph and Argus newspaper was involved in spearheading the news of the 1936 Abdication Crisis, after the Bishop of Bradford publicly expressed doubts about Edward VIII's religious beliefs (see: Telegraph & Argus#1936 Abdication Crisis).
After the Second World War migrants came from Poland and Ukraine and since the 1950s from Bangladesh, India and particularly Pakistan.
The textile industry has been in decline throughout the latter part of the 20th century. A culture of innovation had been fundamental to Bradford's dominance, with new textile technologies being invented in the city; a prime example being the work of Samuel Lister. This innovation culture continues today throughout Bradford's economy, from automotive (Kahn Design) to electronics (Pace Micro Technology). Wm Morrison Supermarkets was founded by William Morrison in 1899, initially as an egg and butter merchant in Rawson Market, operating under the name of Wm Morrison (Provisions) Limited.
The grandest of the mills no longer used for textile production is Lister Mills, the chimney of which can be seen from most places in Bradford. It has become a beacon of regeneration after a £100 million conversion to apartment blocks by property developer Urban Splash.
In 1989, copies of Salman Rushdie's The Satanic Verses were burnt in the city, and a section of the Muslim community led a campaign against the book. In July 2001, ethnic tensions led to rioting, and a report described Bradford as fragmented and a city of segregated ethnic communities.
The Yorkshire Building Society opened its new headquarters in the city in 1992.
In 2006 Wm Morrison Supermarkets opened its new headquarters in the city, the firm employs more than 5,000 people in Bradford.
In June 2009 Bradford became the world's first UNESCO City of Film and became part of the Creative Cities Network since then. The city has a long history of producing both films and the technology that produces moving film which includes the invention of the Cieroscope, which took place in Manningham in 1896.
In 2010 Provident Financial opened its new headquarters in the city. The company has been based in the city since 1880.
In 2012 the British Wool Marketing Board opened its new headquarters in the city. Also in 2012 Bradford City Park opened, the park which cost £24.5 million to construct is a public space in the city centre which features numerous fountains and a mirror pool surrounded by benches and a walk way.
In 2015 The Broadway opened, the shopping and leisure complex in the centre of Bradford cost £260 million to build and is owned by Meyer Bergman.
In 2022, Bradford was named the UK City of Culture 2025, beating Southampton, Wrexham and Durham. The UK City of Culture bid, as of 2023, was expected to majorly stimulate the local economy and culture as well as attracting tourism to the city. By 2025, the UK City of Culture bid is expected to support potential economic growth of £389 million to the city of Bradford as well as to the surrounding local areas, creating over 7,000 jobs, attracting a significant amount of tourists to the city and providing thousands of performance opportunities for local artists.
This is a photograph of the Keukenhof Gardens in Holland, the Netherlands. We were fortunate to visit during the tulip bloom.
1. Taller Ship, 2. Zen part II, 3. Golden Reflection, 4. ---FBD Rás..., 5. Watch your back, 6. DREAMLAND #1, 7. Blue magician, 8. stay there, 9. protector, 10. It's A Football Thing, 11. L'Huisne, 12. Reverse Lens Dandelion 1 at 18mm, 13. candid camera, 14. iApple, 15. Untitled, 16. sepia
The great news for the West York boys’ basketball team Friday evening was that they proved that they could stand head-to-toe with a Class 6A power from the Mid-Penn Conference.
The bad news, however, was that fact was only proven after falling quickly behind by a 9-0 margin in the first quarter.
Taking on a quick and physical Chambersburg squad in the final contest of the West York Holiday Event, the Bulldogs were able to stay within six to 13 points of the Trojans all night. And that took all that Braedyn Detz could deliver as the West York standout poured in a game-high 26 points for his squad.
Those points, however, never came in bunches. In fact, the West York boys only were able to string together back-to-back scores twice all evening, preventing any type of run that could make the game closer as the Bulldogs fell by a 55-42 margin.
As they arrived at the park, Alex proudly wore his golden mini skirt, black tights, and sleek black sneakers. Emma's eyes sparkled with delight as she introduced him to her friends. But before he could share his fashion philosophy, Sophia noticed something peculiar about the skirt. "Hey, where did you get that?" she asked, her voice tinged with curiosity.
Alex smiled, a hint of shyness creeping into his tone. "I designed it myself," he said, his eyes lighting up. "It's made from recycled plastic bags and old fabric scraps."
The group fell silent, mesmerized by the intricate details on the skirt. Rachel, who had been quiet until then, spoke up. "Wow, that's incredible. I've never seen anything like it."
As they walked through the park, Alex shared his passion for sustainable fashion. He told them about his struggles to find clothes that fit his unique style, and how he started designing his own outfits using eco-friendly materials.
Sophia listened intently, her eyes shining with a secret admiration for Alex's talent. She had always been fascinated by textiles, but never thought to combine it with her love of travel and cultural exchange.
As they approached the park bench, Emma suddenly stopped in her tracks. "Wait, Alex! Can I touch your skirt?" she asked, her voice full of wonder.
Alex smiled, happy to share his creation. As Emma ran her fingers over the intricate patterns, Sophia whispered something in Alex's ear. His eyes widened in surprise, and he nodded eagerly.
The group sat down on the bench, surrounded by the sounds of chirping birds and rustling leaves. The air was filled with the sweet scent of blooming flowers, and the soft texture of the skirt seemed to blend seamlessly with the natural surroundings.
As they chatted, Sophia revealed that she had a hidden talent for designing clothes using traditional techniques from her travels. Alex's eyes lit up in surprise, and he asked if she'd be willing to collaborate on a future project.
The group laughed and continued their conversation, exploring the intersection of fashion and social responsibility. As they prepared to leave, Emma thanked Alex for sharing his passion with them.
"Thanks, guys," Alex said, smiling. "I'm glad I could inspire you to think differently about fashion."
As they walked away from the park, Sophia whispered something in Rachel's ear. Rachel's eyes sparkled with excitement, and she nodded eagerly. The group disappeared into the distance, leaving behind a trail of creative energy and a promise to explore the world of sustainable fashion together.
Untitled (Green Abstract) 1975
Emilio Cruz (1938 - 2004)
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With Passion and Purpose
Gifts from the Collection of Larry D. and Brenda A. Thompson
June 7 - October 5, 2025
Locations East Building, Mezzanine — Gallery 214
See standout works by Black artists from the past century, newly gifted to the Nation.
For over four decades, Larry D. and Brenda A. Thompson have championed the work of Black artists. They have supported exhibitions and scholarship as they built a remarkable collection that spans 100 years of Black creativity in America.
This exhibition celebrates the recent and promised gifts of 175 works from the Thompsons to the National Gallery—the largest group of objects by Black artists to enter our collection at one time. Explore more than 60 paintings, sculpture, drawings, and prints organized in sections around themes of music and abstraction, figuration and portraiture, civil rights and social politics, as well as landscape and transcultural connections and influences.
Works range from a captivating portrait by Beauford Delaney and lyrical abstractions by Mildred Thompson to a towering allegorical woodcut by Alison Saar and an intricate sculpture of found objects by vanessa german. Enjoy works by renowned artists—Jacob Lawrence, Archibald Motley, and Kara Walker—and discover artists you may not yet know, such as Camille Billops, Vivian Browne, Moe Brooker, and Alonzo Davis.
www.nga.gov/exhibitions/passion-and-purpose
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"In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.
The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.
The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.
Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.
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With Passion and Purpose: Black Collectors Complicate Western Art Culture
on artessay
Shantay Robinson
Alison Saar
Sweeping Beauty,1997
3-color woodcut on Okawara Natural Paper
overall: 193.04 × 83.82 cm (76 × 33 in.)
National Gallery of Art, Promised Gift of Larry D. and Brenda A. Thompson
© Alison Saar. Courtesy of L.A. Louver, Venice, CA
In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.
The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.
The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.
Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.
Radcliffe Bailey
NY Rail (Transportation), 1993
cut-and-pasted offset printed paper and painted paper, acrylic paint, and blue crayon on wove paper
sheet: 45.8 x 58.9 cm (18 1/16 x 23 3/16 in.)
National Gallery of Art, Gift of Larry D. and Brenda A. Thompson
2023.145.14
Radcliffe Bailey, who passed away in 2023 and is known for telling Black American narratives through his artwork, is represented here by the six separate paintings that make up his NY Rail. Like Jacob Lawrence’s Migration Series, this artwork depicts the migration of Black people from the south and the Caribbean to parts of the United States. For NY Rail (Transportation), Bailey uses an archival photograph of Black people boarding a train, overlayed with a grid of colorful acrylic paint and a depiction of tree limbs with leaves. In NY Rail (Boats Arriving), he paints three and a half row boats, with the word “Mississippi,” “Jamaica,” and “Cuba” written on the sides of them, telling where and how Black people migrated. The background is in coordination with the other paintings in the series, as they incorporate the orange, blue, yellow, and green painted horizontal stripes depicting water and the landscape. In other artworks, NY Rail (Bird of Death) and NY Rail (Death of Infant), the artist illustrates the unfortunate trials faced during the migration. Though optimism drove the migrants, they still faced challenges that led to death in Northern cities, from mob violence to unhealthy environments in ghettos.
Without the stewardship of Black art collectors from the beginning of the early twentieth century when Black art burgeoned due to the New Negro Movement, commonly known as the Harlem Renaissance, the preservation of Black art would not have happened, and the art would be lost. During the early twentieth century, instead of exhibiting in downtown New York museums and galleries, Black artists exhibited their work in libraries, churches, and private homes. In 1921, the 135th Street Branch of the New York Public Library in Harlem held its first exhibition by African American artists. The library became a focal point for the Harlem Renaissance. Today, the library is known as the Schomburg Center for Research in Black Culture, after Arturo Alfonso Schomburg, who was fundamental to the movement and in 1926 contributed his collection of more than four thousand books to the library for $10,000 furnished by the Carnegie Corporation. Black American artists were excluded from the art establishment largely until the mid to late twentieth century when postmodern conceptual art started to become popular. Because of this exclusion, museum collections around the country lack art that represents historical Black narratives. But today, museums are beginning to acquire art that fills the historical gaps in their collections through the generosity of collectors like the Thompsons, University of Georgia emeritus trustees, who have been collecting art since 1980. In 2011, they donated one hundred artworks to the Georgia Museum of Art, and in 2008, they gifted thirty nine artworks to the David C. Driskell Center at the University of Maryland, College Park. Collectors Walter O. and Linda Evans, who hold one of the largest collections of Black art, gifted the Telfair Museums thirty artworks; Seteria and Najee Dorsey, founders of Black Art in America, gifted the Columbus Museum fifteen artworks; and Constance E. Clayton, an educator and civic leader who collected Black art over fifty years, gifted the Pennsylvania Academy of Fine Art more than seventy artworks.
Without Black art collectors, so much of the artwork by Black artists would be forgotten. With the loss of the physical art, the impalpable sensibilities of Black life throughout varied stages of history would not be preserved. Black collectors have cared for their collections and also contributed to the dissemination of the art and ideas through gifts to institutions that benefit from the inclusion of Black history. These Black collectors who steward Black art are making judgments on what should be preserved in a field that is dominated by western culture’s Eurocentric gaze. And though Black collectors have gifted historically Black institutions, including Clark Atlanta University, Hampton Unviersity, and Howard University, with artworks throughout African American art’s history, it is notable that the Thompsons are Black collectors making a profound contribution to one of the most highly regarded collections in the United States—the National Gallery of Art.
Shantay Robinson, educator and art writer, lives in Northern Virginia. Her work has appeared regularly in ARTnews, Smithsonian Magazine, Black Art in America, and other notable publications where she primarily writes about Black Art. She holds a PhD in Writing and Rhetoric from George Mason University."
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A Barbe student plays taps during their Veterans Day Program on Thursday.
The U.S. Army will march into Lake Charles on Thursday, November 7, 2013 to select Barbe High School standout Trey Quinn for the 2014 U.S. Army All-American Bowl in San Antonio on January 4, 2014.
I’d like to invite you to join us at Barbe High School on Wednesday to watch him receive his honorary All-American Bowl jersey from local soldiers in front his friends, family, teammates and classmates. Not only will the event honor Quinn, but the U.S. Army also will recognize his coach, acknowledging the leadership and teamwork used to develop each All-American athlete.
By becoming a U.S. Army All-American, Quinn joins an elite fraternity. Only 90 high school football players out of millions in the nation are selected to participate each year. Athletes are chosen not just because they excel on the football field, but because they possess the strengths similar to our Army Strong Soldiers of mental, emotional and physical toughness. Quinn also will join the ranks of talented alumni comprised of NFL stars and Heisman Trophy winners, including Andrew Luck, Mark Sanchez and Tim Tebow.
I’ve included more information about the upcoming event and game below, but please feel free to reach out if you have any questions. Thanks for your consideration—we hope you can join us at Barbe High School on Thursday!
At the edge of the Schulenberg Prairie, this lone tulip stands tall and bright. I can't imagine how it got there, since tulips aren't known to be prairie plants and I haven't seen on in this spot in the six years I've been visiting the Morton Arboretum.
Day 21 of the Four Legs Tour starts with a journey through space and time at The Doctor Who Experience!
1. Touch, 2. Yellow passion, 3. Fairy Pitta (八色鳥), 4. Simpler is better, 5. to hell and back, 6. IMG_8418, 7. Catique Nik Nok Nook, 8. [57/365] Setting, 9. ET Phone Home, 10. Breaktime, 11. Open Sky, 12. DILUVIO, 13. Bad (Tomatoes Macro IV) 2.0, 14. My Mongolia, 15. IMG_2631, 16. Tu sai che io sono qui, ne ho la certezza.
GEORGIA GARRISON TRAINING CENTER, Ft. Stewart, Ga. 1 Mar 2015 – The Georgia National Guard's 2015 Andrew Sullens Marksmanship Competition at Ft. Stewart, Ga. culminated with historical firsts and served as a force multiplier with competitors extending their service. Team 2nd Bn. 121st Infantry Regiment, (Cpl. Ashton Sanford, Sergeants Daniel Gonzales and Samuel Huston, and 2nd Lt. Barrett Sathianathan) are congratulated for their second year win as a team in the annual match by Sgt. 1st Class Jakob Raven, Col. Thomas M. Carden, Jr. Georgia Army National Guard commander, Col.Wallace Steinbrecher, GGTC and Youth Challenge Academy director and Andrew Sulllens for whom the competition honors, and Georgia State Command Sgt. Major Phillip Stringfield. (Georgia Department of Defense photo by Staff Sgt. Tracy J. Smith|released)
1. en rouge, 2. the sky before the sun blids, 3. Slochteren sunset, 4. Happy Ocean Day!, 5. DSC04076-1, 6. Live By The Sword, 7. Barefootin', 8. Lilies, 9. hanging out, 10. ocultos, 11. Reflecting Anna's, 12. The Big Apple, 13. Approach, 14. Bicycle Shop and Power Station, 15. Bokeh Hassy, 16. Desaturated Barn with Hay for Sale