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1. Band of gold, 2. Flooding of the Saint John River, 3. through the sunroof, 4. Bumble, 5. Clematis close up, 6. almost a whisper, 7. *, 8. The Earth From Above, 9. On top of the world, 10. The Great Wall of China, 11. "Bad Hair Day", 12. That is Love, 13. Even the Mighty Must Wait, 14. Night photography 1, 15. Untitled, 16. Learning to fly
1.)The variety of fashion in San Francisco.
2.)The two elements of design that are used include line and color.
3.)The materials used include two men and a camera.
4.)I interpreted the sustained investigation through the man on the rights outfit. It was pouring outside and he is wearing shorts and a bandana while his friend is wearing rain clothes.
5.)I was shopping for Christmas gifts for my family and I noticed the guy on the rights outfit and all of his tattoos and I thought it would be a perfect example of my sustained investigation.
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03-12-2011 Pro-Vegan MARC Standout in Davis Square, done for the Annual Great American Meatout (sponsored by FARM)
A standout softball player who also has the lung strength to be a long-distance runner and a trumpet player, Ferrell fits in a staggering number of extra-curricular activities around her studies.
During her career as part of the Blue Tornado, Ferrell has played six sports, earning numerous district and regional honors. While maintaining a constant presence on the Dean’s List with straight-A grades, Ferrell also serves as band captain and participates in clubs ranging from the Commonwealth Alliance for Drug Resistance Education group to the TCAC math team.
She’s also active at Claypool Hill Bible Church where she sings on the praise team and participates in AWANA.
As she leaves high school behind, Ferrell will be attending King College where she plans to run for the cross country and track teams and seek a master’s degree with a goal of becoming a P.E. teacher or a youth minister.
Believing hear, what you deserve to hear:
Your birthday as my own to me is dear...
But yours gives most; for mine did only lend
Me to the world; yours gave to me a friend.
~Martial
Oh! be thou blest with all that Heaven can send,
Long health, long youth, long pleasure--and a friend.
- Alexander Pope
I'm enjoying what I'm calling Flickr's double zoom - which allows an even closer look at the details than before. Using it on this photo, I can see the Scarlet Paintbrush leaves and stems have tiny hairs.
Taken by Eric Jenkins, Westbrook Maine.
Nestled within a field of Painted Daisy, this blossom's pedels were burnt with colors of maroon red and orange. Making this blossom a stunning focus among a field of beauty.
The MEDays Forum 2025, held from 26 to 29 November in Tangier under the High Patronage of His Majesty King Mohammed VI, concluded with resounding success, reaffirming its position as one of the leading strategic platforms of the Global South. This 17th edition brought together more than 8,500 participants, over 300 speakers, and representatives from 120 countries, including several Heads of State and Government.
Set against a backdrop of major geopolitical shifts, MEDays 2025 offered a unique space for high-level dialogue, forward-looking proposals, and concrete solutions. Discussions focused on Africa’s economic resilience, energy transition, global security, investment trends, and the emergence of a more assertive South shaping global governance.
A standout feature of this year’s Forum was the strong international support reaffirmed for Morocco’s sovereignty over its Sahara, following the historic adoption of UN Security Council Resolution 2797. Many leaders also paid tribute to the 50th anniversary of the Green March and celebrated this diplomatic milestone.
The Forum further distinguished itself through its impactful outputs: high-level policy recommendations, strategic partnerships, new economic opportunities, and a strengthened network of global decision-makers.
MEDays 2025 once again demonstrated its role as a bridge-builder and catalyst for action, amplifying Tangier’s global influence and Morocco’s leadership on the international stage.
The MEDays Forum 2025, held from 26 to 29 November in Tangier under the High Patronage of His Majesty King Mohammed VI, concluded with resounding success, reaffirming its position as one of the leading strategic platforms of the Global South. This 17th edition brought together more than 8,500 participants, over 300 speakers, and representatives from 120 countries, including several Heads of State and Government.
Set against a backdrop of major geopolitical shifts, MEDays 2025 offered a unique space for high-level dialogue, forward-looking proposals, and concrete solutions. Discussions focused on Africa’s economic resilience, energy transition, global security, investment trends, and the emergence of a more assertive South shaping global governance.
A standout feature of this year’s Forum was the strong international support reaffirmed for Morocco’s sovereignty over its Sahara, following the historic adoption of UN Security Council Resolution 2797. Many leaders also paid tribute to the 50th anniversary of the Green March and celebrated this diplomatic milestone.
The Forum further distinguished itself through its impactful outputs: high-level policy recommendations, strategic partnerships, new economic opportunities, and a strengthened network of global decision-makers.
MEDays 2025 once again demonstrated its role as a bridge-builder and catalyst for action, amplifying Tangier’s global influence and Morocco’s leadership on the international stage.
Saint Mary's standout Logan Johnson began his college career at Cincinnati, playing for Mick Cronin.
Now, Johnson is shooting to end his former coach's season when the fifth-seeded Gaels (26-7) square off against Cronin's UCLA squad on Saturday night in the second round of the East Regional at Portland, Ore.
UCLA is a 3.0-point favorite at PointsBet, where the Bruins have been backed by 74 percent of the spread-line money while St. Mary's has drawn 57 percent of the total bets. The Gaels are the popular moneyline bet, with 81 percent of the bets and 94 percent of the money at +130.
Johnson stood out with 20 points, six rebounds and three assists as Saint Mary's hammered 12th-seeded Indiana 82-53 in Thursday's opening round.
The fourth-seeded Bruins (26-7) needed a game-ending 15-4 surge to escape with a 57-53 win over 13th-seeded Akron.
Johnson played his freshman campaign for the Bearcats, and then Cronin departed for UCLA following the 2018-19 season. Johnson, who is from the San Francisco Bay Area, decided to transfer closer to home and chose the Moraga-based Gaels.
"It would be a cool experience, I think," Johnson said of playing against Cronin. "I've been at Saint Mary's for three years now, so everything's different. I've enjoyed the whole process of getting better offensively and helping my offensive game grow."
Cronin
www.sports.cweb.com/basketball/ncaab-st-marys-popular-3-0...
Mark Bradford, Born Los Angeles, CA 1961
Amendment #8, 2014, mixed media, 48 1⁄4 × 60 in.
What words or phrases can you make out on the surface of this painting? The text comes from the Eighth Amendment of the US Constitution, which forbids the use of "cruel and unusual punishments."
This work is part of a series Mark Bradford made about the Bill of Rights. Inspired by the idea that a piece of paper could embody fundamental human liberties, Bradford used paper as his medium--wetting it, building it up, and scraping it down so that it became a dense cake of multicolored pulp.
The words are buried within the paper's layers. While some are visible, most float in and out of legibility, just as certain people and ideas have come into focus at different times in our history. Reflecting on the Constitution, Bradford marvels that "we will never understand the entire document. . . . Its meaning glimmers."
Each month, visitors to SAAM are invited to participate in a discussion-based program called Conversation Pieces. Spending an hour with a single work of contemporary art, participants engage in an open-ended experience of guided looking and discussion facilitated by Joanna Marsh, Senior Curator of Contemporary Interpretation. Marsh wrote about the theory behind the program in a previous blog post. Here's a taste of October's conversation.
"Restless." "Chaotic." "Visceral." These were some of the first descriptive words voiced by the dozen or so adults who gathered in SAAM's Lincoln Gallery to discuss Mark Bradford's Amendment #8 on the evening of October 5th. Perched on small blue stools, the group leaned in intently to look closer at the artwork.
Though the piece is abstract, some saw references to landscape or the human body in Bradford's artwork. Others focused on the artist's use of color, seeing the suggestion of violence in his generous use of red. Participants noticed quickly that there were words embedded on the canvas, and with the help of the label, were able to identify it as the text to the Eighth Amendment to the United States Constitution. A lively discussion ensued about what Bradford might have been trying to say about this amendment, which protects Americans from "excessive bail" and "cruel and unusual punishment."
Marsh shared information about the artist's process —building up layer upon layer of paper and sanding each down to unearth the surfaces below— and some were surprised to learn the piece was constructed from paper rather than paint. Others wondered about possible art historical references to Abstract Expressionist painting, while one was curious about the relationship between Bradford's choice of material and his personal biography. Several people noted connections between the artist's process and his subject matter, and thought Bradford's manipulation and blurring of his canvas might be intended to parallel the way our interpretation of the Amendments has been the subject of argument and debate, evolving over time.
Before we knew it, a security officer was kindly reminding us the museum was closing. A participant joked that he hadn't been sure they could spend an hour with such an abstract piece, but as the conversation continued into the elevator, it was clear there was still more to unpack. While artworks like Amendment #8 can seem intimidating at first, our discussion was a reminder of what can be discovered when we slow down and start a conversation.
americanart.si.edu/blog/eye-level/2016/15/289/conversatio...
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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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