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filthy dreads
on trains in summer
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stun-guns in the night
"Yeah, I want to believe Tesla has the highest amount of vanity plates of all makes. It’s the the being vegan of cars."
The Tesla is of course an excellent piece of equipment, and has done wonders for the cause of zero emissions (at point of use) vehicles.
One the first things I noticed on the street Barcelona were the flags draped from many balconies. A quick Wikipedia search taught me that these flags are the Estelada, the flag of Catalonian independence.
There are two versions here, the nationalist flag with the blue triangle and white star and the socialist flag with the red star. The hardest thing about getting a balcony panorama are the lovely trees that line the streets.
Barcelona IMG_5770
The original photo was taken by CANON F1 35mm... It was a very beautiful old house somewhere in Monirieh-Tehran belonged to a friend of mine who is an artist. Wish her well for giving me this opportunity to take some shots there.
passing thro the years is something and some of the SHARP memories is another thing!
Available for purchase from www.ballaratheritage.com.au
VHR - springthorpe
Statement of Significance
What is significant?
The Springthorpe Memorial within the Boroondara Cemetery (VHR0049)commemorates Annie Springthorpe, and was erected in 1897 by her husband Dr John Springthorpe. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures. It contains twelve columns of deep green granite from Scotland supporting a Harcourt granite superstructure, and a glass dome roof of lead lighting.
How is it significant?
The Springthorpe Memorial is of historic and architectural significance to the State of Victoria
Why is it significant?
The Springthorpe Memorial is historically important in demonstrating nineteenth century social and cultural attitudes to death, and for reflecting the ideals of the Victorian Garden Cemetery movement which aimed at providing comfort for mourners. The memorial is important in demonstrating uniqueness, no other example being known of such aesthetic composition, architectural design and execution, or scale. It is important in exhibiting good design and aesthetic characteristics and for the richness and unusual integration of features. The Springthorpe Memorial is also important in illustrating the principal characteristics of the work of a number of artists including Desbrowe Annear, Mackennal, the glass manufacturers Auguste Fischer and the bronze work of Marriots.
VHR Statement of Significance
What is significant?
Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery
Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society.
Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Strett was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum.
The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known.
The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end.
The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior.
By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia.
The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect.
The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum.
Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii')
Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria.
The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery.
How is it significant?
Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria.
Why is it significant?
The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery.
The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment.
The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907.
The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement.
The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (chamaecyparis funebris 'aurea') is the only known example in Victoria.
The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.
Some people making a statement on the top of the Crags area near Arthurs Seat in Edinburgh. This seemed to lend itself to a stark realism and statement for its meaning with the hint of colour and emotional connection left as displayed in the flag.
Real photo view of an intersection of paths in an arboretum, probably in Chapel Hill,
N.C.
Digital Collection:
North Carolina Postcards
Date:
1922
Location:
Chapel Hill (N.C.); Orange County (N.C.);
Collection in Repository
Durwood Barbour Collection of North Carolina Postcards (P077); collection guide available
online at www.lib.unc.edu/ncc/pcoll/77barbour/77barbour.html
A quick candid at a recent visit to a coffee shop...........loved the look of these Dolce & Gabbana glasses and the elegant look, just waited for the far lady to lean into the picture for a defocused image to highlight the glasses more!
Looks at it's best when viewed large, press L on your keyboard.
Copyright © 2013 Ray Wood. All Rights Reserved.
Sandi Whetzel is seduced by the captivating, graceful forms she finds tucked away in nature. Her fascination with the discovered shapes compels her to enhance their graceful contours, infuse them with luscious color and feature them prominently in her paintings. Whetzel’s contemporary acrylic paintings embrace the nuances of shapes and patterns inspired by the plant world. Her current focus has been an intimate view of succulents; embellishing their engaging shapes with vibrant hues and sculptural textures.
Sandi paints in her home studio located at Days Creek, OR. Since 1997 she has instructed community education art classes for Umpqua Community College. She has studied with accomplished artists, Kevin Macpherson, Tom Browning and Harley Brown. She treasures most the continuing association with her mentor artist and friend, Bonnie Hill of Roseburg, OR.
Several of Whetzel’s works have been used to promote the wine industry through wine-themed events in southern Oregon. Her work appears in Northwest Artists: A Collection of Works by Notable Artists of the Northwest. Her paintings are in private collections in Oregon, Washington, California, Colorado and Arizona. She has exhibited in solo and numerous group shows during the last several years, including two shows at the Coos Art Museum, in Coos Bay, OR.
During her childhood, Sandi’s family changed residence frequently to follow employment in the logging industry of southern Oregon and northern California. She attended many small elementary and high schools, none of which offered any art education. As a teenager she enjoyed paint-by-number oil sets and she became interested in drawing briefly around the age of thirteen. After that, Sandi didn’t have much contact with art until later in life.
For years after she married, her only artistic pursuits had been machine sewing garments and home decorator items. When a friend invited her to a fashion T-shirt painting class she thoroughly enjoyed doing that. At the same time, Whetzel seemed to be mesmerized by PBS TV painting shows.
Near Whetzel’s fortieth birthday she purchased new home furniture and wanted some tropical paintings to go with the new furnishings. Sandi had grown up with a motto that had served her well whenever something had been a bit beyond her reach. It was, “…Necessity is the mother of invention.” She always derived a certain satisfaction with inventing her version of the desired object. She thought, “How hard could it be to do the paintings myself? After all, I have been painting T-shirts and watching the instructional videos on TV.” Sandi immediately started painting all on her own, making discoveries through trial and error. During that time frame, she also ran a child day care business at home. While the three toddlers took their midday nap, Sandi took out her paints and painted for an hour or so during the weekdays. Eventually she took art instruction from a very talented and devoted community college art instructor, Bonnie Hill of Roseburg, OR. In 1997 after only a few years of instruction, Bonnie recommended Sandi to replace herself as instructor of the classes. Bonnie became Sandi’s close friend and mentor; a treasured source of inspiration and knowledge. Whetzel has been painting and instructing art ever since.
When speaking of her art, Sandi has remarked, “I hope my art warms the spirit and inspires people to pursue their dreams. Art that does that for us helps to make our working and living environments more of a sanctuary in stressful times.”
It's not going to be a good day/week.
As of Wednesday morning, there are 149 active wildfires burning in Quebec and 52 fires burning in northern Ontario. By this time last year, 202 fires had burned throughout Quebec. This year so far, the province has seen 435 wildfires.
Hawker Hunter,Crash,2015.These images have haunted me for some time!.I did not put them on-line at the time it happend.These are a few as to what I got.I did give a statement to the Police as to what I saw.A very sad day in the Airshow world. :-(.................This is the second impact point where the cockpit ended up.
The reflection of sun off snow quite literally hurt my eyes, so I did not spend a lot of time in Yokote before hopping on the Ou Line.
Belgian collectors card by Publesca for Le Cinéma Ritz, no. 123. Photo: Warner Bros. John Garfield in The Breaking Point (Michael Curtiz, 1950).
American actor John Garfield (1913-1952) played brooding, rebellious, working-class characters. Garfield is seen as a predecessor of such Method actors as Marlon Brando, Montgomery Clift, and James Dean. Called to testify before the U.S. Congressional House Committee on Un-American Activities (HUAC), he denied communist affiliation and refused to 'name names', which effectively ended his film career. The stress led to his premature death at 39 from a heart attack.
John Garfield was born Jacob Julius Garfinkle on the Lower East Side of New York City, to Hannah Basia (Margolis) and David Garfinkle, who were Jewish immigrants from Zhytomyr (now in Ukraine). Jules was raised by his father, a clothes presser and part-time cantor, after his mother's death in 1920, when he was 7. He grew up in the heart of the Yiddish Theatre District. Jacob was sent to a special school for problem children, where he was introduced to boxing and drama. As a boy, he won a state-wide oratory contest sponsored by the New York Times with Benjamin Franklin as his subject. Garfield later won a scholarship to Maria Ouspenskaya's drama school. In 1932, he landed a non-paying job at Eva Le Gallienne's Civic Repertory, where he was recommended to by his acting teachers Maria Ouspenskaya and Richard Boleslawski. He changed his name to Jules Garfield and according to IMDb, he made his Broadway debut in that company's Counsellor-at-Law, written by Elmer Rice and starring Paul Muni. (Wikipedia writes that this was actually his second Broadway appearance and that Garfield made his Broadway debut in 1932 in a play called Lost Boy, which ran for only two weeks). Later, he joined the Group Theatre company, winning acclaim for his role as Ralph, the sensitive young son who pleads for "a chance to get to the first base" in Awake and Sing. The play opened in February 1935, and Garfield was singled out by critic Brooks Atkinson for having a "splendid sense of character development." However, Garfield was passed over for the lead in Golden Boy, which had especially been written for him by author Clifford Odets. When the play was first produced by the Group Theatre in 1938, the powers that be decided Garfield wasn't 'ready' to play the role of the young violinist turned boxer. Luther Adler subsequently created the role. Embittered, Garfield signed a contract with Warner Brothers, who changed his name to John Garfield. Because both Garfield and his wife did not want to 'go Hollywood,' he had a clause in his Warner contract that allowed him to perform in a legitimate play every year at his option. The couple also refused to own a home in Tinseltown. Garfield won enormous praise for his role as the cynical and tragic composer Mickey Borden in Four Daughters (Michael Curtiz, 1938), starring Claude Rains. For his part, he was nominated for the Oscar as Best Actor in a Supporting Role. After the breakout success of Four Daughters, Warner Bros created a name-above-the-title vehicle for him, the crime film They Made Me a Criminal (Busby Berkeley, 1939). Garfield had already made a B movie called Blackwell's Island (William C. McGann, 1939). Not wanting their new star to appear in a low-budget film, Warners ordered an A movie upgrade by adding $100,000 to its budget and recalling director Michael Curtiz to shoot newly scripted scenes.
At the onset of World War II, John Garfield immediately attempted to enlist in the armed forces but was turned down because of his heart condition. Frustrated, he turned his energies to supporting the war effort. He and actress Bette Davis were the driving forces behind the opening of the Hollywood Canteen, a club offering food and entertainment for American servicemen. He traveled overseas to help entertain the troops, made several bond selling tours and starred in a string of popular, patriotic films like Air Force (Howard Hawks, 1943), Destination Tokyo (Delmer Daves, 1943) with Cary Grant, and Pride of the Marines (Delmer Faves, 1945) with Eleanor Parker. All were box office successes. Throughout his film career, John Garfield, again and again, brooding played rebellious roles despite his efforts to play varied parts. Garfield became one of Warner Bros' most suspended stars. He was suspended 11 times during his nine years at the studio. After the war, Garfield starred in a series of successful films such as the Film Noir The Postman Always Rings Twice (Tay Garnett, 1946) with Lana Turner, and the showbiz melodrama Humoresque (Jean Negulesco, 1946) with Joan Crawford. When his Warner Bros. contract expired in 1946, he did not re-sign with the studio, opting to start his own independent production company instead. Garfield was one of the first Hollywood actors to do so. In the Best Picture Oscar-winning Gentleman's Agreement (Elia Kazan, 1947), Garfield took a featured but supporting, part because he believed deeply in the film's exposé of antisemitism in America. In 1948, he was nominated for the Academy Award for Best Actor for his starring role in Body and Soul (Robert Rossen, 1947) with Lilli Palmer. That same year, Garfield returned to Broadway in the play Skipper Next to God.
Active in liberal political and social causes, John Garfield found himself embroiled in the Communist scare of the late 1940s. Blacklisted during the McCarthy era in the early 1950s for his left-wing political beliefs, he adamantly refused to "name names" in testimony before the House Un-American Activities Committee (HUAC) in April 1951. In his only TV appearance, Garfield played Joe Bonaparte and Kim Stanley played Lorna Moon in a scene from Clifford Odets' 'Golden Boy' on Cavalcade of Stars: John Garfield, Kim Stanley, Paul Winchell & Jerry Mahoney (1950). With film work scarce because of the blacklist, Garfield returned to Broadway and starred in a 1951 or 1952 revival (the sources differ) of Golden Boy. Garfield finally played the role which Odets had written for him and which was denied him years before at the Group Theater. His final film was the Film Noir He Ran All the Way (John Berry, 1951), with Shelley Winters. On 21 May 1952, John Garfield was found dead of a heart attack in the apartment of a friend, former showgirl Iris Whitney. A week before he had separated from his wife, and hours before his death he completed a statement modifying his 1951 testimony about his Communist affiliations. A day earlier Clifford Odets had testified before HUAC and reaffirmed that Garfield had never been a member of the Communist Party. Garfield was the fourth actor to die after being subjected to HUAC investigation. The others were Mady Christians (at 59), J. Edward Bromberg (at 47) and Canada Lee (at 45). The official cause of his death was coronary thrombosis due to a blood clot blocking an artery in his heart. His funeral was mobbed by thousands of fans, in the largest funeral attendance for an actor since Rudolph Valentino. Garfield had been married to his childhood sweetheart Roberta Seidman, from 1935 till his death. They had three children, Katherine (1938-1945), actor David Garfield (1942-1995) and actress Julie Garfield (1946-). His six-year-old daughter Katharine died of an allergic reaction in 1945. He never got over the loss. John Garfield is buried at Westchester Hills Cemetery, Hastings-on-Hudson, New York.
Sources: Jim Beaver (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
20210528-8168
Voor de ingang van Algemene Zaken, stond een jonge vrouw op een kruk met ontbloot bovenlijf terwijl ze haar borsten met viltstiften aan het roodkleuren was. Niemand wist wat hier gebeurde, na enig rondvragen zei iemand: "vraag het haar zelf maar". Dus dat deed ik. "Ik maak een statement" zei ze. Waarover, waartegen, waarom? "Een radicaal statement" zei ze. Maar ondertussen kwamen 2 politieagenten die haar sommeerden de borsten te bedekken en mee te komen naar.... nog onbekend.
Iemand vroeg mijn kaartje (heb ik altijd bij me) want ze wilden deze foto's wel hebben. Ik hoor later wel waarover dit radicale statement ging.
Jacolinde Geerte, kunstwerk
jacolindeeck.wixsite.com/website
performance, ± 6 min. (with performativity(?) prolonged to 3 hrs)
For the pahmphlet i was stuck by this sentence within the assignment "a radical message in a radical way." So i first thought about what a radical way was. I believe this is when it's unerasable. So i was thinking about writing with lipstick on some white walls in the school and what not. Then it developped in being an unerasable image in peoples minds. Or maybe what wpuld.ignite the most reaction.
As i did a naked performance once in school, and some were kind of crossed by that. And i knew that my breasts evoked this same kind of reaction on people, both on social media, in public and even under a shirt without bra, i wanted to do something with the ridicoulousness of this given. Especially nipples being censured as breasts are over sexualized and the increasing prudishness of society, which is especially taken out on female bodies, i wanted to question the radicality of my flesh. Is this radical enough for you? Is it radical at all? Police sure did thought so.
With writing variations of this question on my breats until covered, I state that breasts shouldn't be so radical - which apparently was quite a radical message an sich.
All images are copyrighted by Pieter Musterd. If you want to use or buy any of my photographs, contact me. It is not allowed to download them or use them on any website, blog etc. without my explicit permission.
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