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2014 trafen der Chemnitzer FC und Chemie Leipzig im Sachsenpokal aufeinander. Auf dem Feld gab es einen klaren Erfolg für die 'Himmelblauen'. Im Gegensatz dazu trumpfte der Gastgeber in Sachen Support auf und verbreitete eine überragend Stimmung im weiten Rund.
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SEFAN/SWEAN Project officially launches her Support to Women Enterpreneurship in the Agrifood Sector in Nigeria (SWEAN) Project by the Executive Governor of Oyo State, H. E. Engr. Seyi Makinde awarded to Nigeria by the
French Ministry of Europe and Foreign Affairs (Embassy of France in Nigeria) through the International Institute of Tropical Agriculture (IITA) on 1 September 2020. The project goal is to extend the skills development of women agripreneurs in Nigeria, aiming at greater empowerment and their dynamic inclusion in
market networks, both locally and internationally. The launch took place on 11 June 2021 at IITA Conference Center. Photo by IITA.
A sign on the sidewalk outside Flowers on Fourteenth. "Locally owned business supporting your comminty." 1712 14th St NW, Washington, DC.
A random snapshot of the pilings and bracings under an old timber trestle over a small creek on the old Brookhaven and Pearl River Railway behind Brookhaven Recycling.
south garage support de plaque noir, disponible chez idealmoto www.idealmoto.com/fr/supports-de-plaque/963-south-garage-...
Sign the petition in favour of the Brazilian Resolution! You may leave your email address to get more information on the Brazilian resolution on "Sexual orientation and Human rights".
Command Sgt. Maj. Ian Griffin, senior enlisted advisor for the 3rd Expeditionary Sustainment Command, meets with Soldiers from Headquarters, Headquarters Detachment, 330th Transportation Battalion, 3rd Expeditionary Sustainment Command, on Pope Army Airfield, N.C., March 21, 2017. The Headquarters, Headquarters Detachment Soldiers are deploying in support of the Atlantic Resolve mission and will provide transportation and in-transit visibility to U.S. and NATO forces in Europe. (U.S. Army Photo by: Staff Sgt. Donna Davis)
I usually avoid getting people in my photos unless specifically asked. These are just the backs of some people over by the dj. Great art, great music, free drinks, but hot as hell!!! Everyone was outside when I took this photo. =)
Destroy & Rebuild gallery opening.
Papa B Studios, Brooklyn, NY.
Show running through August 14th, go check it out!!! Support art!!!
**All images are copywrited! Please do not steal these images! Ask my permission if you would like to use them. Thank you!
The Virginia National Guard hosts an activation and assumption of command ceremony for the 576th Engineer Utilities Detachment June 3, 2017, at the readiness center in Onancock, Virginia. The new engineer unit falls under the 529th Combat Sustainment Support Battalion, 329th Regional Support Group will be staffed with skilled trade positions including electricians, plumbers, carpenters and construction equipment operators, so there will be opportunities for people in the area to join the National Guard to receive training in those specialities. The Clifton Forge-based 29th Division Band provided ceremonial music for the event in their first-ever performance in the Eastern Shore area of Virginia. Read more about the new unit at go.usa.gov/xNE4j. (U.S. National Guard photo by Cotton Puryear)
Family and friends gather at the submarine piers at Joint Base Pearl Harbor-Hickam to welcome back the Los Angeles-class attack submarine USS Bremerton (SSN 698) as she returns from a deployment to the Western Pacific region, May 30. Attack submarines are designed to seek and destroy enemy submarines and surface ships; project power ashore with Tomahawk cruise missiles and Special Operation Forces; carry out Intelligence, Surveillance, and Reconnaissance (ISR) missions; support battle group operations, and engage in mine warfare. (U.S. Navy photo by Mass Communication Specialist 2nd Class Steven Khor/Released)
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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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"Support" Hand painted Acrylic on canvas stretched. Paintings collection 2022 available at chaelcreative.wixsite.com/website
Cancer Support Community Los Angeles
2017 Spirit of Community Luncheon: Strength of a Woman
Honoring Rachel Beller, MS, RDN, Vanessa Bell Calloway, and Renata Helfman
Photo by Vince Bucci Photography
supported by declan kelly's rising sun and dj trevor parkee @ the basement sydney www.thebasement.com.au
Saeid Morad Abdvali at London 2012 Summer Olympics
Page in support of Saeid Morad Abdvali on facebook:http://j.mp/OYJ2Nj
Ce kit vous permet de fixer facilement et rapidement sur des structures métalliques des affiches papier (concerts,spectacles...) de format 80x120 ou plus petites. Longueur de chaine sur demande (1mètre en standard). Voir photos de détails pour mieux visualiser l'application & le montage.
Modèle déposé : KCL-Kit& Colors