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AISI HAIR Trendy Long Straight Heat Resistant Synthetic Hair
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Majlis Syarahan Perdana "Wood: Its Benefit and Versatility" oleh Profesor Dr Ismail Jusoh Celebrating UNIMAS 25 years of Excellence!
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Universiti Malaysia Sarawak
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George Macinus created this wallpaper from a Yoko Ono still.
The subtext here is bringing bottoms to "any receptive surface".
www.moma.org/explore/inside_out/2010/05/13/bottoms-up-flu...
The Art of Investment: William Stone Images & Beyond
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Discovering Beauty and Empowerment
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The industrial tote box is a versatile storage option for any manufacturing purpose. Whether storing electronics, small parts or large assemblies these 15 tips will give you the power to make the most of your facility’s storage containers.
1.Choose the Right MaterialConsider what parts you need to store. If you’re packing electrostatic sensitive materials, for example, you need to choose a material for the job such as conductive storage containers or static dissipative containers. There are a variety of fibers, plastics and cardboard options that provide protection from physical damage and environmental concerns. Choosing the right one depends on your need for durability and size.
2.Use DividersDivider box containers are an excellent solution to small-parts storage. They allow you to maximize storage capacity, while also keeping small parts organized.
3.Label EverythingDon’t assume your staff knows the location of each individual part. If you don’t already have a clear organizational system, now would be the time to start. Labeling your totes is a must if you want your storage to work for you. Snap-on cardholders or adhesive back document holders are excellent identification options.
4.Build TallShelving needs to be tall and narrow, even when storing tote containers. This makes it easier to make use of your clear labeling system and it prevents time wasted trying to dig through identical boxes.
5.Coordinate ColorsA neat trick you can try with your totes is to integrate color into your labelling system. Since industrial storage containers come in a variety of colors, you can designate reds, blues, and yellows to specific types of parts.
6.Use Front Load ShelvingAlways make sure boxes are facing outwards on your shelves, even if the same section contains multiple boxes of the same parts. Think of the label facing outward as the main label for the piece, you need to see it.
7.Try Climate ControlFor certain materials, you need to consider climate. Products susceptible to heat and humidity should be stored in a cool, dry location to extend shelf life.
8.Utilize LidsLids and tote covers keep dust and moisture out. In ESD applications, covers provide Faraday Cage shielding which protects sensitive electronics from harmful static charges.
9.Try NestingEmpty totes and bins are best stored inside each other. This keeps space organized and means your boxes can be stored like any other part.
10.Don’t OverfillKeep your divided containers filled to a certain height, but always leave room for labels for your washers, bolts, screws and more. Overflowing containers also increase the risk of losing a part and hurting your inventory management.
11.Make Use of Extra Boxes for FilesWhen not used for heavy-duty parts, extra boxes make for cost-effective office storage. For engineering documents, or general file-management, paper can easily be stored in a plastic container.
12.Don’t Forget ToolsThe same goes for tools. An effective inventory system treats everything, including worker tools, as a part to be stored.
13.Keep Tote Boxes OrganizedThat goes for the tote boxes too. We’ve already discussed how to store extra containers, but make sure they’re labeled and accounted for at all times. The trick to warehouse management is knowing how much of anything you have, no matter what the item may be.
For more Info visit here: blog.correctproducts.com/2018/12/10/tote-box-organization...
Versatile, casual dining for breakfast, lunch and dinner, including a deli stand, a variety of hot and cold entrees and dessert bar.
Check out my set "Most Interesting 500" here!
Visit my Waldorfschool/Steinerschool related pinboards here!
Versatility 4 features the most incredibly versatile Joomla template design ever conceived. This is not a boast, its fact with 45 module positions, a plethora of preset configuration options, up to 7 layout columns, a wide array of banner and block advertising locations, 10 module variations
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Simple versatility reduces desktop printing expenses
* Océ's patented, environmentally friendly Copy Press Technology, by design, provides reliable, high quality 55 ppm print output and has an engine life cycle expectancy of 20 million image
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A truly and modernized Tahitian Pearl necklace. This beauty can be worn 4 different ways! See it at www.ninakuna.com for more details and pricing.
Tonya Lenheim performs on both rope and tissu in one act.
Book: Jonathan Livingston Seagull
Music: Sail by Awolnation
Pugh, Mabel (1891–1986)
Portrait of Ellen Stone Scott
Oil on canvas
36 1/8 x 40 1/4 inches
1926
A versatile artist who was comfortable working in a range of media that included woodblock prints, watercolors, and pen and ink drawings, Mabel Pugh was born in Morrisville, North Carolina, and graduated in 1913 from the nearby all-women’s college, Peace Institute, in Raleigh. She moved to New York City to attend classes at the Art Students League and Columbia University, before being awarded a four-year scholarship to the Pennsylvania Academy of the Fine Arts in Philadelphia. The esteemed figure painter Charles Hawthorne was among her instructors at the institution, where her achievements were recognized in 1919 with a prestigious William Emlen Cresson Memorial Traveling Scholarship to tour and study in Europe.
After returning to New York, Pugh fared successfully as a professional artist, particularly in the area of book illustration. Her woodblock prints and pen and ink drawings appeared on the covers and within the pages of popular novels and in such widely distributed magazines as McCall’s and Ladies’ Home Journal. She also authored and illustrated a small volume for children, Little Carolina Bluebonnet, issued in 1933. At the same time, her paintings were included in exhibitions at the National Academy of Design, National Association of Women Artists, and Brooklyn Museum, as well as the 1939 World’s Fair and in Southern exhibitions. In 1936, Pugh returned to teach and eventually head the art department at her alma mater, known then as Peace College, until 1960. She became active in state and Southern arts organizations, as a charter member of the North Carolina Association of Professional Artists, and a member of the Southern States Arts League.
During her tenure at Peace, Pugh began to take on occasional portrait commissions, including those of prominent North Carolina congressmen, as well as representatives from other states. Several of these works hang in various buildings in Washington, DC. These formal depictions are markedly different from other portraits which feature loose, gestural brushwork or examples rendered in a more naturalistic manner.
Among Pugh’s portraits, The Champion seems to inhabit a world of its own. The painting is of a young, unidentified female golfer who is portrayed with the signifiers of her sport. Seated next to a bag of golf clubs, the figure leans back against what seems to be a chair or stool. In her hands—the left still encased in a supple golf glove—she holds a piece of paper, which one might surmise is a scorecard from a match. A possible dating of the painting to the late 1940s or 1950s seems likely, as the sitter’s dress suggests athletic wear of that time: a simple red vest, or jerkin, over a white blouse and a gray skirt. A monochromatic background depicts an assortment of trophies arrayed on shelves, while the view through the window is indistinct. Whether the trophies in the background are hers or are simply a grouping in a clubhouse, these laurels signify her status as a champion.
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See also: www.flickr.com/photos/ugardener/albums/72177720322921517/
THE JOHNSON COLLECTION - A Private Collection for Public Good
thejohnsoncollection.org/the-collection/
Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.
What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.
Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.
.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.
Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.
Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.
Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.
In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."
"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer.'
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"If you’re looking for a vibe, this is where you’ll find it. Spartanburg is one of South Carolina’s most established, respected, progressive, and diverse art communities with everything from the fine arts—ballet, symphonies, and opera—to the cutting edge—street performers, graffiti, and dance mobs.
Experience the Cultural District
Downtown Spartanburg has even been designated as a cultural district by the South Carolina Arts Commission. Within the cultural district, you can walk to and enjoy world-class art galleries, studios, music venues, breweries, culinary arts, local literature publishers, coffee shops, libraries, museums, and more. Regardless of when you visit, you’re likely to encounter live music in the streets, featuring jazz, rock ‘n’ roll, or beach music.
Come experience how we put the art in SpARTanburg."