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Projektionskampagne DGB Bayern - Aschaffenburg Schlossplatz / Stadtbücherei - visuals by genelabo - crushedeyesmedia
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© VanveenJF Photography
page five.
materials: printed card stock, blank paper ripped from a vintage book, masking tape, illustrations torn from vintage books, and a nameplate that came with a package of assorted sheets of printed card stock.
words: "boats and birds," by gregory and the hawk.
Each Monday and Friday we present to you an artwork from one of our originals member. Come and visit our site on theoriginals.net.au
Did you know you can purchase this artwork online…..
Proudly sponsored by Visual Images Online and TheOriginals
v-i-o.com/blog2/theoriginals-net-au-artist-week-wendy-sin...
I had been 'playing' with this concept for a while in my head. I called it (instead of the Silence of the Lambs) the Silence of the Bird. When I had the final result, it came to me immediately: VISUAL SILENCE.
I don't often 'dive' into the digital 'magical' darkroom that photoshop can be, but for certain projects it is a great creative tool!
Here, in the case of visual silence, what is being absorbed is not sound but gaze.
If silence is the absence of noise, then this visual silence is defined as the gradual absence, the vanishing, of what surrounds it, where we burrow from the visible surface to the invisible core. Our focus on the image involves a diminution of the optic field:
in this sense, visual silence is like a poem, its power arising from its sheer vulnerability. The image cannot be penetrated even by the most powerful of gazes because it is already open, in full view... and yet the transparency of the image, one that does not attempt to hide anything, is still capable of mystery.
Visual silence arrests us because it is the interface between two realms of partial knowledge: between he who does not know he is being watched and those who do not know what they are watching.
Some images leave us speechless, we watch them in silent awe.
Ultimately the camera is merely an extension of the human eye, it only sees and cannot wholly know what it is seeing.
Have great time and thanx for everything, M, (*_*)
I passionately hate the idea of being with it, I think an artist has always to be out of step with his time.
- Orson Welles
FOR THE FULL IMPACT, A DEFINITE MUST, LARGE and View On Black
As I told you before and in the last post , I do everyday one little illustration . Here you can see the starlings I saw today in front of my window, some flowers and that yellow girl is my vision of Amanda Gorman, the United States' first-ever youth poet laureate. She recited a powerful poem at the inauguration of President Joe Biden and Vice President Kamala Harris.
Here are some of her words.:
"When day comes we step out of the shade,
aflame and unafraid,
the new dawn blooms as we free it.
For there is always light,
if only we're brave enough to see it.
If only we're brave enough to be it."
I love that message of hope.
thank you www.flickr.com/photos/colorfulexpressions/ for making me pay attention to this moment.
Contacte visual Los encuentros con la fauna salvaje son siempre mágicos, pero cuando establecen contacto visual y además se muestran confiados y no huyen…Eso ya es lo máximo para nosotros como fotógrafos, y más con una lechuza campestre.
Les trobades amb la fauna salvatge són sempre màgics, però quan estableixen contacte visual i a més es mostren confiats i no fugen…Això ja és el màxim per a nosaltres com a fotògrafs, i més amb un mussol marí.
The encounters with wild animals are always magical, but when they make eye contact and also show confidence and don’t flee… That’s already the ultimate for us as photographers, especially with a short eared owl.
#nikonsD500 #sigma150600contemporary #nikonistas #svo #seobirdlife #natgeoyourshot #devesalbuferafoto #birding #albuferadevalencia @nikoneurope @nikonistas @sigmaphotospain @devesalbuferafoto @seobirdlife.cvalenciana @svornitologia
Steel bends creating wondertul curves, repetition and pathways that lead me to the heart of this photograph. Mirrored ceilings pick and choose among elements to reflect and, in doing so, create a brilliant canvas of shape and color and lines. As hues morph across the frame, warm joins cool and firey hot to add a kick of high energy. Staring through my viewfinder, I was lost in this world for awhile.
www.roxanneoverton.com – where you will find more photography and information on my instructional and travel series photography books.
School of Art and Art History at University of Iowa in Iowa City, Iowa. Designed by New York City architect Steven Holl Architects.
Visual for my new Burlesque Performance "Get away from Jack Frost"
Photo © Natalie Herlinghaus
more www.sheila-wolf.de
Photo © Natalie Herlinghaus
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This image is mine. You may not use it anywhere or for any project without my express permission. Rates for commercial applications are available on request.
Please contact me if you would like to arrange a commercial use, or purchase a print of this photograph.
Denis-Papin staircase is an iconic attraction in Blois, the monumental Denis-Papin staircase overlooks the town, provides an unforgettable panoramic view, and regularly enlivens urban space with its original, grandiose decorations.
2019 : Mona Lisa, for the 500th anniversary of the Renaissance.
Blois has been actively participating in the “500 years Renaissance's” program initiated in 2019 by the Centre-Val de Loire region. The year 2019 represents the 500th anniversary of the death of Leonardo da Vinci at the Clos Lucé in Amboise, the 500th anniversary of the birth of Catherine de’ Medici and the 500th anniversary of the commencement of construction of the château of Chambord.
As a complement to the events organized in Blois to celebrate the first of these anniversaries and to pay tribute to Leonardo da Vinci, the risers of the Denis-Papin staircase are comprehensively covered over, from April to October 2019, by a modern-day reconstitution of the celebrated painting by Leonardo, the Mona Lisa.
The Statue at the top of the stairs is of Denis Papin.
Denis Papin 1647 - 1712, was a French-born British physicist who invented the pressure cooker and suggested the first cylinder and piston steam engine. Though his design was not practical, it was improved by others and led to the development of the steam engine, a major contribution to the Industrial Revolution.
The Origins and Purpose of Street Art and Graffiti — A Historical Essay.
Prehistoric and Ancient Beginnings (40,000 BCE – 500 CE)
Graffiti’s origins stretch back to humanity’s earliest visual culture. Prehistoric cave paintings — including hand stencils created by blowing pigment through tubes — functioned as some of the earliest “tags,” marking presence and identity. These date from 40,000–10,000 years ago.
By the classical era, graffiti was widespread across Ancient Greece and Rome, where people scratched messages, jokes, political commentary, and personal boasts into walls. The oldest known written graffito dates to around 500 BCE.
In Pompeii, graffiti served as advertising, satire, political slogans, and everyday communication, revealing the lives of ordinary people rather than elites.
Purpose in this era:
1. Marking presence (“I was here”)
2. Social commentary
3. Recording daily life
4. Religious or political expression
5. Communication by non‑elites otherwise absent from written history
Medieval to Early Modern Graffiti (500–1800 CE)
Graffiti continued through the medieval period, especially in religious and rural landscapes. In the Middle East, the Safaitic inscriptions — scratched onto rocks across Syria, Jordan, and Arabia — are the only surviving record of an ancient Arabic dialect.
In Europe, travellers, workers, and even antiquarians carved names and messages into castles, churches, and monuments. At Stonehenge, 18th‑century visitors left carved signatures, showing graffiti as a record of presence and identity.
Purpose in this era:
1. Recording travel or pilgrimage
2. Personal memorialisation
3. Folk expression by ordinary people
4. Documentation of labourers and craftsmen
The Birth of Modern Graffiti (1950s–1970s)
Modern graffiti culture emerged in Philadelphia in the 1950s, led by figures like Cornbread, who pioneered tagging as a form of self‑promotion and identity.
By the late 1960s and early 1970s, graffiti exploded in New York City, especially on subway trains. Writers such as TAKI 183 and others transformed tagging into a competitive, stylised art form.
This era marks the shift from simple inscriptions to complex lettering, murals, and large-scale public visibility.
Purpose in this era:
1. Personal identity and fame (“getting up”)
2. Reclaiming public space
3. Youth expression in marginalised communities
4. Resistance to social and economic exclusion
The Rise of Street Art (1980s–2000s)
Street art evolved from graffiti but expanded into stencils, wheat‑paste posters, stickers, installations, and murals. Artists like Keith Haring, Jean‑Michel Basquiat, and later Banksy brought street art into global consciousness.
Street art differed from graffiti by focusing less on lettering and more on imagery, political messages, and public commentary.
According to The Art Story, street art grew from the belief that art should be:
1. Accessible to everyone
2. Outside traditional institutions
3. Democratic and empowering
4. A counter‑attack against advertising and corporate messaging
5. Purpose in this era:
6. Political protest
7. Social commentary
8. Challenging authority and capitalism
9. Beautification and community identity
Artistic experimentation outside galleries
Contemporary Street Art and Graffiti (2000s–Present)
Today, graffiti and street art occupy a complex space between vandalism, public art, activism, and cultural heritage.
Graffiti remains illegal in many contexts, yet it is also recognised as a vital form of urban storytelling, especially for marginalised voices.
Street art, meanwhile, is often commissioned by cities, festivals, and cultural institutions, blurring the line between rebellion and acceptance.
Current purposes:
1. Urban regeneration
2. Tourism and cultural branding
3. Community identity
4. Political resistance
5. Artistic innovation
Street art and graffiti are not modern inventions — they are part of a 40,000‑year human tradition of marking presence, expressing identity, and challenging power. From Roman jokes to New York subway tags to global street murals, they remain one of the most democratic and immediate forms of public expression.
Typical landscape of Beauce, the granary of France.
Grain fields as far as the eye can see…
* * *
Paysage typique de la Beauce, le grenier à grains de la France.
Des champs de céréales à perte de vue…
This week's theme of Paint the Moon 52 weeks project is "Story".
“A picture is worth a thousand words.” Napoleon Bonaparte
Do you see the story or a story in this image?
Each of these, in its own way is like a visual haiku to me.
"Winter is that time of year, when so much has been taken away, that what is left is even more beautiful."
Garrison Keillor - Prairie Home Companion
I was sitting on the sidewalk in front of my usual perch trying to get some dramatic shots. It was uncomfortable and I stayed just a few minutes.
Love Park
Philadelphia, Pennsylvania
GRAFFITI
Entendida como una de las expresiones de arte urbano más populares y características de la actualidad, el graffiti no es más que un dibujo o una obra de arte pictórica realizadas en las pares y muros de la calle. Así, el graffiti no se mueve o muestra dentro de círculos intelectuales o privados de arte sino que se caracteriza por ser expuesto de manera pública para que todos lo vean y disfruten día a día. El graffiti es por lo general anónimo y puede tener diferentes objetivos en lo que respecta a la razón de su realización: mientras algunos son meramente artísticos, otros son formulaciones políticas, otros de protesta y muchos otros son simples mensajes sin mayores pretensiones.
La palabra graffiti proviene del italiano y se relaciona con la idea de grafito o de expresión gráfica. Justamente, uno de los elementos más característicos del graffiti es que se realiza siempre de manera gráfica y visual. Por lo general, el graffiti no sigue reglas artísticas más que la misma libertad de expresión del autor, y es por eso que mientras algunos son realmente complejos y verdaderas obras de arte, otros son simples frases escritas con cierta violencia en las paredes o puertas de negocios.
Se estima que los graffitis son siempre realizados por las generaciones más jóvenes que se encuentran opuestas al mundo conservador e institucionalizado de los adultos. En este sentido, en muchos países el graffiti es un delito ya que es considerado suciedad o daño de la propiedad privada. Sin embargo, en diversos lugares el graffiti ya está integrado al tejido urbano y es considerado una verdadera e importante forma de expresión cultural y popular.
Hoy en día, los graffitis se han revigorizado en muchas ciudades ya que se utilizan stencils de gran complejidad e infinitos diseños para establecer ideas o puntos de vista. Algunos de ellos son graciosos, otros cuentan con una importante ironía, pero todos lo hacen desde un lado artístico que debe tenerse en cuenta más allá del hecho en sí del graffiti.
A new visual journal -- courtesy the talented Norma Lydon -- that I just began, having completed the other.