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Charleston, WV. June 2016.
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Not mentioned in the article are Mexico's refusal to sanction Russia and it appears the Netherlands isn't going to follow the U.S. newly announced export control on shipping DUV machines to China.
slkanthan.substack.com/p/american-world-order-in-trouble-10
American World Order in Trouble - 10 Recent News
Events around the globe portend the dramatic weakening of American hegemony
US-led World Order in Trouble
Geopolitics is undergoing tectonic changes, which augur an emerging new world order that will be extremely disruptive to the American unipolar hegemony of the last thirty years. What is unique about this quiet and organic revolution is that it is simultaneously erupting all over the world. And this phenomenon is based on multipolarity and multilateralism, where countries engage and cooperate with each other as equals.
Of course, Americans will be the last people to acknowledge the arrival of a multipolar world. They will be kicking and screaming, “But I live in the greatest country! I want my American Century back! I don’t want to treat those black, brown and commie countries as my equal.”
However, the inexorable cycle of history moves forward. Here are top 10 recent news that together portend a terrible future for American primacy.
German Leader Visits Beijing
Ignoring all the American warnings and threats, German leader Scholz visited China, Germany’s largest goods trading partner. Writing in an op-ed that decoupling from China is not prudent or possible, Scholz took with him leaders of BMW, BASF, Siemens and dozen other largest German corporations.
According to Erdogan, the German Chancellor is also thinking about negotiating with Putin to end the war in Ukraine.
If Germany flips, so will most of Europe, and America’s entire Eurasian strategy of divide-and-rule will be dead.
Saudi Arabia’s Pivot
Saudi Arabia rejects Biden’s demand to increase oil production. Furthermore, Saudis work with Russia (OPEC+) to cut production.
Then, to really rub it in, Saudi Prince MBS invites Xi Jinping for a visit. This won’t be just a fist-jump greeting. Instead, this will involve long-term realignment of Saudi foreign policy and economic interests. Saudis will not only join BRICS but may also entertain the idea of oil-for-Yuan. There are many more areas ripe for strategic partnership – infrastructure, nuclear energy, military etc.
Qatar, the world’s third largest exporter of natural gas -- and not a great ally of the Saudis -- rejects price cap on Russian energy. Qatar also revealed one of the world’s largest solar farms – with 1.8 million solar panels – which was built by a Chinese firm.
It’s like an Arab Spring in the reverse direction!
Rise of Anti-imperialism in Latin America
Anti-imperialists have been winning all across Latin America, including even Colombia. In the latest, Lula wins in Brazil, talks up a new currency to a replace US dollar. He also assigns blame on NATO for the war in Ukraine.
BRICS and SCO Expansion
Iran, Algeria, Turkey, Argentina, Saudi Arabia, Indonesia and others have applied for or shown interest in BRICS membership.
This truly represents multilateralism, with countries from all parts of the world coming together as equals and working towards common prosperity. If they manage to create their own basket of currency that is backed by commodities, it will spell the end of America’s dollar tyranny.
China-led SCO also adds Iran, a geopolitically pivotal player in the Middle East.
As Brzezinski warned twenty-five years ago, the triumvirate of Iran, Russia and China will have the potential to displace American hegemony in Eurasia.
Iran Increases its Strategic Role
Iran’s relatively inexpensive but highly precise drones have been destroying overpriced American and European hi-tech weapons deployed in Ukraine.
Iran’s oil minister visits Russia to discuss far-reaching projects like the North-South freight corridor that links Russia and India through Iran. Other key projects include sea ports in Mediterranean and Caspian seas; LNG terminals; exports of Russian gas; and a pipeline to Pakistan.
Singapore and Vietnam: Solidarity with China
Singapore clearly stated that it is not going to choose between China and USA. Singapore also signs more than a dozen significant trade and technology deals with China.
Vietnam’s leader visits Beijing, hugs Xi Jinping – a rare spectacle, by the way - and deepens the comprehensive strategic partnership between the two countries.
India Emphasizes Multipolar World
India has not only refused to ostracize but Russia but has done the opposite. Indian foreign minister Jaishankar visits Moscow, schmoozes with Russian FM Lavrov, and repeats phrases like “multipolar world” and “re-balanced world” to the utter consternation of Washington elites.
Regarding the same visit, Russia releases press release that calls for a “polycentric world” that opposes “imperialist agendas.” Ouch.
India has also increased purchases of Russian energy products, and even pays for some of it using Yuan. In October, Russia was the #1 supplier of India’s crude oil.
India’s imports from China also increases rapidly.
India, a member of QUAD, is embracing an “all-alignment” policy, which doesn’t bode well for America’s divide-and-rule plans for Asia.
Pakistan and Sri Lanka Coup Aftermath
After US-led coup in Pakistan, the new Prime Minister visits Beijing, renews commitment to CPEC, and secures funding for a 1800km high-speed rail project to be built by China.
Similarly, Sri Lanka’s close relations with China don’t seem to have been affected much after the US-led color revolution. The island country still allows visit by Chinese ships and allegedly even helps refuel Chinese ships in international waters.
International Bankers are Still Pro-China
Swiss bank UBS’ chief says that bankers don’t read American media, and are very bullish on China. Haven’t they read the memo about decoupling and de-globalization? And that China is a threat to the West?
G20 and Asian Leaders Embrace China
If you believed the Western media, China is run by a ruthless dictator and China’s economy is on the verge of collapse. However, looking at how Western leaders were lining up for lucrative deals and a photo op with Xi Jinping, the mainstream narratives sound hollow.
Joe Biden had a three-hour meeting with Xi Jinping; Australian PM met with Xi and then said that he’s against Taiwan joining the CPTPP free trade treaty; Dutch PM’s meeting with Xi was followed by a Dutch minister saying that the Netherlands won’t follow US diktats on exports (referring to the US demand that Dutch ASML stop selling semiconductor chip-making machines to China); and Italy’s new leader announcing her upcoming trip to China. Heck, even Indian PM Modi shook hands and chatted with Xi Jinping — the first time the leaders have spoken since the deadly border skirmish in 2020.
Interestingly, none of these leaders bothered to repeat American propaganda about human rights, Uyghurs etc.
In short, China’s global status has been skyrocketing over the last month. So much for America’s containment strategy.
Conclusion
To paraphrase Lenin, decades are happening in months. The American Empire’s unseen and cynical rules-based order is unraveling at a rapid pace.
America’s biggest geopolitical gamble, the shock-and-awe campaign against Russia, has faltered spectacularly, despite the occasional wins for US-led Ukrainian forces in the battlefield. Europeans are waking up from their hypnotized state and are protesting against NATO and anti-Russia sanctions. Even US Generals are now openly talking about negotiating a peace settlement with Putin.
As for China, it is on solid footing, in spite of America’s countless WTO-violating sanctions and hybrid warfare. Casting aside the incessant and hysterical American propaganda, people in the Global South hold positive views about Russia & China. Even Latin America is trying to break free from the Monroe Doctrine; and the future of Petrodollar might be in trouble!
We are witnessing the birth of a multipolar world, and it’s going to be painful and beautiful.
--- S.L. Kanthan – writer and world traveler, based out of Bangalore, India.
Holy Trinity Church in Kraków
This article is about the Dominican church. See also: floor plan of the same name .
Church of the Holy Trinity
Dominican convent church
Parish Church
Distinctive emblem for cultural property.svg A- 21, 25/03/1931 , A- 188 / M 02/09/1999 [1 ]
View from us . Dominican
Country Poland
In Kraków, ul. Joiners 12
the Roman Catholic
The Roman Catholic Church
Parish of the Holy Trinity
Minor Basilica of 1957
History
Data temple
Location map of the Old Town in Krakow
Church of the Holy Trinity
Church of the Holy Trinity
Earth 50 ° 03'33 .44 " N 19 ° 56'21 , 89 " E
Multimedia Commons Wikimedia Commons
Holy Trinity Church - a historic church located in the Old Town of Krakow, ul. Stolarskiej 12, combined with the Dominican convent.
History
Church. Trinity ( XVII -XIX century )
The service on the ruins of the church after a fire in 1850
Holy Trinity Church
Dominican Republic, with St . Jack at the helm, came to Krakow to Bologna in 1222. He brought the Cracow bishop Iwo Odrowąż who gave the Dominicans partly wood, partly brick parish church. Trinity, moving to a new parish church of St Mary, March 12, 1223, the church was consecrated .
New Gothic church and monastery of the Dominicans began to rise after the Tartar invasion in 1241. Originally it was a three-aisled hall, which was then, at the turn of the fourteenth and fifteenth centuries, the basilica was rebuilt. Until the mid nineteenth century, one of the characteristic features of the exterior of the temple was made of brick bell tower, standing not in front of the facade of the Church Street exit. Carpentry. After a fire in 1850, the church bell tower remained of the burned walls that were demolished during the reconstruction work of the church. In 1876, in place of the tower dostawiono the neo-Gothic facade of the temple porch. It protected the Gothic, the fourteenth-century portal of the main entrance, which was renovated in 1893 Among other things, lists the number of broken fragments of stone.
The end of the glory of the church put a terrible fire Krakow in 1850. It burned the whole interior with the exception of some of the chapels of the nave vault collapsed. Immediately after the fire started a comprehensive reconstruction of the temple. Construction lasted between 1850-1884 , and guided by the architect Theophilus Żebrawski. Blown walls were so weak that they had to dismantle part of the imminent collapse of the facade. After joining the reconstruction, it turned out that even the lower parts of the walls and pillars are too damaged to be able to carry the weight of the new vault. Therefore temporarily propped up with wooden beams and pillars of pressed metal rims. In the years 1853-1854 the rate of recovery was very slow, but such managed to bring the new stained glass windows by German artist Hübner The following year, construction was resumed, supporting silhouetted walls and covering them with arches supported on pillars of brick, stone interleaved only. After removing the props from under the arches of the nave vaults in the morning, April 12, 1855, a portion of the vault and the walls collapsed, damaging a neighboring house. This catastrophe building in Kraków moved public opinion. Especially criticized austerity policies in the selection of materials. In order to ensure adequate control was established in 1856 by a special committee conservation. After collecting the necessary funds and uprzątnięciu debris, only in 1858 began to laying new foundations for the pillars. Three years later roofed aisles, and in 1863 - the main nave. Basic work on the reconstruction was completed in 1872 . As a result, the appearance of the temple has changed considerably, which was criticized by the artistic community. Especially firmly decided to include sculptor Edward Stehlik. Later, many attacks also met Francis activity prior Pavoni who has pseudogotyckich interior alterations, furnishings and architectural details of the church. At the present time a high altar, choir stalls and confessionals. After the restoration, in 1884, the church was consecrated .
Since 1957 the church is a basilica minor .
Interior
Today the Trinity church is a three-nave Gothic temple of brick and stone, built in the characteristic of the Krakow-skarpowym (clothing) pillar system, with an elongated choir ended straight wall.
In the church, next to the main altar, is buried Leszek the Black Prince, who died in 1288. In the chancel of the church has a brown plate eminent humanist Filip Callimachus , who died in 1496, and made according to a design by Veit Stoss.
Authorities built in the 1890s the company Rieger Brothers of Jägerndorfu as opus 756. The instrument has 30 votes, mechanical and pneumatic tracker game tracker registers. It is a valuable and interesting example of the romantic organ building, while maintaining to this day its original concept of the tone.
Chapels
The interior of the church
Nave south (right )
Saint Joseph's Oratory. Rose Limańskiej (Lubomirski) - built in the early seventeenth century Gothic chapel, burial place Pilecki (erected in the late fourteenth century). The founders were Sebastian Lubomirski and his wife Anna Branicka, their portraits are on the walls in TONDACH brakes. The interior of the dome filled with images of St. Sebastian, Stanislaw and Anna Samotrzeć and the prophet Elijah, in the niches are statues of saints (Dominik, Stanislaus, Stanislaus Kostka, Czeslaw, Kazimierz, Jacek, Florian and Wojciech). The chapel was closed seventeenth century grid.
Saint Joseph's Oratory. Thomas - built in the fifteenth century by the characteristics of tailors. Is covered with a dome network. Equipment is designed by Marian Pavoni neo-Gothic altar with statues of St. Thomas, Casimir Stanislaus Kostka, Anthony and Albert, Renaissance tomb of Nicholas Bogusz Krasnystaw governor and Tommaso Dolabella image depicting a school of St . Thomas Aquinas.
Chapel of the Saviour (Przeździeckich) - placed by Nicholas Edeling in 1368, subsequent came under the care of the bakers' guild, and in the sixteenth century passed into the possession of the family Orliki. After a fire in 1850 and restored by the family Przeździeckich. Equipped with a neo-Gothic altar made by Edward Stehlik, designed by Theophilus Żebrawskiego.
Saint Joseph's Oratory. Joseph (Szafraniec, Provanów) - built in the fifteenth century by the characteristics of shoemakers, after many years was owned by the family Szafraniec. Equipment is a neo-Gothic altar designed by Marian Pavoni with the image of Christ in the Holy workshop. Joseph John Angelika Drewaczyńskiego brush and Mannerist tombstone Prosper Prov - żupnika Wieliczka .
Saint Joseph's Oratory. Dominic Myszkowskis - founded in 1614. It is located on the second to last in the side, the right aisle. It is specific and easy to recognize because it can see a gallery of family Myszkowskis. These are the family carved figures inside the dome. This chapel is easy to recognize from the outside, because it is decorated with rustication. The building was used srebrzystoczarny (shiny metallic grey) noble marble columns are colored in soft, broken pink and white sculptures emphasize elegance.
Chapel of the Rosary - it was built on a Greek cross with a dome over the intersection of the arms in the years 1685-1688 on the site of an earlier fifteenth- century chapel of the Annunciation. In 1668 was placed in the chapel of the image of Our Lady of the Rosary, which according to tradition was to belong to St . Stanislaus Kostka. It is located between the main altar with statues of St . Pius V and error . Benedict IX. The walls and ceiling covered by a polychrome painted over in 1820 by Teodor Baltazar Stachowicz and in 1875 by Valentine and Wladyslaw Bąkowskich. It reveals the mysteries of the Rosary, the coronation of the Blessed Virgin Mary, the saints and angelic choirs. The chapel is the tomb of Stanislaus Sołtyka by F. Pozzi, painting of the Madonna and Child in a silver dress and the statue of Christ the Man of Sorrows in the early sixteenth century. Since 1983, the chapel is the burial place Teofili Sobieska mother of King John III Sobieski , and Marek Sobieski (brother of John III) .
Nave north (left )
Headstone of General Jan Skrzynecki in the chapel of Jesus Crucified
Saint Joseph's Oratory. Catherine of Siena (Zbaraskis) - built the foundation of George Zbaraskiego Castellan of Cracow in the years 1627-1633 by Andrew and Anthony Castellich. Perched on a rectangular plan and is covered with a dome of elliptical projection. The interior is made of black marble. Opposite the entrance is an altar with a picture of Teodor Baltazar Stachowicz showing a vision of St . Catherine of Siena. On both sides of the picture are statues of St . St. Catherine of Alexandria and St . Catherine of Siena. On the right side of the altar - George Zbaraskiego tombstone, and on the left - Christopher Zbaraskiego. The chapel was closed grille of the 2nd half. Nineteenth century, mounted on a marble balustrade.
Saint Joseph's Oratory. Mary Magdalene (Malachowski) - built in the fifteenth century, in the sixteenth century wore call St . John the Baptist, and was owned by the family Tęczyńska. Since 1884 belongs to the family Malachowski. It is located in the neo-Gothic design by Marian altar painting of St. Pavoni. Mary Magdalene Wladyslaw Bąkowski brush, painting Feast of Simon Thomas Dolabella and Malachowskis tombstone from 1884.
Chapel of Jesus Crucified - built in the late fourteenth century with the foundation of John Castellan łęczycki Ligęza. It wore once call St . Stanislaus. In the seventeenth taken care of her features masons. At the arcade, there are fragments of Gothic paintings from the end of the fourteenth century St . Catherine of Alexandria and the two prophets. The equipment includes the neo-Gothic altar designed by Marian Pavoni an image of Christ crucified Joseph Simmler brush. The high altar is gothic reliquary containing the remains of Bl. Wit - the thirteenth-century apostle of Lithuania. In front of the altar is the marble tomb of General Jan Skrzynecki. In the chapel Masses are celebrated on the anniversary of the Battle of Olszynka Grochowska.
Chapel of the Holy . Jack - in it, in a late Baroque tomb placed on the altar are the remains of the saint. The altar was made in the years 1695-1703 by Baltazar Fontana. The same artist around 1700 the chapel decorated with stucco. Then covered wall murals Charles Dankwart. In the chapel there are also scenes from the life of St . Jack painted by Tomasz Dolabella. The chapel is closed grille of the mid-eighteenth century.
Monastery
The monastic buildings adjacent to the church on the north and center on three wirydarzy. The galleries around the first of them are called campo santo Krakow because of the numerous monuments, tombstones and epitaphs set in the walls. Cross-ribbed vault of the cloister dates from the fourteenth century, tombstones and epitaphs in most of the sixteenth and seventeenth centuries. The oldest portion of the buildings are Romanesque refectory of wild stone and portal decorated with braid. Is identified with the original church of St. Trinity devoted to the Dominicans in 1222 by Iwo Odrowąż, or the oratory built after the fire of 1225 years. Inside are paintings of the fifteenth and sixteenth centuries. On the left of the Roman relics are early Gothic windows, identified by some scholars of the Church of the former St . Thomas. The buildings also include:
chapter house erected from the thirteenth to the beginning. The sixteenth century. It leads to the Gothic portal .
Gothic hall is covered with cross-ribbed vault supported on three pillars
Old library, built in the thirteenth, and rebuilt in the seventeenth century.
Stock monastery include, among others portraits of the bishops of the Dominican order, Tommaso Dolabella images from the years 1614 to 1620, the so-called accommodation. Dominican polyptych by the Master of the Dominican Passion, painting of St . Jude Luke Orlowski, Vision of St. Sophie Michael Stachowicz, alabaster sculpture Gothic Madonna and Child (called jacks) on the head reliquary of St . Jack baroque vestments, numerous incunabula, old books and even manuscripts from the thirteenth century.
pl.wikipedia.org/wiki/Bazylika_%C5%9Awi%C4%99tej_Tr%C3%B3...
Liz by Andy Warhol. Ken C. Arnold Art Collection Andy Warhol
From Wikipedia, the free encyclopediaJump to:navigation, search
For the song by David Bowie, see Andy Warhol (song)
Andy Warhol
Warhol in 1977
Birth name Andrew Warhola
Born August 6, 1928(1928-08-06)
Pittsburgh, Pennsylvania, U.S.
Died February 22, 1987 (aged 58)
New York City, U.S.
Nationality American
Field Painting, Cinema
Training Carnegie Mellon University
Movement Pop art
Works Chelsea Girls (1966 film)
Exploding Plastic Inevitable (1966 event)
Campbell's Soup Cans (1962 painting)
Andrew Warhola (August 6, 1928 – February 22, 1987), known as Andy Warhol, was an American painter, printmaker, and filmmaker who was a leading figure in the visual art movement known as pop art. After a successful career as a commercial illustrator, Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and public figure known for his membership in wildly diverse social circles that included bohemian street people, distinguished intellectuals, Hollywood celebrities and wealthy patrons.
Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression "15 minutes of fame." In his hometown of Pittsburgh, Pennsylvania, The Andy Warhol Museum exists in memory of his life and artwork.
The highest price ever paid for a Warhol painting is $100 million for a 1963 canvas titled Eight Elvises. The private transaction was reported in a 2009 article in The Economist, which described Warhol as the "bellwether of the art market." $100 million is a benchmark price that only Jackson Pollock, Pablo Picasso, Gustav Klimt and Willem de Kooning have achieved.[1]
Contents [hide]
1 Childhood
2 Early career
3 1960s
4 Attempted assassination
5 1970s
6 1980s
7 Sexuality
8 Religious beliefs
9 Death
10 Works
10.1 Paintings
10.2 Films
10.3 Factory in New York
10.4 Filmography
10.5 Music
10.6 Books and print
10.7 Other media
10.8 Producer and product
11 Dedicated museums
12 Movies about Warhol
12.1 Dramatic portrayals
12.2 Documentaries
13 See also
14 References
15 Further reading
16 External links
Childhood
Warhol's childhood home at 3252 Dawson Street in the South Oakland neighborhood of Pittsburgh, PennsylvaniaAndy Warhol was born in Pittsburgh, Pennsylvania.[2] He was the fourth child of Ondrej Warhola (died 1942)[3] and Julia (nee Zavacka, 1892-1972),[4] whose first child was born in their homeland and died before their migration to the U.S. His parents were working-class immigrants from Mikó (now called Miková), in northeastern Slovakia, then part of Austro-Hungarian Empire. Warhol's father immigrated to the US in 1914, and his mother joined him in 1921, after the death of Andy Warhol's grandparents. Warhol's father worked in a coal mine. The family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh.[5] The family was Byzantine Catholic and attended St. John Chrysostom Byzantine Catholic Church. Andy Warhol had two older brothers, Ján and Pavol, who were born in today's Slovakia. Pavol's son, James Warhola, became a successful children's book illustrator.
In third grade, Warhol had chorea, the nervous system disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever and causes skin pigmentation blotchiness.[6] He became a hypochondriac, developing a fear of hospitals and doctors. Often bed-ridden as a child, he became an outcast among his school-mates and bonded strongly with his mother.[7] At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.[8]
Early career
Warhol showed early artistic talent and studied commercial art at the School of Fine Arts at Carnegie Institute of Technology in Pittsburgh, Pennsylvania (now Carnegie Mellon University).[9] In 1949, he moved to New York City and began a successful career in magazine illustration and advertising. During the 1950s, he gained fame for his whimsical ink drawings of shoe advertisements. These were done in a loose, blotted-ink style, and figured in some of his earliest showings at the Bodley Gallery in New York. With the concurrent rapid expansion of the record industry and the introduction of the vinyl record, Hi-Fi, and stereophonic recordings, RCA Records hired Warhol, along with another freelance artist, Sid Maurer, to design album covers and promotional materials.[10]
Campbell's Soup I (1968)1960s
His first one-man art-gallery exhibition as a fine artist[11][12] was on July 9, 1962, in the Ferus Gallery of Los Angeles. The exhibition marked the West Coast debut of pop art.[13] Andy Warhol's first New York solo Pop exhibit was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962. The exhibit included the works Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles and 100 Dollar Bills. At the Stable Gallery exhibit, the artist met for the first time John Giorno who would star in Warhol's first film, Sleep, in 1963.[citation needed]
It was during the 1960s that Warhol began to make paintings of iconic American products such as Campbell's Soup Cans and Coca-Cola bottles, as well as paintings of celebrities such as Marilyn Monroe, Elvis Presley, Troy Donahue, Muhammad Ali and Elizabeth Taylor. He founded "The Factory", his studio during these years, and gathered around himself a wide range of artists, writers, musicians, and underground celebrities. He began producing prints using the silkscreen method. His work became popular and controversial.
Among the imagery tackled by Warhol were dollar bills, celebrities and brand name products. He also used as imagery for his paintings newspaper headlines or photographs of mushroom clouds, electric chairs, and police dogs attacking civil rights protesters. Warhol also used Coca Cola bottles as subject matter for paintings. He had this to say about Coca Cola:
What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.[14]
New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception. Throughout the decade it became more and more clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.[citation needed]
Campbell's Tomato Juice Box (1964)A pivotal event was the 1964 exhibit The American Supermarket, a show held in Paul Bianchini's Upper East Side gallery. The show was presented as a typical U.S. small supermarket environment, except that everything in it – from the produce, canned goods, meat, posters on the wall, etc. – was created by six prominent pop artists of the time, among them the controversial (and like-minded) Billy Apple, Mary Inman, and Robert Watts. Warhol's painting of a can of Campbell's soup cost $1,500 while each autographed can sold for $6. The exhibit was one of the first mass events that directly confronted the general public with both pop art and the perennial question of what art is (or of what is art and what is not).[citation needed]
As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; in the 1960s, however, this was particularly true. One of the most important collaborators during this period was Gerard Malanga. Malanga assisted the artist with producing silkscreens, films, sculpture, and other works at "The Factory", Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).[15]
During the '60s, Warhol also groomed a retinue of bohemian eccentrics upon whom he bestowed the designation "Superstars", including Edie Sedgwick, Viva, Ultra Violet, and Candy Darling. These people all participated in the Factory films, and some – like Berlin – remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time.
Attempted assassination
On June 3, 1968, Valerie Solanas shot Warhol and art critic and curator Mario Amaya at Warhol's studio.[16] Before the shooting, Solanas had been a marginal figure in the Factory scene. She founded a "group" called S.C.U.M. (Society for Cutting Up Men) and authored the S.C.U.M. Manifesto, a separatist feminist attack on patriarchy. Over the years, Solanas' manifesto has found a following.[17] Solanas appears in the 1968 Warhol film I, A Man. Earlier on the day of the attack, Solanas had been turned away from the Factory after asking for the return of a script she had given to Warhol. The script, apparently, had been misplaced.[18]
Amaya received only minor injuries and was released from the hospital later the same day. Warhol however, was seriously wounded by the attack and barely survived (surgeons opened his chest and massaged his heart to help stimulate its movement again). He suffered physical effects for the rest of his life. The shooting had a profound effect on Warhol's life and art.[19][20]
Solanas was arrested the day after the assault. By way of explanation, she said that Warhol "had too much control over my life." She was eventually sentenced to three years under the control of the Department of Corrections. After the shooting, the Factory scene became much more tightly controlled, and for many this event brought the "Factory 60s" to an end.[20] The shooting was mostly overshadowed in the media due to the assassination of Robert F. Kennedy two days later.
Warhol had this to say about the attack: "Before I was shot, I always thought that I was more half-there than all-there – I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television – you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television." [21]
1970s
Andy Warhol and Jimmy Carter in 1977Compared to the success and scandal of Warhol's work in the 1960s, the 1970s proved a much quieter decade, as Warhol became more entrepreneurial. According to Bob Colacello, Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions– including Shah of Iran Mohammad Reza Pahlavi, his wife Empress Farah Pahlavi, his sister Princess Ashraf Pahlavi, Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, Brigitte Bardot, and Michael Jackson.[22][citation needed] Warhol's famous portrait of Chinese Communist leader Mao Zedong was created in 1973. He also founded, with Gerard Malanga, Interview magazine, and published The Philosophy of Andy Warhol (1975). An idea expressed in the book: "Making money is art, and working is art and good business is the best art."[cite this quote]
Warhol used to socialize at various nightspots in New York City, including Max's Kansas City; and, later in the '70s, Studio 54.[23] He was generally regarded as quiet, shy, and a meticulous observer. Art critic Robert Hughes called him "the white mole of Union Square."[24]
1980s
Warhol had a re-emergence of critical and financial success in the 1980s, partially due to his affiliation and friendships with a number of prolific younger artists, who were dominating the "bull market" of '80s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle and other so-called Neo-Expressionists, as well as members of the Transavantgarde movement in Europe, including Francesco Clemente and Enzo Cucchi.
By this period, Warhol was being criticized for becoming merely a "business artist".[25] In 1979, unfavorable reviews met his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. This criticism was echoed for his 1980 exhibit of ten portraits at the Jewish Museum in New York, entitled Jewish Geniuses, which Warhol – who exhibited no interest in Judaism or matters of interest to Jews – had described in his diary as "They're going to sell."[25] In hindsight, however, some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times," contending that "Warhol had captured something irresistible about the zeitgeist of American culture in the 1970s."[25]
Warhol also had an appreciation for intense Hollywood glamour. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic."[26]
Sexuality
Warhol never married or had children.[27] Many people think of him as asexual and merely a "voyeur"; however, it is now well-established that he was homosexual (see biographers such as Victor Bockris, Bob Colacello,[28] and art historian Richard Meyer[29]). The question of his sexuality aside, Warhol stated in a 1980 interview that he was still a virgin.[30] The question of how Warhol's sexuality influenced his work and shaped his relationship to the art world is a major subject of scholarship on the artist, and is an issue that Warhol himself addressed in interviews, in conversation with his contemporaries, and in his publications (e.g. Popism: The Warhol Sixties).
Throughout his career, Warhol produced erotic photography and drawings of male nudes. Many of his most famous works (portraits of Liza Minnelli, Judy Garland, and Elizabeth Taylor, and films like Blow Job, My Hustler, and Lonesome Cowboys) draw from gay underground culture and/or openly explore the complexity of sexuality and desire. Many of his films premiered in gay porn theaters. That said, some stories about Warhol's development as an artist revolved around the obstacle his sexuality initially presented as he tried to launch his career. The first works that he submitted to a gallery in the pursuit of a career as an artist were homoerotic drawings of male nudes. They were rejected for being too openly gay.[31] In Popism, furthermore, the artist recalls a conversation with the film maker Emile de Antonio about the difficulty Warhol had being accepted socially by the then more famous (but closeted) gay artists Jasper Johns and Robert Rauschenberg. De Antonio explained that Warhol was "too swish and that upsets them." In response to this, Warhol writes, "There was nothing I could say to that. It was all too true. So I decided I just wasn't going to care, because those were all the things that I didn't want to change anyway, that I didn't think I 'should' want to change... Other people could change their attitudes but not me".[32][33] In exploring Warhol's biography, many turn to this period – the late 1950s and early 1960s – as a key moment in the development of his persona. Some have suggested that his frequent refusal to comment on his work, to speak about himself (confining himself in interviews to responses like "Um, No" and "Um, Yes", and often allowing others to speak for him) – and even the evolution of his Pop style – can be traced to the years when Warhol was first dismissed by the inner circles of the New York art world.[34]
Religious beliefs
Images of Jesus from The Last Supper cycle (1986). Warhol made almost 100 variations on the theme, which the Guggenheim felt "indicates an almost obsessive investment in the subject matter."[35]Warhol was a practicing Byzantine Catholic. He regularly volunteered at homeless shelters in New York, particularly during the busier times of the year, and described himself as a religious person.[36] Several of Warhol's later works depicted religious subjects, including two series, Details of Renaissance Paintings (1984) and The Last Supper (1986). In addition, a body of religious-themed works was found posthumously in his estate.[36]
During his life, Warhol regularly attended Mass, and the priest at Warhol's church, Saint Vincent's, said that the artist went there almost daily,[36] although he never took communion or made confession and sat or knelt in the pews at the back.".[30] The priest thought he was afraid of being recognized; Warhol said he was self-conscious about being seen in a Roman Catholic church crossing himself "in the Orthodox way" (right to left instead of the reverse).[30]
His art is noticeably influenced by the eastern Christian iconographic tradition which was so evident in his places of worship.[36]
Warhol's brother has described the artist as "really religious, but he didn't want people to know about that because [it was] private." Despite the private nature of his faith, in Warhol's eulogy John Richardson depicted it as devout: "To my certain knowledge, he was responsible for at least one conversion. He took considerable pride in financing his nephew's studies for the priesthood".[36]
Death
Warhol died in New York City at 6:32 a.m. on February 22, 1987. According to news reports, he had been making good recovery from a routine gallbladder surgery at New York Hospital before dying in his sleep from a sudden post-operative cardiac arrhythmia.[37] Prior to his diagnosis and operation, Warhol delayed having his recurring gallbladder problems checked, as he was afraid to enter hospitals and see doctors. His family sued the hospital for inadequate care, saying that the arrhythmia was caused by improper care and water intoxication.[38]
Warhol's grave at St. John the Baptist Byzantine Catholic CemeteryWarhol's body was taken back to Pittsburgh by his brothers for burial. The wake was at Thomas P. Kunsak Funeral Home and was an open-coffin ceremony. The coffin was a solid bronze casket with gold plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and sunglasses. He was posed holding a small prayer book and a red rose. The funeral liturgy was held at the Holy Ghost Byzantine Catholic Church on Pittsburgh's North Side. The eulogy was given by Monsignor Peter Tay. Yoko Ono also made an appearance. The coffin was covered with white roses and asparagus ferns. After the liturgy, the coffin was driven to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a south suburb of Pittsburgh. At the grave, the priest said a brief prayer and sprinkled holy water on the casket. Before the coffin was lowered, Paige Powell dropped a copy of Interview magazine, an Interview t-shirt, and a bottle of the Estee Lauder perfume "Beautiful" into the grave. Warhol was buried next to his mother and father. Weeks later a memorial service was held in Manhattan for Warhol on April 1, 1987, at St. Patrick's Cathedral, New York.
Warhol's will dictated that his entire estate – with the exception of a few modest legacies to family members – would go to create a foundation dedicated to the "advancement of the visual arts". Warhol had so many possessions that it took Sotheby's nine days to auction his estate after his death; the auction grossed more than US$20 million. His total estate was worth considerably more, due in no small part to shrewd investments over the years.[citation needed]
In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts was founded. The Foundation not only serves as the official Estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature."[39]
The Artists Rights Society is the U.S. copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills.[40] The U.S. copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh.[41] Additionally, the Andy Warhol Foundation for the Visual Arts has agreements in place for its image archive. All digital images of Warhol are exclusively managed by Corbis, while all transparency images of Warhol are managed by Art Resource.[42]
The Andy Warhol Foundation released its 20th Anniversary Annual Report as a three-volume set in 2007: Vol. I, 1987–2007; Vol. II, Grants & Exhibitions; and Vol. III, Legacy Program.[43] The Foundation remains one of the largest grant-giving organizations for the visual arts in the U.S.[44]
Works
Paintings
This section needs references that appear in reliable third-party publications. Primary sources or sources affiliated with the subject are generally not sufficient for a Wikipedia article. Please add more appropriate citations from reliable sources. (February 2009)
By the beginning of the 1960s, Warhol was a very successful commercial illustrator. His detailed and elegant drawings for I. Miller shoes were particularly popular. These illustrations consisted mainly of "blotted ink" drawings (or monoprints), a technique which he applied in much of his early art. Although many artists of this period worked in commercial art, most did so discreetly. Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.
Pop Art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning). Warhol's first Pop Art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced.[45] Eventually, Warhol pared his image vocabulary down to the icon itself – to brand names, celebrities, dollar signs – and removed all traces of the artist's "hand" in the production of his paintings.
To him, part of defining a niche was defining his subject matter. Cartoons were already being used by Lichtenstein, typography by Jasper Johns, and so on; Warhol wanted a distinguishing subject. His friends suggested he should paint the things he loved the most. It was the gallerist Muriel Latow who came up with the ideas for both the soup cans and Warhol's dollar paintings. On 23 November 1961 Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, Pop, The Genius of Warhol, was payment for coming up with the idea of the soup cans as subject matter.[46] For his first major exhibition Warhol painted his famous cans of Campbell's Soup, which he claimed to have had for lunch for most of his life. The work sold for $10,000 at an auction on November 17, 1971, at Sotheby's New York – a minimal amount for the artist whose paintings sell for over $6 million more recently.[47]
He loved celebrities, so he painted them as well. From these beginnings he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the hand-made from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations.[48]
In 1979, Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project. Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile. It was indicated that Warhol spent only a total of 23 minutes to paint the entire car.[49]
Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques– silkscreens, reproduced serially, and often painted with bright colors – whether he painted celebrities, everyday objects, or images of suicide, car crashes, and disasters, as in the 1962–63 Death and Disaster series. The Death and Disaster paintings (such as Red Car Crash, Purple Jumping Man, and Orange Disaster) transform personal tragedies into public spectacles, and signal the use of images of disaster in the then evolving mass media.
The unifying element in Warhol's work is his deadpan Keatonesque style – artistically and personally affectless. This was mirrored by Warhol's own demeanor, as he often played "dumb" to the media, and refused to explain his work. The artist was famous for having said that all you need to know about him and his works is already there, "Just look at the surface of my paintings and films and me, and there I am. There's nothing behind it." [50]
His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works – and their means of production – mirrored the atmosphere at Andy's New York "Factory". Biographer Bob Colacello provides some details on Andy's "piss paintings":
Victor... was Andy's ghost pisser on the Oxidations. He would come to the Factory to urinate on canvases that had already been primed with copper-based paint by Andy or Ronnie Cutrone, a second ghost pisser much appreciated by Andy, who said that the vitamin B that Ronnie took made a prettier color when the acid in the urine turned the copper green. Did Andy ever use his own urine? My diary shows that when he first began the series, in December 1977, he did, and there were many others: boys who'd come to lunch and drink too much wine, and find it funny or even flattering to be asked to help Andy 'paint.' Andy always had a little extra bounce in his walk as he led them to his studio...[51]
Warhol's first portrait of Basquiat (1982) is a black photosilkscreen over an oxidized copper "piss painting".
After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand in a series of over 50 large collaborative works done with Jean-Michel Basquiat between 1984 and 1986.[52][53] Despite negative criticism when these were first shown, Warhol called some of them "masterpieces," and they were influential for his later work.[54]
The influence of the large collaborations with Basquiat can be seen in Warhol's The Last Supper cycle, his last and possibly his largest series, seen by some as "arguably his greatest,"[55] but by others as “wishy-washy, religiose” and “spiritless."[56] It is also the largest series of religious-themed works by any U.S. artist.[55]
At the time of his death, Warhol was working on Cars, a series of paintings for Mercedes-Benz. [57]
Films
Warhol worked across a wide range of media – painting, photography, drawing, and sculpture. In addition, he was a highly prolific filmmaker. Between 1963 and 1968, he made more than 60 films [58], plus some 500 short black-and-white "screen test" portraits of Factory visitors.[59] One of his most famous films, Sleep, monitors poet John Giorno sleeping for six hours. The 35-minute film Blow Job is one continuous shot of the face of DeVeren Bookwalter supposedly receiving oral sex from filmmaker Willard Maas, although the camera never tilts down to see this. Another, Empire (1964), consists of eight hours of footage of the Empire State Building in New York City at dusk. The film Eat consists of a man eating a mushroom for 45 minutes. Warhol attended the 1962 premiere of the static composition by LaMonte Young called Trio for Strings and subsequently created his famous series of static films including Kiss, Eat, and Sleep (for which Young initially was commissioned to provide music). Uwe Husslein cites filmmaker Jonas Mekas, who accompanied Warhol to the Trio premiere, and who claims Warhol's static films were directly inspired by the performance.[60]
Batman Dracula is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics. It was screened only at his art exhibits. A fan of the Batman series, Warhol's movie was an "homage" to the series, and is considered the first appearance of a blatantly campy Batman. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary Jack Smith and the Destruction of Atlantis.
Warhol's 1965 film Vinyl is an adaptation of Anthony Burgess' popular dystopian novel A Clockwork Orange. Others record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico, and Jackie Curtis. Legendary underground artist Jack Smith appears in the film Camp.
His most popular and critically successful film was Chelsea Girls (1966). The film was highly innovative in that it consisted of two 16 mm-films being projected simultaneously, with two different stories being shown in tandem. From the projection booth, the sound would be raised for one film to elucidate that "story" while it was lowered for the other. The multiplication of images evoked Warhol's seminal silk-screen works of the early 1960s.
Other important films include Bike Boy, My Hustler, and Lonesome Cowboys, a raunchy pseudo-western. These and other titles document gay underground and camp culture, and continue to feature prominently in scholarship about sexuality and art.[61][62] Blue Movie – a film in which Warhol superstar Viva makes love and fools around in bed with a man for 33 minutes of the film's playing-time – was Warhol's last film as director. The film was at the time scandalous for its frank approach to a sexual encounter. For many years Viva refused to allow it to be screened. It was publicly screened in New York in 2005 for the first time in over thirty years.
After his June 3, 1968, shooting, a reclusive Warhol relinquished his personal involvement in filmmaking. His acolyte and assistant director, Paul Morrissey, took over the film-making chores for the Factory collective, steering Warhol-branded cinema towards more mainstream, narrative-based, B-movie exploitation fare with Flesh, Trash, and Heat. All of these films, including the later Andy Warhol's Dracula and Andy Warhol's Frankenstein, were far more mainstream than anything Warhol as a director had attempted. These latter "Warhol" films starred Joe Dallesandro – more of a Morrissey star than a true Warhol superstar.
In the early '70s, most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. After Warhol's death, the films were slowly restored by the Whitney Museum and are occasionally projected at museums and film festivals. Few of the Warhol-directed films are available on video or DVD.
Factory in New York
Factory: 1342 Lexington Avenue (the first Factory)
The Factory: 231 East 47th street 1963-1967 (the building no longer exists)
Factory: 33 Union Square 1967-1973 (Decker Building)
Factory: 860 Broadway (near 33 Union Square) 1973-1984 (the building has now been completely remodeled and was for a time (2000–2001) the headquarters of the dot-com consultancy Scient)
Factory: 22 East 33rd Street 1984-1987 (the building no longer exists)
Home: 1342 Lexington Avenue
Home: 57 East 66th street (Warhol's last home)
Last personal studio: 158 Madison Avenue
Filmography
Main article: Andy Warhol filmography
Music
In the mid 1960s, Warhol adopted the band the Velvet Underground, making them a crucial element of the Exploding Plastic Inevitable multimedia performance art show. Warhol, with Paul Morrissey, acted as the band's manager, introducing them to Nico (who would perform with the band at Warhol's request). In 1966 he "produced" their first album The Velvet Underground & Nico, as well as providing its album art. His actual participation in the album's production amounted to simply paying for the studio time. After the band's first album, Warhol and band leader Lou Reed started to disagree more about the direction the band should take, and their artistic friendship ended.[citation needed]
Warhol designed many album covers for various artists starting with the photographic cover of John Wallowitch's debut album, This Is John Wallowitch!!! (1964). He designed the cover art for the Rolling Stones albums Sticky Fingers (1971) and Love You Live (1977), and the John Cale albums The Academy In Peril (1972) and Honi Soit in 1981. In 1975, Warhol was commissioned to do several portraits of Mick Jagger, and in 1982 he designed the album cover for the Diana Ross album Silk Electric.[citation needed] One of his last works was a portrait of Aretha Franklin for the cover of her 1986 gold album Aretha, which was done in the style of the Reigning Queens series he had completed the year before.[63]
Warhol was also friendly with many recording artists, including Deborah Harry, Grace Jones, Diana Ross and John Lennon (with whom he posed for an infamous photograph[64]) - he designed the cover to Lennon's 1986 posthumously released Menlove Ave. Warhol also appeared as a bartender in The Cars' music video for their single "Hello Again", and Curiosity Killed The Cat's video for their "Misfit" single (both videos, and others, were produced by Warhol's video production company).[citation needed] Warhol featured in Grace Jones' music video for "I'm Not Perfect (But I'm Perfect for You)".
Warhol strongly influenced the New Wave/punk rock band Devo, as well as David Bowie. Bowie recorded a song called "Andy Warhol" for his 1971 album Hunky Dory. Lou Reed wrote the song "Andy's Chest", about Valerie Solanas, the woman who shot Warhol, in 1968. He recorded it with the Velvet Underground, but this version wasn't officially released until the VU album appeared in 1985. He recorded a new version for his 1972 solo album Transformer, produced by Bowie and Mick Ronson.[citation needed]
Cover of copy no. 18 of 25 Cats Name [sic] Sam and One Blue Pussy by Andy Warhol given in 1954 to Edgar de Evia and Robert Denning when the author was a guest in their home in the Rhinelander Mansion.[citation needed]Books and print
Beginning in the early 1950s, Warhol produced several unbound portfolios of his work.
The first of several bound self-published books by Warhol was 25 Cats Name Sam and One Blue Pussy, printed in 1954 by Seymour Berlin on Arches brand watermarked paper using his blotted line technique for the lithographs. The original edition was limited to 190 numbered, hand colored copies, using Dr. Martin's ink washes. Most of these were given by Warhol as gifts to clients and friends. Copy #4, inscribed "Jerry" on the front cover and given to Geraldine Stutz, was used for a facsimile printing in 1987[65] and the original was auctioned in May 2006 for US $35,000 by Doyle New York.[66]
Other self-published books by Warhol include:
A Gold Book
Wild Raspberries
Holy Cats
After gaining fame, Warhol "wrote" several books that were commercially published:
a, A Novel (1968, ISBN 0-8021-3553-6) is a literal transcription– containing spelling errors and phonetically written background noise and mumbling– of audio recordings of Ondine and several of Andy Warhol's friends hanging out at the Factory, talking, going out.[citation needed]
The Philosophy of Andy Warhol (From A to B & Back Again) (1975, ISBN 0-15-671720-4)– according to Pat Hackett's introduction to The Andy Warhol Diaries, Pat Hackett did the transcriptions and text for the book based on daily phone conversations, sometimes (when Warhol was traveling) using audio cassettes that Andy Warhol gave her. Said cassettes contained conversations with Brigid Berlin (also known as Brigid Polk) and former Interview magazine editor Bob Colacello.[citation needed]
Popism: The Warhol Sixties (1980, ISBN 0-15-672960-1), authored by Warhol and Pat Hackett is a retrospective view of the sixties and the role of Pop Art.
The Andy Warhol Diaries (1989, ISBN 0-446-39138-7), edited by Pat Hackett, is a diary dictated by Warhol to Hackett in daily phone conversations. Warhol started the diary to keep track of his expenses after being audited, although it soon evolved to include his personal and cultural observations.[67]
Warhol created the fashion magazine Interview that is still published today. The loopy title script on the cover is thought to be either his own handwriting or that of his mother, Julia Warhola, who would often do text work for his early commercial pieces.[68]
Other media
As stated, although Andy Warhol is most known for his paintings and films, he has authored works in many different media.
Drawing: Warhol started his career as a commercial illustrator, producing drawings in "blotted-ink" style for advertisements and magazine articles. Best known of these early works are his drawings of shoes. Some of his personal drawings were self-published in small booklets, such as Yum, Yum, Yum (about food), Ho, Ho, Ho (about Christmas) and (of course) Shoes, Shoes, Shoes. His most artistically acclaimed book of drawings is probably A Gold Book, compiled of sensitive drawings of young men. A Gold Book is so named because of the gold leaf that decorates its pages.[69]
Sculpture: Warhol's most famous sculpture is probably his Brillo Boxes, silkscreened ink on wood replicas of Brillo soap pad boxes (designed by James Harvey), part of a series of "grocery carton" sculptures that also included Heinz ketchup and Campbell's tomato juice cases.[70] Other famous works include the Silver Clouds– helium filled, silver mylar, pillow-shaped balloons. A Silver Cloud was included in the traveling exhibition Air Art (1968–69) curated by Willoughby Sharp. Clouds was also adapted by Warhol for avant-garde choreographer Merce Cunningham's dance piece RainForest (1968).[71]
Audio: At one point Warhol carried a portable recorder with him wherever he went, taping everything everybody said and did. He referred to this device as his "wife". Some of these tapes were the basis for his literary work. Another audio-work of Warhol's was his "Invisible Sculpture", a presentation in which burglar alarms would go off when entering the room. Warhol's cooperation with the musicians of The Velvet Underground was driven by an expressed desire to become a music producer.[citation needed]
Time Capsules: In 1973, Warhol began saving ephemera from his daily life– correspondence, newspapers, souvenirs, childhood objects, even used plane tickets and food– which was sealed in plain cardboard boxes dubbed Time Capsules. By the time of his death, the collection grew to include 600, individually dated "capsules". The boxes are now housed at the Andy Warhol Museum.[72]
Television: Andy Warhol dreamed of a television show that he wanted to call The Nothing Special, a special about his favorite subject: Nothing. Later in his career he did create two cable television shows, Andy Warhol's TV in 1982 and Andy Warhol's Fifteen Minutes (based on his famous "fifteen minutes of fame" quotation) for MTV in 1986. Besides his own shows he regularly made guest appearances on other programs, including The Love Boat wherein a Midwestern wife (Marion Ross) fears Andy Warhol will reveal to her husband (Tom Bosley, who starred alongside Ross in sitcom Happy Days) her secret past as a Warhol superstar named Marina del Rey. Warhol also produced a TV commercial for Schrafft's Restaurants in New York City, for an ice cream dessert appropriately titled the "Underground Sundae".[73]
Fashion: Warhol is quoted for having said: "I'd rather buy a dress and put it up on the wall, than put a painting, wouldn't you?"[cite this quote] One of his most well-known Superstars, Edie Sedgwick, aspired to be a fashion designer, and his good friend Halston was a famous one. Warhol's work in fashion includes silkscreened dresses, a short sub-career as a catwalk-model and books on fashion as well as paintings with fashion (shoes) as a subject.[citation needed]
Performance Art: Warhol and his friends staged theatrical multimedia happenings at parties and public venues, combining music, film, slide projections and even Gerard Malanga in an S&M outfit cracking a whip. The Exploding Plastic Inevitable in 1966 was the culmination of this area of his work.[74]
Theater: Andy Warhol's PORK opened on May 5, 1971 at LaMama theater in New York for a two week run and was brought to the Roundhouse in London for a longer run in August, 1971. Pork was based on tape-recorded conversations between Brigin Berlin and Andy during which Brigid would play for Andy tapes she had made of phone conversations between herself and her mother, socialite Honey Berlin. The play featured Jayne County as "Vulva" and Cherry Vanilla as "Amanda Pork".[citation needed] In 1974, Andy Warhol also produced the stage musical Man On The Moon, which was written by John Phillips of the Mamas and the Papas.
Photography: To produce his silkscreens, Warhol made photographs or had them made by his friends and assistants. These pictures were mostly taken with a specific model of Polaroid camera that Polaroid kept in production especially for Warhol. This photographic approach to painting and his snapshot method of taking pictures has had a great effect on artistic photography. Warhol was an accomplished photographer, and took an enormous amount of photographs of Factory visitors, friends.[citation needed]
Computer: Warhol used Amiga computers to generate digital art, which he helped design and build with Amiga, Inc. He also displayed the difference between slow fill and fast fill on live TV with Debbie Harry as a model.[75] (video)
Producer and product
Warhol had assistance in producing his paintings. This is also true of his film-making and commercial enterprises.[citation needed]
He founded the gossip magazine Interview, a stage for celebrities he "endorsed" and a business staffed by his friends. He collaborated with others on all of his books (some of which were written with Pat Hackett.) He adopted the young painter Jean-Michel Basquiat, and the band The Velvet Underground, presenting them to the public as his latest interest, and collaborating with them. One might even say that he produced people (as in the Warholian "Superstar" and the Warholian portrait). He endorsed products, appeared in commercials, and made frequent celebrity guest appearances on television shows and in films (he appeared in everything from Love Boat to Saturday Night Live and the Richard Pryor movie, Dynamite Chicken).[citation needed]
In this respect Warhol was a fan of "Art Business" and "Business Art"– he, in fact, wrote about his interest in thinking about art as business in The Philosophy of Andy Warhol from A to B and Back Again.[citation needed]
Dedicated museums
Two museums are dedicated to Andy Warhol. The Andy Warhol Museum, one of the Carnegie Museums of Pittsburgh, is located at 117 Sandusky Street in Pittsburgh, Pennsylvania. It is the largest American art museum dedicated to a single artist, holding more than 12,000 works by the artist.[citation needed]
The other museum is the Andy Warhol Museum of Modern Art, established in 1991 by Andy's brother John Warhola, the Slovak Ministry of Culture, and the Warhol Foundation in New York. It is located in the small town of Medzilaborce, Slovakia. Andy's parents and his two brothers were born 15 kilometres away in the village of Miková. The museum houses several originals donated mainly by the Andy Warhol Foundation in New York and also personal items donated by Warhol's relatives.[citation needed]
Movies about Warhol
Dramatic portrayals
Warhol (right) with director Ulli Lommel on the set of 1979's Cocaine Cowboys, in which Warhol appeared as himselfIn 1979, Warhol appeared as himself in the film Cocaine Cowboys.[76]
After his passing, Warhol was portrayed by Crispin Glover in Oliver Stone's film The Doors (1991), by David Bowie in Basquiat, a film by Julian Schnabel, and by Jared Harris in the film I Shot Andy Warhol directed by Mary Harron (1996). Warhol appears as a character in Michael Daugherty's 1997 opera Jackie O. Actor Mark Bringleson makes a brief cameo as Warhol in Austin Powers: International Man of Mystery (1997). Many films by avant-garde cineast Jonas Mekas have caught the moments of Andy's life. Sean Gregory Sullivan depicted Warhol in the 1998 film 54. Guy Pearce portrayed Warhol in the 2007 film, Factory Girl, about Edie Sedgwick's life.[77] Actor Greg Travis portrays Warhol in a brief scene from the 2009 film Watchmen.
Gus Van Sant was planning a version of Warhol's life with River Phoenix in the lead role just before Phoenix's death in 1993.[78]
Documentaries
The 2001 documentary, Absolut Warhola was produced by Polish director Stanislaw Mucha, featuring Warhol's parents' family and hometown in Slovakia.[79]
Andy Warhol: A Documentary Film is a reverential four-hour 2006 movie by Ric Burns.[80]
Andy Warhol: Double Denied is a 52 minute movie by lan Yentob about the difficulties in authenticating Warhol's work.[81]
I got into the DailyMail Online! See here:
www.dailymail.co.uk/sciencetech/article-1392374/Extraordi...
A news agency contacted me a while back asking to write an article on me, but I hadn't realised I got into the paper already! And it was a week ago!
Still awesome though, I am very pleased :-D
I have a feature in this months Photo Pro Magazine, which came about after the images that were stolen and used without my consent pre Christmas.
For all those who asked, and sent me messages, I never really got anywhere with getting recompense... with the help of some London contacts I did get right down to where the items were being manufactured, but the next step just seems huge, and without paying to get lawyers involved, it could realistically take more time than I have to devote to it.
I never give up however and wanted to thank all those who helped me and for the huge amount of support.
Thanks to Kat Williams for writing the article, perhaps it goes someway to highlighting the pros and cons to other enthusiasts.
No need to comment…
Updated article for eBODY Reborn
DEMO available
marketplace.secondlife.com/p/BG-Crochet-fishnet-leggings/...
The name of this car was alternately spelled Towne Shopper and Town Shopper, both in the media and in company publications.
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Printed news article about my projects...
More information: www.benheine.com
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Article complet sur : militaryphotoreport.blogspot.fr/2017/11/exercice-humieres...
Et magazine photo bientôt disponible sur www.military-photo-report.com
Interesting article in the Tampa Bay Times the other week, and on the list was this, The Skyline Building in MLK Boulevard, St. Pete. I had long wanted to know its identity myself. Very clearly in the Jet Age avant garde style of the time, it pays a passing nod to Frank Lloyd Wright's Guggenheim Museum building. My wife's late mother worked there in the 1960s/70s. The building once incorporated a top-floor restaurant that was available for workers and tourists alike. The blank wall on the south side is one way for keeping the strong Florida sun at bay. Various banks have been the principal tenants over the years since the building opened in 1961. Tampa Bay Times' readers may have been harsh in their judgement, as the Skyline Building deserves to be better known.
Article in the Sunday Mail, using 3 of my photos without my permission, no credit given, no payments made. My 3 are the decent ones, theirs are the 2 rubbish BNP / IRA tags.
Edit: some good ideas and discussion about it at:
www.flickr.com/groups/central/discuss/72157594517395848/
Like my photos? Buy me a coffee!
Parent’s Login
The article is about Parent’s login but the article is for Teachers. Yes! Continue reading to know why.
Oh my Busy World! Educated parents but have no time to know how their kid’s education is shaping up.
How often parent teacher’s meet are held at schools and ‘how many parents really turn up to the meetings’ and how many hang up on calls with teachers giving excuses? But we really care about future of the growing buds. It’s important that every parent should know not only their kids academic performance but also when they win a first prize in running race or a drawing competition.
World was created from BIG BANG they said but see now the world runs on small phones! It’s the technology that’s ruling the world. People getting socialized, working on smart techs and trying new things have no time for traditional Parents Teacher’s meeting.
Modern parents need Modern monitoring methods. Don’t just make techno schools and try making students smarter. Make parents aware too.
Wake up, Schools don’t you feel it’s important to connect with the parents even if they’re busy? Oh! Yes it is.
With this concern we decided to connect Teachers and parents in the easiest way possible. MarvelSoft’s School Admin connects schools and parents online with Parent Login integrated with the software.
So how does it help parents and Schools?
We’ve desktop version of parent’s login app and also provide android application. In android application, the app is exclusively made available on the google play store to the parents of the kids studying in your school.
Parents are given a username and password to login into the software. The username and password is generated by the software for every student and the login details can be sent to the parents via SMS or mail from the School Admin itself.
Parents can use their respective username and password and login into the parent’s application to view student’s school activities and academic performance.
Not just the performance, a working mother can view their son’s school dairy on the way coming back home and plan for it before hand. A hard working dad can view his daughter’s Cultural event dates scheduled to free from work.
With the easy and beautiful User Interface, it’s quick and easy for the parents to monitor their kids even in their busy schedule.
'Practical Photography' magazine here in the UK recently asked if I'd write an article for them about my photography - it's the first time I've been asked to do anything like this so it was really exciting! The article is in this months issue of the magazine (don't ask me why it's called the August edition when it's pubilshed in July!)
In English, A is the indefinite article. It is also the first letter of the word article, which gives a kind of circularity that Appeals to me.
For Macro Monday "A is for..."
Nouvel article sur ma série "Mortification urbaine" paru dans le journal l'Echo de la Lys du 20 septembre 2018. goo.gl/PkALg3
M7 30031 is being turned on Bournemouth shed in July 1962. Immediately after this shot, the photographer was unceremoniously escorted off the premises by a plainclothes railway policeman.
The picture, of course, shows where my money is going, and thus how personal a stake I have in this question.
Location: The camp was located at the site of the current Canadian Forces Base Petawawa, Ontario.
Time Period: The article refers to the first internment camp, which operated from December 1914 to May 1916. A second, separate internment camp (Camp 33) operated during the Second World War.
Internees: The camp primarily housed civilian internees of German and Austro-Hungarian origin who were classified as "enemy aliens" under the War Measures Act.
Conditions: The text suggests the Canadian government made every effort to follow international law. Internees were used for manual labor such as road building and timber felling and were paid a small daily wage.
PETEWAWA ENEMY INTERNMENT CAMP
A German resident of the village of Petewawa remarked to the Standard photographer when he visited the camp, "If the British prisoners in the Fatherland are only treated half as well!" That short sentence, uttered by one of the race who we are now forced to look upon as our enemies, tells the story of Petewawa Internment camp in a nutshell.
The Canadian Government makes every effort to live up to the very letter of International law when dealing with those unfortunates whom stern necessity compels her to intern, and the six hundred German and Austrian aliens who are now in forced residence at Canada's permanent military camp are treated as unfortunates-not as enemies. When first arriving in camp these men undergo an inspection In order to see that they are properly clothed for the rigorous climatic conditions of the country. If they are not suitably clothed, the stores department issues the necessary warm clothing. Then they take up their residence in one of the buildings which has been converted into a bunk-house, and arrangements are made in one of the various cook-houses to feed the new arrivals. Rations are issued to them exactly as to the men of the 42nd Regiment, who act as guards, and three times a day the hundred and fifty men who occupy each bunk-house are escorted to the cook-house for their meals. Work on a large scale has not yet been inaugurated, but the aliens do all of the work of the camp, of course, under guard, and they are all eager to volunteer for any job to be done.
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(9 March 1915) - Journal at Petawawa among War Camp Prisoners - www.newspapers.com/article/the-ottawa-journal-journal-at-...
MAJOR S. E. de la RONDE
Camp commander at Petawawa military internment camp.
JOURNAL AT PETAWAWA
Men Plot Escape AMONG Guards Will Shoot to Kill
WAR CAMP PRISONERS
Fascinating Story of Visit to the Military Guard and the Germans, Turks and Austrians - The Stern Challenge of the Sentry and the Cry of "All's Well" Through Black Darkness of the Night.
Written specially for "The Universal" Of all the camps in Canada where German, Austrian and Turkish prisoners of war are spent among the immense barracks and Turkish prisoners of war.
Petawawa Military Internment Camp, March 9 - Within 100 miles of Ottawa is one of the biggest novelties that Canada has ever had inside its borders. It is Petawawa camp. Not the camp of the summer months where soldiers gather for training, but a war camp where are gathered over 600 real prisoners of war. To the Canadian visiting the spot it is one continued kaleidoscope of novelties changing in quick succession. The walk from the station in the direction of the camp along the unlit road for almost two miles is without excitement until suddenly from out of the darkness, with sharpness that sends a shiver right down one's back comes the command: "Halt! Who goes there?" "F-F-Friend," one manages to stutter out. "Advance friend, and give the countersign" And one walks at the glittering point of a bayonet held firmly and with decision by a great coated guard.
It feels like real warfare. "Letters from the General? Follow me," commands the guard.
WONDERING IF THE RIFLE IS LOADED - And as the guard leads the way to the guard-house for an examination of credentials you look at that wicked Ross rifle and wonder if it really is loaded. It is. It is in the guard-house that one gets his first glimpse of military life. The long line of guards sleeping between watches with their rifles piled down the centre of the room, ready to jump to their feet should emergency demand, is surely impressive. It is surely a welcome relief when at six o'clock reveille announces that life for the day is about to start. Behind an escort the visitor is led to the officers' quarters, where the officer commanding the guard, Captain Edwards, of the 42nd Lanark regiment, holds out a welcome hand. The routine of the day is just starting, and an invitation from the officer of the day to make the rounds of the camp with him, comes just at the right time.
LARGEST PRISONERS' CAMP. - This is the largest prisoners' camp in Canada, the officer will proudly tell you, as he leads the way across the flat drill ground. The men are divided
into five camps. The largest majority of the men here are Austrians and Turks, all army reservists of their respective countries. Some of them are officers. They have been brought from practically every town and city in Canada, although the majority hail from Montreal, Ottawa and Toronto. "They are a hard bunch to take care of. We are so careful that they
receive humane treatment and are not bullied by the guards that the men are beginning to get wise and take advantage of our kindness. They may do almost anything they like but escape," said the captain. "They are all getting fat at the treatment they receive here, their food allowance is
even more than that of our own soldiers, and it is cooked equally well."
THEY ARE WELL LOOKED AFTER. - The prisoners have been all supplied with warm clothing, sheepskin coats, rubber boots and warm mitts and caps. Each man is given four woollen blankets, a pillow and mattress and the camps are warm and well ventilated. They work if they want to, and if they work they are paid the same as our own soldiers. "The layout of the camp could not be improved upon," continued the officer, "although it takes the largest guard ever mounted in the British Empire to watch the men, they are so scattered. Each evening at six o'clock the guard of 52 men goes on duty. Everything for the health of the men is watched, and the high sloping, sandy ground overlooking the Ottawa is one of the healthiest spots in Canada. There has not been a single case of serious illness since the camp was formed."
FIRST PEEP AT THE PRISONERS. - At that moment we arrived at the first camp. A sentry was pacing up and down in front of the building, a long affair with a door at each end. Another sentry stood inside each door, all had fixed bayonets. The prisoners were just receiving their clothes, which had been locked up for the night, when the officer of the day arrived. Some of the men welcomed him with a smile and a salute, others scowled the darkest and muttered something in a foreign language which the officer could not understand. Down either side of the room is a line of bunks, double width and in three tiers. When we arrived at the second camp the men were carrying their blankets out to be aired, laying them on the snow until they returned from breakfast. In the distance can be heard the call for breakfast. The prisoners are quickly lined up inside the camp and a few minutes later the escort of six armed men arrive and march them off to one of the two dining-rooms, where special paid prisoners hand them out their food as they sit at the long tables. It was porridge and bacon, with six ounces of bread that the man sat down to, with a big mug of tea, and they certainly bore out the officer's contention that they were getting fat on their diet.
WOOD CUTTERS START OUT. - Immediately after breakfast the various fatigue parties and the men that had chosen to work cutting wood set out for their duties under escort. In little gangs of from six to ten, followed by their guard, they trudged across the snow and into the woods. The rest of the men returned to their camps and, after making their beds, started to play cards, read the religious books that had passed the censors, or worked at some handiwork such as making picture frames, which they sell as souvenirs of the camp, or wooden toys. Everything except dangerous knives and weapons has been left with them and in each camp is a canteen at which they may buy little delicacies and tobacco. Only one thought can possibly pass through the mind of a visitor as he sees the prisoners. It is the hope that our boys who are taken prisoners will receive the same treatment at the hands of the Germans. It is the guard of soldiers who are to be more pitied than the prisoners. The 160 men and six officers under the supervision of the camp commandant, Major de la Ronde, are on active service, under military law and discipline. They must work hard, be ever on the alert for plans of escape which are being unearthed all the time. If they fall asleep on sentry duty not only are they subject to a death sentence, but also they run the chance of having one of the prisoners run his own bayonet through him when making a dash for liberty. "It is awfully aggravating to have to stand here and listen to these prisoners swearing at me and making fun of me in their own language," said one of the guards, who can understand Austrian. "Some of them think this ain't real war and we 'amateur militia' can't shoot, and they make fun of us. But just you wait. They say they are going to make a break for liberty in the spring when there is a chance of getting away. Then you will see that the guard can shoot, and shoot straight, and believe me I would give five dollars to be the man on sentry duty when they make their boasted break." But the prisoners haven't broken yet, although many plots to do so have been discovered and nipped in the bud by placing an extra guard. It is not an offence for a prisoner of war to try to escape, and he cannot be punished for doing so, although he can be shot down in the attempt.
OFFICERS OF THE GUARD. - The officers in charge of the guard are Captain J. Edwards, Lieuts. R. M. Watson, J. Airth and G. M. Brawley, with Captain Stewart, A.M.C. and Lieut. Thompson, A.B.C. They realize that it is part of the real game of war they are playing, for they inspect the loaded breaches of every rifle in camp, and they have given every sentry the command to "shoot to kill." It was getting late, the sun had set, the new guard with blankets rolled and guns loaded had mounted guard. First post, which means lights out for the prisoners, had been blown telling that nine o'clock had arrived. The sentries marched up and down their beats and as we started out for the station a gong in front of the guard-house announced the half hour. "Number one and all's well." . . . "Number two and all's well." "Number three and all's well," from out of the darkness the clear voices of the men rang as they told one another that "All's well." Then for another half hour they kept their silent watch, while we set out for the depot and the train with the one thought. "Yes, they are real prisoners of war. I wonder if our own boys are faring as well."
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"Chesterfield" was the name, or at least the professional byline, of a specific photographer who worked for the Montreal Standard newspaper in the early 20th century, identified as A.A. Chesterfield.
Here is more information about him:
Full Name: His name was Albert Alexander Chesterfield (1877-1959)
Company: In 1905, he moved back to Montreal and co-owned a press photography company with E. Bruce McLaren on Bleury Street.
Work in the Arctic: A significant part of his work involved documenting life in the Canadian North. There is a book titled A Fur Trader's Photographs: A.A. Chesterfield in the District of Ungava, 1901-1904 which discusses his time as a fur trader and amateur photographer with the Revillon Frères company. His photographs from this period offer a historical look at the region.
Archival Records: His collections and personal effects (fonds) are held in archives, such as at Queen's University Archives, which details his professional career and personal life.
Newspaper Credits: The credit "Photo by A.A. Chesterfield" appears in The Standard newspaper, specifically in issues like that of February 10, 1912, confirming his professional connection to the publication.
In summary, A.A. Chesterfield was a professional photographer with his own studio in Montreal, whose work, including photographs from his time as a fur trader in the Arctic, was published in publications like The Montreal Standard.
Biographical history
A.A. Chesterfield was born in Kent, England in 1877. He was orphaned at 12 and then sent by his grandmother to live with his Aunt and Uncle in Quebec, he left behind a brother and a sister. After his completion of high school he left his Aunt and Uncle in 1895 to work as an apprentice clerk and fur trader with the Hudson's Bay Company. Over the next few years he worked at posts in both Rigolet on the Labrador coast, in Great Whale River, and at Fort George. There he took great interest in studying the Inuit and Cree peoples of the land, documenting their ways of life, he also wrote several articles on his observations. It is unclear where he first received training as a photographer. Later in 1895 he met a missionary doctor named Wilfred Grenfell, with whom he became very close friends and would often leave the post travelling out of the Post on the local ships for days at a time.
In 1905 Chesterfield moved back to Montreal where he soon found himself the co-owner of a press photography company with E. Bruce McLaren on Bluery Street. He developed an interest in documenting what he saw as typical Canadian behavior, which meant everything from fishing to maple sap tapping to winter scenes. Unfortunately a fire broke out in their studio, and most of Chesterfield's equipment and negatives were destroyed. Chesterfield then gave up photography and tried his hand at journalism. He published several articles before he retired.
In the 1930s he married Mary Emma McCracken and also ran for Public Office. Later in his life they moved from Montreal to eastern Ontario where he is said to have lived a quiet life. Chesterfield has been cited as a unique character, who very rarely volunteered information about his earlier life. As he grew older his eye sight began to fade, and he burned his canoe from his days among the Cree, stating that no one would be able to handle it but he. After his death in 1959, Mrs. Chesterfield donated what was left of her husband's work to Queen's University. Sadly she passed away in the early 1980s.
The following article is a first-person Cornwall Marathon race report by Ottawa runner Ben-Zion Caspi, 67. It was written for the TriRudy blog, and is reproduced here with permission by the author.
In his report, Ben says, " At 36 km my slow running death started. I was...above a 6 minutes per km pace. Oh well, all I wanted to get to the finish line. During the lone run, before I started to see the half marathoners, there were no pretty girls with pony tails to chase and improve my pace... "
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Ben-Zion Caspi's race report (May 2, 2016)
As in most years, I was running with the group where many of its runners trained for Boston. I did not plan to run Boston, and I did not plan to run Ottawa either, so what do I do? I registered for the inauguration of the Cornwall Marathon, which was scheduled two weeks after Boston and 4 weeks before the Ottawa Marathon.
The training was OK. Last winter was very easy on us, not too many very cold weekends, and my body behaved with no significant injuries or illness.
The organizers of the Cornwall race were cautious, planning the first marathon as a learning one, and limiting the numbers of runners to 75. Only 75 runners will be able to lay the claim that they were part of the inauguration of the beautiful scenery of the Cornwall Marathon.
On the race website there was a description of the course, and part of it was: "The course is fast and has a net downhill elevation profile that includes a few gentle rollers." More on that latter.
At the end of March I registered.
Our group kept training and on the weekend when many traveled to Boston, three of us, Gilles, Colleen and I drove to the Crysler Park Marina (www.cryslerparkmarina.com/) in Morrisburg, and rode the course to Cornwall on our bicycles. It was a very pleasant ride of 84 km (52 miles). The marathon race course is point-to-point from Morrisburg to Cornwall.
As it is described at the race's web site, it is a beautiful course. It is still early spring, so no flowers or leaves are on the trees, but you are deep in nature and along the water (St. Lawrence River).
Race day arrived. Colleen and I planned to drive to the start and get a lift with one of our friends from the finish at Cornwall back to the car after the race. This plan gave us more time to sleep, since you had to be in Cornwall the latest at 6:05 a.m. on Saturday to be bused to the start line. Our option was to be at the start at 6:40 a.m., so we could sleep a bit longer before the race.
We arrived to Morrisburg at 6:30 a.m. On the drive there we passed a slow moving car, and were pleasantly surprised to realize that Irina and Alastair were in this car, driving to the start to cheer. Good friends for sure.
It was a chilly morning, perfect weather for me to run a marathon, a bit above freezing. Shorts, t-shirt, gloves and a hat. I was ready to roll.
I was not too concerned about my finish time; the plan was to run with Colleen and accommodate her desired pace. The idea was to get a time to qualify for Boston. I thought a 5 min. 20 sec. (5:20) per km pace would be good, but at the end we decided to run the first half at 5:15.
Since there were only 75 runners, there was no timing mat at the start and we all started together at 7 a.m. A beautiful morning for a run. Phil explained few things. It was funny to hear him warning us, "Watch the house in the middle of the road few hundred meters after the start." :-) It was not a joke.
I did not do any warm-up, and usually my first two km are very slow. Well not with Colleen. She was too eager for sure, and it was hard to rein her in. The first 7 km were done in 36 minutes, at a 5:08 pace. Not the planned pace for sure.
About 8 km of the first part of the race is on a firm trail bed of soft pine needles. It was pleasant run on this surface and it sure felt the different when we came to the asphalt path.
At 10 km our average pace was 5:12, still faster than the planned pace. At 14 km we left nature and ran on the Long Sault Parkway. You pass over many islands, each one of them with its unique name. Still beautiful scenery around but you share it with moving vehicles.
At 21 km our pace was about 5:18 (5 minutes, 18 seconds) per km and Colleen broke up with me. She told me it is not me, it is her, and I should go my own way.
So there I was running alone. The 75 runners at that point were spread all over and if you did not plan to run with somebody you were on your own. For some it can be a difficult experience. I did not mind and kept running. I tried to keep a pace of 5:15 and was able to do so for the next 4 km. At that point things changed. Wind and, if you remember the beginning of this story, the “few gentle rollers” ganged up on me, and apparently on most other racers. I started to slow down.
I stopped enjoying the scenery of the beautiful course and was very busy trying to convince my legs muscles to move my body faster. Nope, nobody listened.
For a few km I was able to maintain 5:40 pace and at that point I started seeing the half-marathon runners. It was less lonely, but did not improve my pace.
I forgot to mention that some friends, who were driving, moved along the course at few points to cheer the runners. Thanks so much to Jonathan, Chris, Karen, Irina, Benjamin, Alastair. I hope I did not forget anyone.
I think it was at 33 km I saw Ibrahim (Mike) on his bike. He was cheering loudly. At 36 km my slow-running-death started. I was many km above a 6 minutes pace. Oh well, all I wanted to get to the finish line.
During the lone run before I started to see the half marathoners, there were no pretty girls with pony tails to chase and improve my pace. Now there were many, running fast, fresh after 'only' 10-12 km, but I was not chasing anybody. All I was yearning for was the finish line. And then a ray of sunshine: my dear friends Diane and Dawn showed up on their bicycles.
I stopped on course to give Diane a hug. She was telling me to move on, that I am losing time. Like I cared.
They left me and went riding toward Colleen and I kept my slogging. The 39 to 40 km part was the worst: 6:19. I was seriously contemplating walking the rest, but it is well ingrained in my head that walking is not an option.
At that point Dian and Dawn appeared again. It was great to see them, so I picked up the pace. Yea right. The last 2.2 km were blazing fast: 13 minutes. :-(
Arriving to the finish line, I was welcomed by many of our friends, cheering loudly. They had run the 5 and 10 km races and were waiting patiently for Ezio, Kevin, Colleen and me to get to the finish line after 42.2 km.
It was a major feeling of relief. I got to end of another 42.2 monster, my thirty-fourth. You might think that is a lot of marathons, but listen… At the beginning of the race, another runner joined us and we talked a bit. He was running his 161st 42.2 km. All I said was, you are a marathon junky; you need help.
Talking to many of the runners after, the general consensus was that the course was not as fast as we hoped it to be, and most were off of their wishful finish time. We all agreed though, that it is a beautiful course and it was organized superbly…and the medal is beautiful.
Thanks to all the volunteers and the organizer. Cornwall knows how to throw a party for runners and triathletes. Yes, hope see you in August.
Again, if you managed to get to this end, thanks for reading.
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Other race reports by Ben Caspi:
1) Ottawa 2015 - www.flickr.com/photos/ianhun/18027471110
2) Richmond 2015 - www.flickr.com/photos/ianhun/16264464205
3) Boston 2014 - www.flickr.com/photos/ianhun/14063880214 ..... (over 13,000 views)
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Cornwall Marathon website: runtoendms.com/
Note: the photo is from the Richmond (Ontario) Road Races, January 13, 2013.
54 Mendosa Avenue, Forest Hill, San Francisco, California
built 1961
"According to Ebony, the site was so steep "eight architects, even though accustomed to California's modern habit of cliff dwelling, said it couldn't be done. A ninth did it, and the angular house now stands on two steel-and-concrete beams, placed at diagonals under it." The clever architect was Kent Linn, who is still practicing in Oakland. [Norman Kent Linn, 1931-2014]
Mays brought in an interior designer, but did much of the design himself, choosing the colors, gold and white, with blue accents in the master bedroom. "I don't like a lot of colors," Mays told writer Louie Robinson.
The home had a spiral staircase—and a king-size bed. "I like plenty of room to thrash around," Mays said.
"Unlike discriminatory difficulties Mays and his ex-wife faced when they bought their first San Francisco home (Miraloma Drive, after living there a while, someone threw a bottle through a window...) in 1958," Ebony noted in a photo caption, "purchase of the second home was frictionless."
www.eichlernetwork.com/article/fielders-choice?page=0,3
20210602_180227
Water in space – a ‘Goldilocks’ star reveals previously hidden step in how water gets to planets like Earth
Published: March 16, 2023 8.36am EDT
Author
John Tobin
Scientist, National Radio Astronomy Observatory
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Without water, life on Earth could not exist as it does today. Understanding the history of water in the universe is critical to understanding how planets like Earth come to be.
Astronomers typically refer to the journey water takes from its formation as individual molecules in space to its resting place on the surfaces of planets as “the water trail.” The trail starts in the interstellar medium with hydrogen and oxygen gas and ends with oceans and ice caps on planets, with icy moons orbiting gas giants and icy comets and asteroids that orbit stars. The beginnings and ends of this trail are easy to see, but the middle has remained a mystery.
John Tobin is an astronomer who studies the formation of stars and planets using observations from radio and infrared telescopes. In a new paper, my colleagues and I describe the first measurements ever made of this previously hidden middle part of the water trail and what these findings mean for the water found on planets like Earth.
The progression of a star system from a cloud of dust and gas into a mature star with orbiting planets.
Star and planet formation is an intertwined process that starts with a cloud of molecules in space. Bill Saxton, NRAO/AUI/NSF, CC BY
How planets are formed
The formation of stars and planets is intertwined. The so-called “emptiness of space” – or the interstellar medium – in fact contains large amounts of gaseous hydrogen, smaller amounts of other gasses and grains of dust. Due to gravity, some pockets of the interstellar medium will become more dense as particles attract each other and form clouds. As the density of these clouds increases, atoms begin to collide more frequently and form larger molecules, including water that forms on dust grains and coats the dust in ice.
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Stars begin to form when parts of the collapsing cloud reach a certain density and heat up enough to start fusing hydrogen atoms together. Since only a small fraction of the gas initially collapses into the newborn protostar, the rest of the gas and dust forms a flattened disk of material circling around the spinning, newborn star. Astronomers call this a proto-planetary disk.
As icy dust particles collide with each other inside a proto-planetary disk, they begin to clump together. The process continues and eventually forms the familiar objects of space like asteroids, comets, rocky planets like Earth and gas giants like Jupiter or Saturn.
A cloudy filament against a backdrop of stars.
Gas and dust can condense into clouds, like the Taurus Molecular Cloud, where collisions between hydrogen and oxygen can form water. ESO/APEX (MPIfR/ESO/OSO)/A. Hacar et al./Digitized Sky Survey 2, CC BY
Two theories for the source of water
There are two potential pathways that water in our solar system could have taken. The first, called chemical inheritance, is when the water molecules originally formed in the interstellar medium are delivered to proto-planetary disks and all the bodies they create without going through any changes.
The second theory is called chemical reset. In this process, the heat from the formation of the proto-planetary disk and newborn star breaks apart water molecules, which then reform once the proto-planetary disk cools.
Models of protium and deuterium.
Normal hydrogen, or protium, does not contain a neutron in its nucleus, while deuterium contains one neutron, making it heavier. Dirk Hünniger/Wikimedia Commons, CC BY-SA
To test these theories, astronomers like me look at the ratio between normal water and a special kind of water called semi-heavy water. Water is normally made of two hydrogen atoms and one oxygen atom. Semi-heavy water is made of one oxygen atom, one hydrogen atom and one atom of deuterium – a heavier isotope of hydrogen with an extra neutron in its nucleus.
The ratio of semi-heavy to normal water is a guiding light on the water trail – measuring the ratio can tell astronomers a lot about the source of water. Chemical models and experiments have shown that about 1,000 times more semi-heavy water will be produced in the cold interstellar medium than in the conditions of a protoplanetary disk.
This difference means that by measuring the ratio of semi-heavy to normal water in a place, astronomers can tell whether that water went through the chemical inheritance or chemical reset pathway.
A star surrounded by a ring of gas and dust.
V883 Orionis is a young star system with a rare star at its center that makes measuring water in the proto-planetary cloud, shown in the cutaway, possible. ALMA (ESO/NAOJ/NRAO), B. Saxton (NRAO/AUI/NSF), CC BY
Measuring water during the formation of a planet
Comets have a ratio of semi-heavy to normal water almost perfectly in line with chemical inheritance, meaning the water hasn’t undergone a major chemical change since it was first created in space. Earth’s ratio sits somewhere in between the inheritance and reset ratio, making it unclear where the water came from.
To truly determine where the water on planets comes from, astronomers needed to find a goldilocks proto-planetary disk – one that is just the right temperature and size to allow observations of water. Doing so has proved to be incredibly difficult. It is possible to detect semi-heavy and normal water when water is a gas; unfortunately for astronomers, the vast majority of proto-plantary disks are very cold and contain mostly ice, and it is nearly impossible to measure water ratios from ice at interstellar distances.
A breakthrough came in 2016, when my colleagues and I were studying proto-planetary disks around a rare type of young star called FU Orionis stars. Most young stars consume matter from the proto-planetary disks around them. FU Orionis stars are unique because they consume matter about 100 times faster than typical young stars and, as a result, emit hundreds of times more energy. Due to this higher energy output, the proto-planetary disks around FU Orionis stars are heated to much higher temperatures, turning ice into water vapor out to large distances from the star.
Using the Atacama Large Millimeter/submillimeter Array, a powerful radio telescope in northern Chile, we discovered a large, warm proto-planetary disk around the Sunlike young star V883 Ori, about 1,300 light years from Earth in the constellation Orion.
V883 Ori emits 200 times more energy than the Sun, and my colleagues and I recognized that it was an ideal candidate to observe the semi-heavy to normal water ratio.
A radio image of the disk around V883 Ori.
The proto-planetary disk around V883 Ori contains gaseous water, shown in the orange layer, allowing astronomers to measure the ratio of semi-heavy to normal water. ALMA (ESO/NAOJ/NRAO), J. Tobin, B. Saxton (NRAO/AUI/NSF), CC BY
Completing the water trail
In 2021, the Atacama Large Millimeter/submillimeter Array took measurements of V883 Ori for six hours. The data revealed a strong signature of semi-heavy and normal water coming from V883 Ori’s proto-planetary disk. We measured the ratio of semi-heavy to normal water and found that the ratio was very similar to ratios found in comets as well as the ratios found in younger protostar systems.
These results fill in the gap of the water trail forging a direct link between water in the interstellar medium, protostars, proto-planetary disks and planets like Earth through the process of inheritance, not chemical reset.
The new results show definitively that a substantial portion of the water on Earth most likely formed billions of years ago, before the Sun had even ignited. Confirming this missing piece of water’s path through the universe offers clues to origins of water on Earth. Scientists have previously suggested that most water on Earth came from comets impacting the planet. The fact that Earth has less semi-heavy water than comets and V883 Ori, but more than chemical reset theory would produce, means that water on Earth likely came from more than one source.
Astronomy
Space
Water
Hydrogen
Chemistry
Stars
Telescope
Radio astronomy
Star formation
Origin of life
Life
Atacama Large Millimeter/submillimeter Array
Habitable planets
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New article up at Military Times for Warrior Wound Cares "ORAL IV" solution. Personally, I like my picture (which is more than I can usually say) that shows the samples, but I've got to admit I was impressed with the product itself. We are going to be working with some more people to get additional feedback instead of just that of one cranky city cop who doesn't drink enough fluids.....
Article © Paul Hoskins.
The Leyland Tiger 290 was their ultimate developement of the Tiger coach chassis, Cummins L10 engined, and quickly killed off after the Volvo takeover as it was a serious rival to their B10M.
Highly regarded by operators and drivers alike, it was often referred to as the Turbo Tiger, such was its powerful performance and despite the other Tigers being turbo fitted..
Leyland were obviously and justifiably proud of the 290, enough to commission a new version of the Tiger badge, and two demonstrators were registered.
One operator told me that in the several years he ran his solitary 290, he only had to replace consumables such as filters and engine oil. Such was the quality and reliability, he held the coach in the highest esteem and was very sad to see Leylands demise.
One Leyland employee told me that after the Volvo takeover, the order was given to clear stocks of all Leyland spare parts which had not seen any sales in the previous 12 months. He said it was heartbreaking to see the skipfuls of valuable spares. It also led to the situation where brand new brakeshoes for the newly introduced Tiger 290 were skipped too, because the coach was so new, nobody had worn out a set of brakes!!! When an order did come in, new ones had to be produced!!
A new version of the Tiger badge to adorn the 290 had been under development with Manhattan Windsor. This was fatter than and faced the opposite way to the existing Tigers head.
Extensively researched, the story of this badge is not totally complete, but it seems impossible to further it now, so time to publish.
Barry at Manhattan Windsor of Birmingham, sadly now closed but famous for production of quality enamel badges ranging from lapel pin badges to radiator grille badges such as this Tiger for Leyland, could not have been more helpful but alas, no records were kept of either the stages of development or the numbers produced. His exact words were "very few".
He still had the dies for producing the badge but on being asked if he could run off a small batch, said he wished to keep the mysterious aura surrounding the badge and no more would ever be made.
I suggested to him that GMTS Boyle Street Manchester would be happy to give the dies a safe and permanent home, an idea he was delighted with, and I arranged for the dies to be donated to GMTS, on the strict understanding that they would never be used to produce badges again, only for safe keeping and for show, and this was duly undertaken. See next photo.
Only 5 coaches are known to have carried the badge from new.
E255MMM Laceys Coaches, Van Hool Version 1 & 2
F304JFT Classic, Annfield Plain, Plaxton Version 2 OR 5
F62EET Burdetts, Sheffield, Plaxton Version 5
F682SRN Leyland Demonstrator, Plaxton Version 2
F683SRN Leyland Demonstrator, Plaxton Version 2 & 3
Other known badges are
1 - one on Manhattan Windsors office wall. Given away. Version unknown
2 - we won first prize at a rally with 6809 in 1988? and were presented with a plaque which sported a 290 badge. Returnable after 11 months for reuse next year. This badge, although seemingly the same shape as the others, was more akin to the 1950s and 1960s Leopards and Tigers with large areas of enamel. It was sadly badly damaged with a huge chunk of enamel missing and possibly the reason for the mod including more stripes, I didnt photograph it and thought I would wait for a better example to take. Little did we know ......................Version 1.
3 - badge number 2 is believed to have been thrown away after a replacement from Leyland was acquired. Subsequently disposed. Version 5
4 - Another Leyland employee told me that Plaxtons had a 290 badge for photographic purposes and removed from vehicles afterwards, but no confirmation of this. Can anyone confirm please? So presumably Plaxtons Works photos are unreliable, rather reminiscent of Staniers Duchesses and Grelsey A4s!!
Version unknown
5 - I was told that one of the demonstrators was sadly relieved of its badge by an admirer on the way to its first coach show. Later photos of both demonstrators show badges so presumably this was replaced. Presumably very quickly, in time for the coach show, can anyone confirm or add to the tale? Probably version 2
6 - Replacement for badge 5 Version 2
7 - one unused example amazingly turned up on ebay last year, the source is not known, maybe the one from MW or Plaxtons, a version 5 so there were at least 3 of these.
There is some photographic evidence of vehicles carrying different versions of the 290 badge. E255MMM and F683SRN both carried two versions.
Five variants are known to have been produced for the 290 Tiger Badge but it never reached the full production stage. Presumably a couple would be run off for inspection and approval or suggested tweaks, and it was developed in this way. Can anyone add to or confirm this?
Version 1 - large areas of enamel.
Version 2 - stripes & all white right hand cheek & chin.
Version 3 - stripes & half white/half chrome right cheek & chin.
Version 4 - same as 3 with dots for eyes
Version 5 - same as 2 with dots for eyes
Pure speculation as to the order in which they were produced.....
Version 1 first
Version 2 and 3 next
Version 4 and 5 last.
But in which order the variations in the cheeks appeared which would involve a fair amount of mod is difficult to assess.
I suspect that the dots for eyes were the last addition as the version without look like there's something missing.
1 - Photo number one is I believe the original version, taken from Leyland publicity brochure depicting E255MMM and grossly blown up, but obviously the early version with large areas of enamel. Photographs exist of this coach with this early badge and also badge version 2 or 5 with all white cheek and chin, difficult to tell which version with or without dots, suspect version 2, for eyes but definitely a later version.
2 - Photo number two is the second badge carried by E255MMM version 2
Pure speculation but did Leyland replace this badge because they were not happy with the appearance of the original version ???
3 - Photo number three is the second badge at Copelands but F683SRN is also known to have carried either the version 2 or 5 all white cheek and chin version.
4 - Photo number 4, no info but possibly the one from Manhattan Windsors office, as Ive seen other protoype badges on similar wooden shields.
5 - Photo number five is believed to be the final version which would have gone into production .... but didnt. Three known to exist making this the most common version, which also suggests the final version.
Because of all the stories, badge swapping and lack of conclusive photographic evidence and unknown total produced making certainty impossible, deduction from the above suggests 10-12. Its also impossible to say how many of each versions were produced but again deduction from the above plus photo evidence, a good estimate would be 2 of each and 3 or 4 of what would have gone into production..
It does seem odd that so many versions exist and I would have thought that the development would have been achieved at the artwork stage, and not by continual modification of the dies which must have been expensive. Leyland obviously wanted something really special and right!
Was the early 1980s version developed in the same way, do different versions exist? Ive never seen any. Or indeed any other Leyland enamel badges apart from odd colour variations?
Can anyone provide photos of the various versions please, PM and complete discretion assured. Any more info or anecdotes would be most welcome.
MW also produced some steering wheel and keyfob versions of the Grille badges, I will detail those next week, and also add details about subsequent operators who ran the 5 coaches.
And lastly, thanks to all who have already provided photos, information and anecdotes to amass this article.
Article © Paul Hoskins.
I am actually very pleased with the way the Cadence sweater turned out. Unfortunately only my second completed article for the fall Essentials Sew Along!!
debbie-sewdebbie.blogspot.com/2011/11/cadence-completed.html