View allAll Photos Tagged create
"Creating The Next Generation That Cares" ; FWC event at the state capitol in Tallahassee, March 12, 2013.
photo: Tim Donovan/FWC
Pottery and Porcelain Gallery, Palace Museum, Taipei, Taiwan. Complete indexed photo collection at WorldHistoryPics.com.
thanks to the University of Portsmouth printing department.
A collaborative project with Anglepoise®, Strong Island & The University of Portsmouth.
10 artists/designers will be twinned with 10 photographers and an Anglepoise® light.
Follow the project at creatingbalanceproject.co.uk
Many thanks to BSc Film and TV students Max and Jonas
Creating the Future - New Models for Social Innovation and Global Problem-Solving
Lydia Alpizar - Executive Director, Association for Women's Rights in Development (AWID)
The 4th Annual Womensphere Global Summit and Inaugural Womensphere Global Awards, presented by JPMorgan Chase. September 23, 2011; One Chase Manhattan Plaza, New York City
Womensphere is a global leadership community and media organization dedicated to advancing women's leadership and success in all fields of endeavor. Our purpose: To unleash women's potential. To create opportunities for women. To inspire and accelerate women's impact. To transform the world.
Womensphere convenes leaders through Global and Regional Summits, around the themes of advancing women's leadership, innovation, ventures, the economy, sustainability, and global impact.
Websites:
Do you have a favorite artist?
During this week, campers learned interesting information about the lives, history and techniques of master artists such as Monet, Vincent van Gogh, Matisse, Picasso, Frida Kahlo, Georgia O’Keefe, and others.
Inspired by these famous artists, campers got to experiment with many
different art materials as they created their own ARTrageous masterpieces.
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Southern / Modern - Rediscovering Southern Art from the First Half of the Twentieth Century - October 26, 2024 - February 2, 2025
The first exhibition to present a comprehensive survey of works by artists working in the American South in the first half of the 20th century
Created in collaboration with Georgia Museum of Art, the exhibition includes more than 100 paintings and works on paper by artists working in states below the Mason-Dixon line and as far west as those bordering the Mississippi River, as well as some artists living outside of the region who made significant bodies of work during visits.
Curated by the Mint’s Senior Curator of American Art Jonathan Stuhlman, PhD, and independent scholar Martha Severens, Southern/Modern: Rediscovering Southern Art From the First Half of the Twentieth Century takes a broad view of the South and is structured around key themes that traverse geographic regions, including time and place, race, family ties, and social struggles. It also takes a broad, inclusive view of the art of the region, incorporating the creativity and talent of women artists and artists of color across its various thematic sections to provide a fuller, richer, and more accurate overview of the artistic activity in the American South at the time.
"The names Jackson Pollock and Mark Rothko flash to mind when thinking about the U.S. as the modern art epicenter at mid-20th century. What do Zelda Fitzgerald of Montgomery, Alabama or Dusti Bongé of Biloxi have to do with that history? More than any art narrative has said until now. A rich book published in conjunction with the exhibit “Southern/Modern” makes the case that modernism flourished in the South despite less recognition then and systemic exclusion since. The volume’s cover is Bongé’s “Where the Shrimp Pickers Live,” a 1940 oil fed by Bongé’s rent-collecting job on the Biloxi Back Bay.
The South’s painting legacy is hardly the most crucial part of southern history now under hard examination. Our era is retelling—make that telling for the first time—the truth of slavery, white supremacy and labor exploitation in the region’s DNA. Yet who paints and what is painted are questions overlapping the general reckoning. The Southern/Modern project attempts and delivers answers.
Do I, a lifelong Mississippian, sound thin-skinned that southern artists were shortchanged? Well, I am, but it’s also true. Consider the famous 1949 proclamation by the American Wing curator of the Metropolitan Museum of Art: “Little of artistic merit was made south of Baltimore.” Southern/Modern counters that verdict.
True, there have been shows on individual modernist southern artists, but Southern/Modern is the first to examine the region’s strand as part of the national modern fabric. The exhibit of about 100 paintings and prints centers on southern works between 1913 and 1955.
This kind of project is not just a real-time event, although “The New York Times” named the “daring and revisionist” show a Critic’s Choice. The ambition of Southern/Modern is to establish a basis for future art scholarship. Shows, after all, formulate our understanding of art movements. The understanding of Impressionism coalesced with the 1863 Paris Salon des Refusés. Participation in the 1951 9th Street Art Exhibition qualified a painter for the New York School abstract expressionist canon.
The essays in “Southern/Modern” define modern with a big M and small one, according to Jonathan Stuhlman, senior curator of American art at the Mint Museum in Charlotte, North Carolina and co-editor of the book. As an art term, modern means presenting artists who are “moving away from realism and toward abstraction,” he writes. But this project also includes painters modern in the sense that they frankly depict life around them. Regionalism versus modern is a false choice."
msbookspage.wordpress.com/2024/05/06/southern-modern-redi...
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Murcie has been made from CAM vampire. Repaint. Hand made angora wig. Hand made lether skirt. Meowlody shoes. 1:6 sniper rifle model.
create an image of a space pirate she should be wearing gear and have a background of us of a spaceship Tim Burton style, Salvadore , Dali , high resolution UHD Artstation stylize 750 32k --ar 3:4 --v 6.1 @Shopstumbler
Brussels.
A sunny day in may.
en.wikipedia.org/wiki/Rhododendron
Walking from the Atomium to the Florist garden.
Starting in the Colonial Garden.
reated at the beginning of the century, the Colonial Garden is one of the links in the ‘green promenade” that, starting from the canal, circles through the gardens and parks that King Leopold II wanted to embellish the surroundings of his palace.
He had the idea of creating this garden to study and cultivate the exotic plants originating from the Congo.
Today, the space is made up of two distinct portions. In the north of the park is an open area where the tropical plant greenhouses formerly stood. To the south is a wooded area composed of pines, horse chestnuts, sweet chestnuts, acacias, copper beeches, balsam poplars, elders, some splendid yew trees and rhododendrons.
The trees of the Colonial Garden have become imposing, and their changing colours are interesting to observe over the seasons. On the lawn stands a beautiful Atlantic cedar that has become fragile. A new cedar has been planted just next to it, to replace its elder when the time comes. The Colonial Garden undergoes restorations and new developments. Thus, the entrance of the Garden has been redesigned, and now climbing plants of various colours and types of flowers (wisterias, clematis, etc.) greet strollers.
grainy, becuase the 100 ISO slidefilm isn't massively happy about the artificial light - odd colours from the cross processing - don't think it looks too much like me - love these experiments!
Created by Montrose Elementary School, Bexley, OH
Artists: Miss Friedstrom’s 2nd graders
Title: Native Dat
Teacher: Emily Reiser
Theme: Conservation
About: Native plants.
Learn more about IFC Projects at www.ifcprojects.com
Our Maker Art class created a Time Machine this year, inviting you to travel through time from the age of dinosaurs to the 50th century.
Our 4th and 5th graders at the Lycée Français designed their own scenes from the past, present or future, and brought them to life with motion, lights and sounds. They also worked in teams to build interactive features like illuminated keypads, spinners and doors, using the popular Arduino platform.
In our after-school classes, we combine art, technology and storytelling to help children create their own magical worlds. They learn to design their ideas, build them with a variety of tools, animate them with electronics and tell their stories. This unique multimedia course helps them develop their creativity, collaboration and problem-solving skills -- and builds their confidence that they can help change the world.
This year, we had a really good group of 9 students, ages 8 to 11 -- many of whom had taken our Maker Art classes before. They were very creative and engaged, and did a great job presenting their work at the Lycée Français -- and at Marinovators at the College of Marin on April 22.
This Maker Art class was taught by Fabrice Florin and Edward Janne at the Lycée Français in Sausalito in winter 2017. We met every week for 12 workshops of 90 minutes each, Thursdays at 3:30pm, from January 5 to March 30, 2017. Our teachers are part of the Tam Makers learning community and we prepared materials for this project in our state-of-the-art makerspace at the nearby Tam High School.
View more photos about this Maker Art class at the Lycée:
bit.ly/time-machine-lycee-photos
Learn more about our Time Machine class:
bit.ly/time-machine-lycee-2017
Learn more about our Maker Art classes:
fabriceflorin.com/2016/02/14/teaching-maker-art/
Learn more about Tam Makers: www.tammakers.org/
#arduino #makers #makerart #makered #techedu #timemachine
HUGO Create - A new creative challenge.
Calling all creative talent! HUGO Fragrances just announced the launch of a new creative challenge, HUGO Create. In 4 rounds, participants are challenged to turn the iconic HUGO fragrance bottle into something innovative, irreverent or otherwise exceptional.
HUGO Create is a new and innovative competition for creative people from all-over the world. HUGO Fragrances give them the chance to express themselves and develop unique designs for the iconic HUGO fragrance. The design contest wants to act as a spotlight for creative talents from around the world.
Are you a designer, illustrator, photographer, artist, student or creative at heart? Show the world your talent & win! The 10 best entries of every round will receive cash prizes of 500 US-$. The work of the round winner will be published in i-D magazine.
The HUGO Create contest is now open for entries. Don’t hesitate! Participate!
To view all information, complete rules & submission guidelines and to download the HUGO Man Bottle footage, surf to the HUGO Create website: www.hugocreate.com
3D red/cyan anaglyph created from glass plate stereograph at the Library of Congress - Prints & Photographs Online Catalog. Link to Glass Plates: www.loc.gov/pictures/item/cwp2003004719/PP/
LOC Title: James River, Virginia. Interior view of Ft. Brady
Date: 1865
Photographers: Andrew J. Russell and T.C. Roche [per NPS historical marker]
Notes: A stereoscopic view of the interior of Union Fort Brady, situated on the James River, about 11 miles from Richmond (as the crow flies). The camera is facing towards the James, and to the left is the powder magazine, protected by dirt and logs. I could be wrong, but I believe the civilian standing at right is photographer T.C. Roche. The fort was manned by soldiers of Company C, 1st Connecticut Heavy Artillery.
This is a new version of the anaglyph I posted in 2015, with select sharpening, increased depth, additional repairs, and some other minor adjustments. Below, I've added some background information on the fort - transcribed from the NPS historical markers at Fort Brady, Richmond National Battlefield Park.
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Richmond-Petersburg Campaign
October 1864 - April 1865
“After the partially successful Union attacks against the Confederate lines at Fort Harrison and on Chaffin's Farm in September 1864, the two sides settled in for long-term operations. The winter of 1864-1865 witnessed a proliferation of entrenching. Soldiers in both blue and gray shoveled dirt endlessly. They built new forts to protect artillery, and mile after mile of parapets for infantry. When one army extended a line, the other army usually mirrored it.
The dynamic James River flowed through the middle of it all, adding a naval element to what had been a land-based campaign. Fort Brady, which stands intact today, became a valuable asset for Union generals. Its presence helped counter similar Confederate forts across the James. It also became the keystone in a series of riverside earthen fortifications whose presence instilled caution in the Confederate States Navy.”
Fort Brady
“Before you looms Fort Brady, one of the best-preserved Civil War forts in the National Park Service. Like most of the fortifications built during the Civil War, Fort Brady was made of earth instead of fragile bricks. Dirt could better withstand the heavy artillery projectiles used by both sides.
Union photographers Andrew J. Russell and T.C. Roche arrived south of Richmond in 1865 and recorded some of the most important images of Fort Brady….In the six months of Fort Brady's wartime existence, these guns fired 1,356 rounds.
In October 1864, just days after Fort Harrison was captured by Union troops, Federal engineers designed a 2½-mile-long line of fortifications connecting Fort Harrison to Fort Brady here on the James River. Their plan called for strategically placed artillery redoubts connected by infantry trenches along the entire length.
For nearly a month the First New York Engineers, assisted by the 127th United States Colored Troops, labored to complete the work. In addition to building earthworks, they cut down trees for several hundred yards in front of the works and strengthened the defenses with sharpened tree limbs know as abatis. By November 1864, the menacing field and siege artillery moved into position, virtually ensuring a Federal presence on this side of the James River for the remainder of the war.”
Guarding the James
“After tremendous labor in a short period of time, the fort was ready for defense. By mid-October 1864, Company C, 1st Connecticut Heavy Artillery brought several large cannon into the fort and mounted them along the walls facing the James River. The fort soon bristled with more than 10 large-caliber cannon and mortars. Their mission: stop Confederate ironclads and gunboats from moving downriver toward the Union headquarters and supply depot at City Point.”
Battle of Trent's Reach
“In a daring attempt to attack the Federal supply base at City Point, 11 warships of the James River Squadron ventured downriver on the night of January 23, 1865. Confederate land batteries fired against Fort Brady as the darkened warships steamed past. One incoming shell disabled a gun in the fort. The foray ended in failure when the Confederate vessels ran into the Federal fleet downriver. Fort Brady's gunners stood ready and shelled the Confederate squadron on their return trip upriver on January 25. Although bloodied, Fort Brady’s defenders had survived their first and only major combat test of the war.
“About 3 A.M., January 25, [I] was apprised by [the] pickets of the return of the [Confederate] boats...waited until they came directly opposite, fired, and knocked over the smoke-stack of the leading one…Worked [the guns] as rapidly and surely as possible, and succeeded in sending some 125 solid shot at them before steaming out of range....All this was under a terrific fire, the enemy putting from ten to fifteen hundred heavy shell in and around my battery....But three men, two engineers and one colored support, were killed inside the work; upward of forty of my company were knocked down by splinters.... - Capt. Henry H. Pierce, Co. C, 1st Connecticut Heavy Artillery”
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Red/Cyan (not red/blue) glasses of the proper density must be used to view 3D effect without ghosting. Anaglyph prepared using red cyan glasses from The Center For Civil War Photography / American Battlefield Trust. CCWP Link: www.civilwarphotography.org/
Darwin smooths the drywall mud over the joint where the slanted and level parts of the ceiling meet.
henry saw a backscratcher when we went on vacation and thought it was the coolest thing.
this is his version. (it's more of a massage gadget, but it does feel nice!)
14x17
A multi background under a matte black paint. White pen designs to add to the texture on top. Everyone should create some magic.
In the east pediment of the north library, Indra rides on his mount creating rain to put off the forest fire. In Khandava Forest lived the naga king Takshaka. The fire god Agni made a fire trying to kill Takshaka but the fire got out of control. On the both sides, Krishna and Arjuna are standnig there blocking Indra's rain.