View allAll Photos Tagged cusack
Lucky shot! VERY fast creation. I used 2 transparent prims for the fellow in the background.
I set up and shot this one in about 3 minutes. I REALLY thought it would be difficult and take MUCH longer, attempting the transparent prim trickery and world lights and shadows.
As usual, my only post-work is adjusting shadow values.
...and the word-balloon. :-)
St Patrick’s Church of Ireland Cathedral, Armagh (Irish: Ardeaglais Phádraig, Ard Mhacha) is the seat of the Anglican Archbishop of Armagh and Diocese of Armagh. Although the origins of the site are as a 5th century Irish stone monastery, said to have been founded by St. Patrick, and there has been a significant church on the site since, its present appearance largely dates from Lewis Nockalls Cottingham’s restoration in the years after 1834, although the fabric of Primate O’Scanlan’s 1268 building remains. Over the centuries, the church on the site has been at least partially destroyed and rebuilt 17 times.
Throughout the Middle Ages, the cathedral was the seat of the Catholic Archbishop of Armagh, head of the Catholic Church in Ireland, and one of the most important churches in Gaelic Ireland. With the 16th-century Protestant Reformation, the cathedral was taken over by the Church of Ireland.
Following Catholic emancipation in the 19th century, a new Catholic cathedral was built in Armagh, also called St Patrick’s Cathedral, on another hilltop half a kilometre away.
Evidence suggests that the hilltop was originally a pagan sanctuary. By the 7th century, it had become the most important monastery and monastic school in the north of Ireland, and monastic settlement grew up around it. Brian Boru, High King of Ireland, visited Armagh in 1004, acknowledging it as the head cathedral of Ireland and bestowing it a large sum of gold. Brian was buried at Armagh cathedral after his death at the Battle of Clontarf in 1014. Armagh’s claim to the primacy of Ireland was formally acknowledged at the Synod of Ráth Breasail in 1111.
The cathedral was renovated and restored under Dean Eoghan McCawell (1505–1549), having suffered from a devastating fire in 1511 and being in poor shape. Soon after his death the cathedral was described by Lord Chancellor Cusack as “one of the fairest and best churches in Ireland”. However, by the end of the Nine Years’ War which devastated Ulster between 1593 and 1603, Armagh lay in ruins.
Following the Nine Years’ War, Armagh came under English control and the town began to be settled by Protestants from Britain, as part of the Plantation of Ulster. During the Irish Rebellion of 1641, many Protestant settlers fled to Armagh cathedral for safety. After negotiations with the besieged settlers, Catholic rebels occupied the town until May 1642.
As mentioned above, the cathedral largely owes its current appearance to a rebuilding between 1834 and 1840 by Archbishop Lord John George Beresford and the architect Lewis Nockalls Cottingham. The fabric remains that of the mediaeval building but much restored. While Cottingham was heavy-handed in his restoration, the researches of T. G. F. Patterson and Janet Myles in the late twentieth century have shown the restoration to have been notably antiquarian for its time. The tracery of the nave windows in particular are careful restorations as is the copy of the font. The capital decoration of the two westernmost pillars of the nave (either side of the West Door internal porch) are mediaeval as are the bulk of the external gargoyle carvings (some resited) of the parapet of the Eastern Arm. Cottingham’s intention of retaining the richly cusped West Door with flanking canopied niches was over-ruled. Subsequent restorations have more radically altered the internal proportions of the mediaeval building, proportions which Cottingham had retained.
Many other Celtic and mediaeval carvings are to be seen within the cathedral which is also rich in eighteenth- and nineteenth-century sculpture. There are works by Francis Leggatt Chantrey, Louis-François Roubiliac, John Michael Rysbrack, Carlo Marochetti and others.
Anima Series 6
Lismore NSW Australia 2021
Models: Jennie Dell, Bella Lee-Ball, Alita Moxham, Ethan Rickard, Mayumi Okamura, Jade-Leah McLoughlin, Hannah West, Ayleish Cusack
Bronze water clock (titled Man, Time and the Environment) in the pedestrian mall. It is designed by Victor Cusack and unveiled in 1993.
Hornsby Westfield, Sydney
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The sculpture was designed and engineered by Victor Cusack and is constructed of bronze, stainless steel and glass. It is approximately 8 metres tall and weighs 20 tonnes. Titled ‘Man, time and the environment’, the sculpture pays tribute to the beauty of the environment in Hornsby Shire and reminds us of our need to show responsibility to the land around us and how time is of the essence. It was designed to evoke curiosity and fascination.
Victor was born in Manly, and in pursuit of his passions has travelled far and wide, now living on the NSW North Coast. He is distinguished as an artist, sculptor and poet. His 16 public bronze sculptures in Australia include the Pacific Family (The Dolphins) in Warringah Mall and the First Fleet Bicentennial Sculpture in Bicentennial Park West Pymble. The Australian government gave two of his bronze sculptures as sister city gifts to Portsmouth and Edinburgh, U.K.
The Hornsby Water Sculpture is his largest and most complex sculpture. He conceived, designed, engineered and cast the sculpture at his fine art bronze foundry in Brookvale.
Victor at the age of 84 continues to paint in his studio 5 hours a day and is closely involved in the Water Sculpture’s revitalisation.
The Hornsby Water Sculpture is now almost 30 years old and the revitalisation project involved refurbishing the moving elements that have worn over that time as well as some minor modifications.
These include adding an electric support system to the dial clock and reducing the wear and tear on the water wheel by limiting the movement of the buckets.
The pontoon on which the water sculpture is mounted, will be stabilised in one position. The hydraulic functions will be upgraded to meet current safety requirements and the pond will be resealed.
The entire sculpture will be cleaned, with its natural patina left as always intended. Key elements will be polished to highlight them, much how it was when it was originally commissioned, and a new lighting system will be installed. z2_277
St Patrick’s Church of Ireland Cathedral, Armagh (Irish: Ardeaglais Phádraig, Ard Mhacha) is the seat of the Anglican Archbishop of Armagh and Diocese of Armagh. Although the origins of the site are as a 5th century Irish stone monastery, said to have been founded by St. Patrick, and there has been a significant church on the site since, its present appearance largely dates from Lewis Nockalls Cottingham’s restoration in the years after 1834, although the fabric of Primate O’Scanlan’s 1268 building remains. Over the centuries, the church on the site has been at least partially destroyed and rebuilt 17 times.
Throughout the Middle Ages, the cathedral was the seat of the Catholic Archbishop of Armagh, head of the Catholic Church in Ireland, and one of the most important churches in Gaelic Ireland. With the 16th-century Protestant Reformation, the cathedral was taken over by the Church of Ireland.
Following Catholic emancipation in the 19th century, a new Catholic cathedral was built in Armagh, also called St Patrick’s Cathedral, on another hilltop half a kilometre away.
Evidence suggests that the hilltop was originally a pagan sanctuary. By the 7th century, it had become the most important monastery and monastic school in the north of Ireland, and monastic settlement grew up around it. Brian Boru, High King of Ireland, visited Armagh in 1004, acknowledging it as the head cathedral of Ireland and bestowing it a large sum of gold. Brian was buried at Armagh cathedral after his death at the Battle of Clontarf in 1014. Armagh’s claim to the primacy of Ireland was formally acknowledged at the Synod of Ráth Breasail in 1111.
The cathedral was renovated and restored under Dean Eoghan McCawell (1505–1549), having suffered from a devastating fire in 1511 and being in poor shape. Soon after his death the cathedral was described by Lord Chancellor Cusack as “one of the fairest and best churches in Ireland”. However, by the end of the Nine Years’ War which devastated Ulster between 1593 and 1603, Armagh lay in ruins.
Following the Nine Years’ War, Armagh came under English control and the town began to be settled by Protestants from Britain, as part of the Plantation of Ulster. During the Irish Rebellion of 1641, many Protestant settlers fled to Armagh cathedral for safety. After negotiations with the besieged settlers, Catholic rebels occupied the town until May 1642.
As mentioned above, the cathedral largely owes its current appearance to a rebuilding between 1834 and 1840 by Archbishop Lord John George Beresford and the architect Lewis Nockalls Cottingham. The fabric remains that of the mediaeval building but much restored. While Cottingham was heavy-handed in his restoration, the researches of T. G. F. Patterson and Janet Myles in the late twentieth century have shown the restoration to have been notably antiquarian for its time. The tracery of the nave windows in particular are careful restorations as is the copy of the font. The capital decoration of the two westernmost pillars of the nave (either side of the West Door internal porch) are mediaeval as are the bulk of the external gargoyle carvings (some resited) of the parapet of the Eastern Arm. Cottingham’s intention of retaining the richly cusped West Door with flanking canopied niches was over-ruled. Subsequent restorations have more radically altered the internal proportions of the mediaeval building, proportions which Cottingham had retained.
Many other Celtic and mediaeval carvings are to be seen within the cathedral which is also rich in eighteenth- and nineteenth-century sculpture. There are works by Francis Leggatt Chantrey, Louis-François Roubiliac, John Michael Rysbrack, Carlo Marochetti and others.
Bronze water clock (titled Man, Time and the Environment) in the pedestrian mall. It is designed by Victor Cusack and unveiled in 1993.
Hornsby Westfield, Sydney
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Anima Series 6
Lismore NSW Australia 2020
Models: Bella Lee-Ball & Ayleish Cusack
when i exit this life
i will meet you in the next
at the bottom of the virgin sea
in the middle of the night
where i no longer flee
no longer doubt my feelings
for the My Meme Group
Favorite author
This is a seriously impossible question to answer... my answer changes on a daily basis... After all, I am a nerdish bookworm and an English teacher. I'll just go with Kerouac for argument's sake cuz he suits my mood and life at the moment.
Favorite book
Again, nearly impossible to answer, and whatever title i tell you one day will likely be different the next, but for now I'll just go with On The Road by Kerouac.
Favorite poem OR poet
sigh - i know i'm not going to agree with my own answers in the morning, so I'll just say the latest addition to my favorites is The Invitation by Oriah Mountain Dreamer
Favorite genre
Fiction or poetry
Favorite non-fiction category
Memoir
Favorite book as a child OR first book you remember from childhood
this one's easy - Nancy Drew
What book are you reading now?
I never read just one at a time. The two at the top of the pile right next to my bed are No One Belongs Here More Than You by Miranda July and The Interpreter of Maladies by Jhumpa Lampiri
Favorite fictional character
Edna Pontellier from The Awakening cuz she let go of everything that was expected of her to go after what she really wanted... though in the end she commits suicide. not sure how i feel about that part.
Worst book you ever read
Nightjohn by Gary Paulsen (ick... and i had to teach it too)
A book that changed your life
The Awakening by Kate Chopin
A movie that's BETTER than the book
High Fidelity... the book was pretty damned good, but the movie stars John Cusack, so it wins a big pile of cool points.
The most disappointing movie adaptation from a book (you know - you love the book and HATE the movie)
Beloved the book was incredible. the movie was a snooze.
photo credits;
1. Jack Kerouac, 2. il mio punto di vista, 3. Buenos Aires, 4. wall of books, 5. Memoirs of a Bedouin, 6. Nancy Drew Collection, 7. On the Road Manuscript, #1, 8. Edna... Kino... y las marcas en la arena, 9. Why I'm Going to Work for Zooomr, 10. The Awakening, 11. High Fidelity 2, 12. Diversity IS a Beautiful Thing!
Created with fd's Flickr Toys.
The origins of the cathedral are related to the construction in 445 of a stone church on the Druim Saileach (Willow Ridge) hill by St. Patrick, around which a monastic community developed.[2] The church was historically the centre of the Roman Catholic Church in Ireland. The cathedral and its assets were appropriated by the state church, called the Church of Ireland, as part of the Protestant Reformation in Ireland. The English government under King Henry VIII of England transferred the assets. It has remained in Anglican hands since the reign of Queen Elizabeth I of England. A Roman Catholic cathedral, also called St Patrick's Cathedral, was built on a neighbouring hill in the nineteenth century. Cordial relations exist between both cathedral chapters.
The church itself has been destroyed and rebuilt 17 times. The edifice was renovated and restored under Dean Eoghan McCawell (1505–1549) at the start of the sixteenth century having suffered from a devastating fire in 1511 and being in poor shape. Soon after his death the cathedral was described by Lord Chancellor Cusack as ‘one of the fairest and best churches in Ireland’.[3] Again it was substantially restored between 1834 and 1840 by Archbishop Lord John George Beresford and the architect Lewis Nockalls Cottingham. The fabric remains that of the mediaeval building but much restored. While Cottingham was heavy-handed in his restoration, the researches of T. G. F. Patterson and Janet Myles in the late twentieth century have shown the restoration to have been notably antiquarian for its time. The tracery of the nave windows in particular are careful restorations as is the copy of the font. The capital decoration of the two westernmost pillars of the nave (either side of the West Door internal porch) are mediaeval as are the bulk of the external gargoyle carvings (some resited) of the parapet of the Eastern Arm. Cottingham's intention of retaining the richly-cusped West Door with flanking canopied niches was over-ruled. Subsequent restorations have more radically altered the internal proportions of the mediaeval building, proportions which Cottingham had retained.
The County Limerick boys on their immaculate Denoria Racing LCR Suzuki taking fourth place in Sidecar race one. The Belfast and District Motor Club's Easter Monday Kirkistown race meeting.
She said, I have two, this is Miss California and my other one is Lady Champagne you know from the Cusack movie. (Lady Chablis)
Photographed with Polaroid Spectra with Polaroid Originals B&W film. PolaRoid week 2017 day 4 photo 1
December 31, 2014
"If you asked me for my New Year Resolution, it would be to find out who I am." - Cyril Cusack
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Another year is coming to an end. Overall, I would have to say that 2014 was a pretty good year for me, of course, like any year it had it's ups and downs. But looking back I think there's been more ups than downs and that's nothing to scoff at.
As always at the end of the year, I'd like to thank everyone who has followed, encouraged and befriended me throughout my journey into photography. You guys are always a beckon of support that keeps me going on those frustrating and discouraging days, so thank you. Thank you!
My contacts and friends on here always provide such inspiration with what they see and shoot on a daily basis.
Wishing everyone a wonderful end to 2014; and a perfect beginning to 2015.
Click "L" for a larger view.
Coca Cola said this sign was painted by Thomas Cusack in 1903. A building occupied the neighboring lot from the mid 1920s on, hiding the sign from view (unless you knew where to look). When the building was demolished a few years ago, the sign was seen again.
Tenuous link: No Coke; Pepsi.
This is a busted down pier at Grosse Point Beach in Evanston, Illinois. I met up with some great photographers as some of you may already know, and we shot this rickety old shit in the water. We had gotten about 2 minutes of decent lighting to work with so it was actually quite comical to see all us scramble to get something before it dissipated.
Making his way to a ridge, Kron can see the mysterious city below.
Little does he know it is the home of a race know as the Daleks, who, like the Cybermen, were once much like we humans.
Back then they were known as Kaleds. They once shared the planet with another race called the Thals.
Centuries of nuclear and biological warfare between the two races resulted in the Kaled genepool suffering from horrendous mutations.
When their most brilliant scientist realized that this would someday lead them to evolve into small helpless creatures, he designed armored shells for them to wear so they could maintain their power, and the Daleks were born.
Centuries ago, the last few remaining Thals thought they had destroyed the Daleks by sealing them inside the underground labratory complex where the Daleks had been created, but the Daleks eventually tunneled their way into the network of tunnels below the nearby city of thier ancestors. They took possession of the old city, which had been rendered virtually lifeless long before by a Thal neutron bomb. A few mutated survivors were found in the city and were either killed or converted into Daleks themselves.
About 100 Skarosian years ago, the Daleks developed spaceflight and built a mighty fleet of warships with which to conquer the universe. The Dalek Emperor and most of the Daleks left with that fleet, leaving only a skeleton crew of Daleks behind to maintain the city, who are all dependant on the static electricity conducted by its metal floors to power their shells.