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SoundFjord | London's Grand opening event.
SoundFjord is London and the UK's first Sound Art devoted space and research unit.
"The statuary of the north transept portals is devoted to the Old Testament, and the events leading up to the birth of Christ, with particular emphasis on the Virgin Mary. The glorification of Mary in the center, the incarnation of her son on the left and Old Testament prefigurations and prophecies on the right. One major exception to this scheme is the presence of large statues of St Modesta (a local martyr) and St Potentian on the north west corner of the porch, close to a small doorway where pilgrims visiting the crypt (where their relics were stored) would once have emerged."
Source: Wikipedia
"Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres (French: Cathédrale Notre-Dame de Chartres), is a Roman Catholic church in Chartres, France, about 80 km (50 miles) southwest of Paris, and is the seat of the Bishop of Chartres. Mostly constructed between 1194 and 1220, it stands at the site of at least five cathedrals that have occupied the site since the Diocese of Chartres was formed as an episcopal see in the 4th century. It is in the High Gothic and Romanesque styles.
"The cathedral was designated a World Heritage Site by UNESCO in 1979, which called it 'the high point of French Gothic art' and a 'masterpiece'.
"The cathedral is well-preserved and well-restored: the majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century. The building's exterior is dominated by heavy flying buttresses which allowed the architects to increase the window size significantly, while the west end is dominated by two contrasting spires – a 105-metre (349 ft) plain pyramid completed around 1160 and a 113-metre (377 ft) early 16th-century Flamboyant spire on top of an older tower. Equally notable are the three great façades, each adorned with hundreds of sculpted figures illustrating key theological themes and narratives.
"Since at least the 12th century the cathedral has been an important destination for travellers. It remains so to the present, attracting large numbers of Christian pilgrims, many of whom come to venerate its famous relic, the Sancta Camisa, said to be the tunic worn by the Virgin Mary at Christ's birth, as well as large numbers of secular tourists who come to admire the cathedral's architecture and historical merit.
"The venerated Black Madonna enshrined within was Pontifically crowned by Pope Pius IX on 31 May 1855."
Source: Wikipedia
Love quote and saying
Image
- #LoveQuotes
topquotesonline.net/love-quotes/love-quote-and-saying-i-l...
"The statuary of the north transept portals is devoted to the Old Testament, and the events leading up to the birth of Christ, with particular emphasis on the Virgin Mary. The glorification of Mary in the center, the incarnation of her son on the left and Old Testament prefigurations and prophecies on the right. One major exception to this scheme is the presence of large statues of St Modesta (a local martyr) and St Potentian on the north west corner of the porch, close to a small doorway where pilgrims visiting the crypt (where their relics were stored) would once have emerged."
Source: Wikipedia
"Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres (French: Cathédrale Notre-Dame de Chartres), is a Roman Catholic church in Chartres, France, about 80 km (50 miles) southwest of Paris, and is the seat of the Bishop of Chartres. Mostly constructed between 1194 and 1220, it stands at the site of at least five cathedrals that have occupied the site since the Diocese of Chartres was formed as an episcopal see in the 4th century. It is in the High Gothic and Romanesque styles.
"The cathedral was designated a World Heritage Site by UNESCO in 1979, which called it 'the high point of French Gothic art' and a 'masterpiece'.
"The cathedral is well-preserved and well-restored: the majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century. The building's exterior is dominated by heavy flying buttresses which allowed the architects to increase the window size significantly, while the west end is dominated by two contrasting spires – a 105-metre (349 ft) plain pyramid completed around 1160 and a 113-metre (377 ft) early 16th-century Flamboyant spire on top of an older tower. Equally notable are the three great façades, each adorned with hundreds of sculpted figures illustrating key theological themes and narratives.
"Since at least the 12th century the cathedral has been an important destination for travellers. It remains so to the present, attracting large numbers of Christian pilgrims, many of whom come to venerate its famous relic, the Sancta Camisa, said to be the tunic worn by the Virgin Mary at Christ's birth, as well as large numbers of secular tourists who come to admire the cathedral's architecture and historical merit.
"The venerated Black Madonna enshrined within was Pontifically crowned by Pope Pius IX on 31 May 1855."
Source: Wikipedia
The Lord has always had a remnant, they were his, a “devoted ” one unto the Lord! Once devoted, it is always so! Once taken back, it brings a curse!
Remnant Devoted unto the Lord on the WIBR/WARN Sites
Remnant Devoted unto the Lord on Warn-Radio
Remnant Devoted unto the Lord on Warn-USA
Remnant Devoted unto the Lord on WingsWatchman
Remnant Devoted unto the Lord on D Day For America
I recently had the pleasure of photographing the fascinating and talented Freddy, a man in his 70s who has devoted his life to the Mazda rotary engine. This unique and rare engine has always fascinated him, and he's become a true master of its intricacies. I used my beautiful Rolleiflex 2.8E twin lens reflex camera equipped with legendary Carl Ziess Planar 80mm f2.8 and shot some Kentmere 400 black and white medium format film and Leica M2 with summilux 35mm and Fuji 800 film to give the images a vintage feel and superb quality.
One of the most interesting things about the Mazda rotary engine is that it operates on a completely different principle than a traditional piston engine. Instead of pistons moving up and down in a cylinder, the rotary engine uses a triangular rotor that spins in an oval chamber. This results in a much smoother and more efficient engine, with a much higher power-to-weight ratio than a traditional piston engine. It's also incredibly compact and lightweight, making it a popular choice for sports cars and other performance vehicles.
Freddy has spent decades learning and modifying these engines, and his expertise is evident in the extensive collection of rotary parts that can be found all over his home. His passion for these engines extends to his impressive collection of Mazda RX7 sports cars, ranging from model FB to FD, and even an RX8. It's rare to find someone who is so knowledgeable about these engines, and Freddy is always happy to share his expertise with others who share his interest.
Despite his impressive knowledge and skill, Freddy is a humble and generous man. He frequently helps local rotary fans build their engines for a very affordable price, and he's always happy to spend time with others who share his love for these engines.
During my time with Freddy, he patiently explained the intricacies of rotary engines with a great sense of humor. He showed me some of his rotary builds and talked me through how they worked in small details. It was truly inspiring to see someone so passionate and skilled in their craft.
"The statuary of the north transept portals is devoted to the Old Testament, and the events leading up to the birth of Christ, with particular emphasis on the Virgin Mary. The glorification of Mary in the center, the incarnation of her son on the left and Old Testament prefigurations and prophecies on the right. One major exception to this scheme is the presence of large statues of St Modesta (a local martyr) and St Potentian on the north west corner of the porch, close to a small doorway where pilgrims visiting the crypt (where their relics were stored) would once have emerged."
Source: Wikipedia
"Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres (French: Cathédrale Notre-Dame de Chartres), is a Roman Catholic church in Chartres, France, about 80 km (50 miles) southwest of Paris, and is the seat of the Bishop of Chartres. Mostly constructed between 1194 and 1220, it stands at the site of at least five cathedrals that have occupied the site since the Diocese of Chartres was formed as an episcopal see in the 4th century. It is in the High Gothic and Romanesque styles.
"The cathedral was designated a World Heritage Site by UNESCO in 1979, which called it 'the high point of French Gothic art' and a 'masterpiece'.
"The cathedral is well-preserved and well-restored: the majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century. The building's exterior is dominated by heavy flying buttresses which allowed the architects to increase the window size significantly, while the west end is dominated by two contrasting spires – a 105-metre (349 ft) plain pyramid completed around 1160 and a 113-metre (377 ft) early 16th-century Flamboyant spire on top of an older tower. Equally notable are the three great façades, each adorned with hundreds of sculpted figures illustrating key theological themes and narratives.
"Since at least the 12th century the cathedral has been an important destination for travellers. It remains so to the present, attracting large numbers of Christian pilgrims, many of whom come to venerate its famous relic, the Sancta Camisa, said to be the tunic worn by the Virgin Mary at Christ's birth, as well as large numbers of secular tourists who come to admire the cathedral's architecture and historical merit.
"The venerated Black Madonna enshrined within was Pontifically crowned by Pope Pius IX on 31 May 1855."
Source: Wikipedia
Yann Novak's Stillness: Private Listening/Viewing event at SoundFjord | London
SoundFjord is London and the UK's first Sound Art devoted space and research unit.
"The statuary of the north transept portals is devoted to the Old Testament, and the events leading up to the birth of Christ, with particular emphasis on the Virgin Mary. The glorification of Mary in the center, the incarnation of her son on the left and Old Testament prefigurations and prophecies on the right. One major exception to this scheme is the presence of large statues of St Modesta (a local martyr) and St Potentian on the north west corner of the porch, close to a small doorway where pilgrims visiting the crypt (where their relics were stored) would once have emerged."
Source: Wikipedia
"Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres (French: Cathédrale Notre-Dame de Chartres), is a Roman Catholic church in Chartres, France, about 80 km (50 miles) southwest of Paris, and is the seat of the Bishop of Chartres. Mostly constructed between 1194 and 1220, it stands at the site of at least five cathedrals that have occupied the site since the Diocese of Chartres was formed as an episcopal see in the 4th century. It is in the High Gothic and Romanesque styles.
"The cathedral was designated a World Heritage Site by UNESCO in 1979, which called it 'the high point of French Gothic art' and a 'masterpiece'.
"The cathedral is well-preserved and well-restored: the majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century. The building's exterior is dominated by heavy flying buttresses which allowed the architects to increase the window size significantly, while the west end is dominated by two contrasting spires – a 105-metre (349 ft) plain pyramid completed around 1160 and a 113-metre (377 ft) early 16th-century Flamboyant spire on top of an older tower. Equally notable are the three great façades, each adorned with hundreds of sculpted figures illustrating key theological themes and narratives.
"Since at least the 12th century the cathedral has been an important destination for travellers. It remains so to the present, attracting large numbers of Christian pilgrims, many of whom come to venerate its famous relic, the Sancta Camisa, said to be the tunic worn by the Virgin Mary at Christ's birth, as well as large numbers of secular tourists who come to admire the cathedral's architecture and historical merit.
"The venerated Black Madonna enshrined within was Pontifically crowned by Pope Pius IX on 31 May 1855."
Source: Wikipedia
SoundFjord | London's Grand opening event.
SoundFjord is London and the UK's first Sound Art devoted space and research unit.
My dear, devoted shadows,
There are moments when the music fades, the stage lights dim, and I find myself needing to retreat into a different kind of ritual. You know how much I love to play with the darkness, but I know many of you have a very specific… devotion… to the softer side of my aesthetic.
I recently spent an afternoon in one of my favorite hushed, stone sanctuaries for a photo series I’ve titled The Altar of My Feet. I wanted to create a space where your gaze could linger exactly where I know you want it most. There is something so intoxicating about the cold touch of an ancient altar against the warmth of my skin, and the way the candlelight catches the curve of an arch or the tips of my dark-clad toes.
A Ritual of Reveal
I’ll admit, I find a delicious kind of power in this indulgence. As I posed amidst the gargoyles and stained glass, I wasn't just thinking about the art—I was thinking about you. I was imagining your eyes tracing the delicate black ink on my skin and feeling the weight of your collective adoration.
The Sensation: The whisper of lace and the cool air of the cathedral on my bare soles.
The Tease: Knowing that while I am the one on the altar, it is your worship that brings the scene to life.
The Connection: My feet are my most private gift to you, a quiet "thank you" for the way you support my music and my soul.
I felt so beautifully exposed and yet so completely in control. It’s a rare thing to feel like a goddess and a temptress all at once, but seeing the way these photos turned out, I can see why you find it so hard to look away.
Want more? Watch Sindy's video titled The Altar Of My Feet - Foot Worship. gothgirlsindy.com/2025/12/31/the-altar-of-my-feet-foot-wo...
#sindy #solebeauty #feetadoration #sindyfeet #footmodel #milkywhitefeet #aestheticfeet #barefootbeauty #PedicurePerfection #barefootlux #footfetish #footfetishnation #cutetoes #cutefeet #sexyfeet #barefootgoddess #archedsoles #elegantbarefoot #footworship #soles #prettyfeet #feetlovers #barefeet #prettytoes #feetfetish #footfetishcommunity #footfet #barefoot
Which, as a youth, he devoted himself, and, at the
time of his marriage in Hanover, was engaged as
hautboy player in
the band of the Guards. When,
in the course
of time, his
family grew up around him, each child received an education at the garrison school, to which they were sent between the ages of two and fourteen; and at home the father strove
to cultivate the musical talents of his sons, one of whom, William,
soon taught his teacher, while another, Jacob, was organist of the garrison church. Of her very early childhood one gets the impression that Caroline was a quiet, modest little maiden,
"deeply interested
in all the family concerns," content to be eclipsed by her more brilliant and less patient elder sister, and overlooked by her thoughtless brothers, toward one of whom, William, she already began to cherish that deep affection which she maintained throughout their lives. The lives of this brother and sister, indeed, in this respect, recall to mind those of Charles and Mary Lamb. When she was five years old the family life was disturbed by war, which took
away temporarily father and sons, and left the little girl at home, her mother's sole companion. Her recollections of
this time are very dismal, and may be read at length in the memoir by Mrs. John Herschel, to which we are indebted for much aid. When she was seventeen her father died, and the polished education which
he had hoped to give
her was supplanted by the
I created this layout for the Symmetry Class at Get is Scrapped.
Anna Aspnes - ArtPlayPalette - Elegance & Sweet Pea
Britt Designs - Are We There Yet
Connie Prince - Big News
Chelle Creations - Letters from Home
Just Jaimee - Story Starter April
Karla Dudley - Devoted
Lindsay Jane - Christmas Day
Quirky Twerp - Sweetmemories
Sahlin Studio - Explore Learn Grow
Amy Hutchinson 1909 to the "lasting and irreparable loss of her devoted friend Florence Bell" - Church of St Lawrence East Rounton Yorkshire -
Tellus Science Museum occupies more than 125,000 square feet and features galleries devoted to minerals, fossils, transportation technology, and hands-on science experiences.
The 120-seat digital Planetarium hosts a variety of astronomy programs, stargazing events, and family activities and 45-minute shows are shown throughout each day. The Weinman Mineral Gallery showcases one of the largest, most comprehensive collections in the Southeast, with more than 4,000 rocks, gems and minerals on display.
Tellus is a Latin word meaning "Earth" and may refer to Tellus Mater or Terra Mater, the ancient Roman earth mother goddess, and is also an alternative name for the planet Earth, often used in the science fiction genre (e.g. the books of E. E. Smith).
Tellus is an affiliate of the Smithsonian Institution. The museum is open daily from 10:00 AM to 5:00 PM closing only on major holidays.
The Fossil Gallery features Stan, a 40-foot Tyrannosaurus rex along with other dinosaurs and fossils, allowing visitors to trace the history of life on Earth.
Collins Family My Big Back Yard offers hands-on science exhibits introducing concepts from the physical and life sciences through backyard science experiences.
Science of Motion allows visitors to re-live major developments in science and technology related to automobiles, aircraft, and space travel. In addition, Tellus includes a 200-seat presentation theater, a large multi-purpose room for events, four well-equipped science labs, an observatory, a full service cafe, and a gift shop that is almost equal in size to the Weinman’s original exhibit space.
Tellus Science Museum opened January 12, 2009, and has welcomed more than one million visitors.
Tellus was founded as the Weinman Mineral Museum in 1983, which closed in 2007 and reopened as Tellus Science Museum in 2009. The museum retains the original mineral displays in the Weinman Mineral Gallery.
visitcartersvillega.org/tellus-science-museum/
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Beginning on 8 March, 2024, the auspicious day devoted to Lord Shiva, Maha-Shivaratri, was celebrated at the Shree Peetha Nilaya ashram with Paramahamsa Sri Vishwananda and over 1200+ participants. (Despite the challenge of sudden airline cancellations and rail strikes, they persevered and made it in time!)
A full day and night of activities began with the customary outside abhishekam to Hari Bhakta Poorna Shiva in the morning, and a lecture followed in the afternoon. In the evening, the main worship ceremonies consisted of four main abhishekams, which, Guruji explained in His satsang, represented the different aspects of Shiva associated with Vrindavan. Everyone was eligible to offer water for each of these four abhishekams, spaced throughout the night into the morning of the next day, and an energetic seva team organised and gave prasad to everyone after each abhishekam. The entire event was filled with vibrant kirtan to Shiva as well as to Krishna, the One on whom Lord Shiva meditates, and, despite staying up all night, the musicians, singers, and entire crowd kept the temple rocking. The final arati concluded the event after 6 am, after which vibhuti (holy ash) was distributed to everyone.
paramahamsavishwananda.com
bhaktimarga.org
Chatteris Branch of the Royal British Legion Ypres Tour – 6th August 2015.
Exhibits on display within the In Flanders’ Fields Museum in Ypres.
The In Flanders' Fields Museum is devoted to the study of World War I and occupies the second floor of the Ypres Cloth Hall (Lakenhalle) on the market square in the centre of Ieper (Ypres), Belgium. The building was virtually destroyed by artillery during the First World War and has been reconstructed. In 1998 the original Ypres Salient Memorial Museum was refurbished and renamed In Flanders Fields Museum. Following a closure for refurbishments, the museum reopened on 11 June 2012. The curator, Piet Chielens, is a World War I historian. The museum is named for the famous poem by Canadian John McCrae.
Visitors to the museum will find no glorification of war; rather the museum suggests the futility of war, especially as seen in the West Flanders front region in World War I.
Kollwitz devoted five years to The Ploughmen, the first of seven prints in Peasants’ War. The preparatory drawings, working proofs, and rejected versions record the artist’s evolving thoughts as she sought to articulate the inhumane conditions that compelled the laborers to revolt. Through numerous trials in different printmaking processes, the artist recast the figures to revise the composition’s narrative implications. In an early rejected lithograph, a hunched peasant woman guides a plough pulled by two human beasts of burden. Unhappy with this composition, Kollwitz repositioned the ploughers and introduced a standing female figure in the foreground in a study drawing and etching. The artist rejected this image, too, ultimately eliminating the female figure to focus on the laborers’ physical torment. The definitive version of The Ploughmen, executed in etching, captures the men in their Sisyphean misery, perpetually mired in their desperate place in society.
Beginning on 8 March, 2024, the auspicious day devoted to Lord Shiva, Maha-Shivaratri, was celebrated at the Shree Peetha Nilaya ashram with Paramahamsa Sri Vishwananda and over 1200+ participants. (Despite the challenge of sudden airline cancellations and rail strikes, they persevered and made it in time!)
A full day and night of activities began with the customary outside abhishekam to Hari Bhakta Poorna Shiva in the morning, and a lecture followed in the afternoon. In the evening, the main worship ceremonies consisted of four main abhishekams, which, Guruji explained in His satsang, represented the different aspects of Shiva associated with Vrindavan. Everyone was eligible to offer water for each of these four abhishekams, spaced throughout the night into the morning of the next day, and an energetic seva team organised and gave prasad to everyone after each abhishekam. The entire event was filled with vibrant kirtan to Shiva as well as to Krishna, the One on whom Lord Shiva meditates, and, despite staying up all night, the musicians, singers, and entire crowd kept the temple rocking. The final arati concluded the event after 6 am, after which vibhuti (holy ash) was distributed to everyone.
paramahamsavishwananda.com
bhaktimarga.org
Beginning on 8 March, 2024, the auspicious day devoted to Lord Shiva, Maha-Shivaratri, was celebrated at the Shree Peetha Nilaya ashram with Paramahamsa Sri Vishwananda and over 1200+ participants. (Despite the challenge of sudden airline cancellations and rail strikes, they persevered and made it in time!)
A full day and night of activities began with the customary outside abhishekam to Hari Bhakta Poorna Shiva in the morning, and a lecture followed in the afternoon. In the evening, the main worship ceremonies consisted of four main abhishekams, which, Guruji explained in His satsang, represented the different aspects of Shiva associated with Vrindavan. Everyone was eligible to offer water for each of these four abhishekams, spaced throughout the night into the morning of the next day, and an energetic seva team organised and gave prasad to everyone after each abhishekam. The entire event was filled with vibrant kirtan to Shiva as well as to Krishna, the One on whom Lord Shiva meditates, and, despite staying up all night, the musicians, singers, and entire crowd kept the temple rocking. The final arati concluded the event after 6 am, after which vibhuti (holy ash) was distributed to everyone.
paramahamsavishwananda.com
bhaktimarga.org
Strategically positioned on a corner that overlooks Clapham Common you shall find No 32 Old Town. Occupying the former site of The Frog, as far as we can see, the transition from boozer to bar restaurant has been seamless. French windows thrown open onto the street and a glorious roof terrace give No 32 a sense of space that turns out to be just perfect on a sunny day. Letâs see how it fares in winter.
As for ambiance - No 32 have gone for the filament lighting, open kitchens and 'stuff with tiles' that seems to be so popular these days. Theyâre quite keen to be seen as a âbar that does good foodâ (as oppose a ârestaurant that does good drinkâ), which is true in the sense that the restaurant area itself is quite small, most of the venue's floor plan is devoted to something that looks more like a pub. Itâs actually quite a lot bigger than it looks from the outside.
How about the food? In the words of another reviewer, No 32âs menu âplays it safeâ (on the main part) - focusing on pub staples such as burgers and steak - but there are a few notable curveballs it may be worth trying out (i.e the âWonky Vegâ Aubergine Curry or the Coconut Poached Chicken Salad). As for drinks, theyâve a very respectable wine list, an OK cocktail list (that focuses quite heavily on Old Fashioned) and a beer list that falls short on their promise of craft beer.
All in all, this place appears to have a very bright future ahead of it - the place was absolutely heaving around 8pm on a Thursday evening. Naaaaice.
George Morrison, Born Grand Marais, MN 1919
-died Grand Marais, MN 2000
Untitled (Blue Painting), 1958, oil on canvas, overall: 41 × 54 in
"The basis of all art," George Morrison once stated, "is nature." Suggestions of sky, water, and rock emerge often in his abstract paintings. A member of the Grand Portage Band of Chippewa, Morrison grew up in a rural community on the rugged northern shore of Lake Superior before studying art in Minneapolis and New York City.
The luminous quality of this work was achieved through the application of blue, green, red, and orange paint over a darker maroon background. Projecting a quiet yet joyous mood, Untitled (Blue Painting) suggests a sublime vision of a natural scene.
____________________________________
"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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As a devoted member of my college's ornithological club, I always ensure my camera accompanies me on our weekly bird walks, capturing invaluable record shots of the campus birds for my fellow classmates to admire. While these images typically serve as diagnostic aids for identification, one November weekend by the Duck Pond, serendipity graced us with a breathtaking sight: a vast flock of White-throated Sparrows bathed in the soft glow of the autumn sunlight amidst a picturesque meadow. Nestled within Haverford College's verdant arboretum, every corner offers a splendid setting for photography. So when one of these sparrows popped up on a beautiful oak plant, I seized the opportunity. The gracefully curling leaves, coupled with the delicate goldenrod adorning the scene, provided a natural frame for the bird against a backdrop of radiant orange sunlight. Thus, what might have been a mundane snapshot transformed into a vibrant testament to the beauty of my college's campus.
Probably the happiest almost three year old I have ever seen in my life, and completely devoted (and mostly dominated by) his baby sister. I once saw him fall 7 feet from a playground slide then jump right back up and start scolding it for being "rude," then he just climbed right back on the silly thing.
May - Divers 2018
KANAL - Centre Pompidou!
13 months of exhibitions and shows before conversion work begins
Before it becomes the largest cultural institution in Brussels, with 35,000 m2 devoted to artistic creation in all its forms, KANAL - Centre Pompidou proposes a unique cultural immersion in the buildings of the former Citroen garage.
Before conversion work begins, KANAL - Centre Pompidou will open its doors from May 2018 until June 2019 to allow the public to discover an exceptional cultural heritage, rich in history and preserved in its current state. Benefiting from the richness of the collections of the Centre Pompidou, the former Citroen garage will turn into a site hosting several exhibitions mixing visual arts, design, architecture, major installations and creations by Brussels-based artists, as well as a programme of performing-arts shows co-produced for this occasion with many of the city's cultural actors.
A future cultural hub
The ambition of KANAL - Centre Pompidou is to offer a centre of culture and exchange open to all, to put the creative scene of Brussels in the limelight, and to contribute to the capital's cultural appeal.
Driven by the Brussels-Capital Region, this ambitious project seeks to provide Brussels with a cultural hub favourable to the aura of the capital of Europe. In the context of a ten-year partnership with the Centre Pompidou, the future KANAL - Centre Pompidou will not only house a museum of modern and contemporary art, but also the rich collections of architecture and urbanism of the CIVA Foundation. It will also accommodate many public spaces with a range of functions, including several stages for the performing arts.
A wide-ranging programme
Events imagined in response to the identity of the site and its unique aesthetic qualities, but also its history
From 5 May 2018 until 10 June 2019, following a radically experimental approach, the former Citroen garage will turn into a platform open to a reflection on the stakes of the museum of the future. Curated by Bernard Blistene, the director of the Musee national d'art moderne, Centre Pompidou, a multidisciplinary programme will seek to fill the spaces that were recently emptied of their functions and left in their current state. Many of the proposals seek to echo the identity of the site, but also its human and social history, tangible across the different workshops and offices and in the different fittings of this vast complex.
Eager to integrate Kanal - Centre Pompidou in its context, the programme will let a vast audience have access, in one and the same venue, to a wide-ranging and unique cultural offer. The programme follows the rhythm of the Brussels cultural calendar, in partnership with, among others, Kunstenfestivaldesarts, BOZAR, Performatik Festival, Flagey, Kaaitheater and La Raffinerie (Charleroi Danse).
Photos of May 2018
Photos de mai 2018
( Diverses photos prisent en 2018 sans sujet reel.
Various pictures taken in 2018 without real subject. )
Beginning on 8 March, 2024, the auspicious day devoted to Lord Shiva, Maha-Shivaratri, was celebrated at the Shree Peetha Nilaya ashram with Paramahamsa Sri Vishwananda and over 1200+ participants. (Despite the challenge of sudden airline cancellations and rail strikes, they persevered and made it in time!)
A full day and night of activities began with the customary outside abhishekam to Hari Bhakta Poorna Shiva in the morning, and a lecture followed in the afternoon. In the evening, the main worship ceremonies consisted of four main abhishekams, which, Guruji explained in His satsang, represented the different aspects of Shiva associated with Vrindavan. Everyone was eligible to offer water for each of these four abhishekams, spaced throughout the night into the morning of the next day, and an energetic seva team organised and gave prasad to everyone after each abhishekam. The entire event was filled with vibrant kirtan to Shiva as well as to Krishna, the One on whom Lord Shiva meditates, and, despite staying up all night, the musicians, singers, and entire crowd kept the temple rocking. The final arati concluded the event after 6 am, after which vibhuti (holy ash) was distributed to everyone.
paramahamsavishwananda.com
bhaktimarga.org
On December 19, 2024, I paid a visit to the two museums hosted in Gadagne, an imposing Renaissance ensemble in Lyon St-Jean, France. The first museum in devoted to the Puppetry and the second is the Lyon's History Museum (www.gadagne-lyon.fr/en).
I loaded my Nikon F4 (year 1989, see the details about the camera bellow) with a Rollei RPX 400 which is the former formula of the Agfa APX 400. The film cartridge is DX-coded and I did not modified the nominal DX-coded 400 ISO sensitivity.
I choose the AF Nikkor lens 1:1.8 f=85mm with a protective Hoya HMC UV 62mm screw-on filter plus its dedicated Nikon HN-23 metal shade hood. I brought along too the Nikon SB-26 flashlight in my bag in case of necessity.
Ambiant light, M mode, 1/60s f/1.8, spot metering
Procession of mothers, old woman mask, Death, embroidered drums***
Palais Gadagne, December 19, 2024
69005 Lyon
France
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***Procession of mothers, old woman mask, Death, embroidered drums
Les Folles
Cie La Mue/tte
Delphine Bardot, Santiago Moreno, Daniel Trento, artistic team
Gladys Belamy, Elise RibeiroEsteves, Hélène Maillard, Morgane Chandelle, Eléonore Blond, Cécilia Herzog, Sarah Pensalfini, Mathilde Torme-Marins, Margot Boscardin, Margaux Barabas, Eléonore Dorn (1BMA 2016 /17), Claire Mérel, Noémie Meyer, Léona Choisy, Samah Elbousami, Eugénie Bédel, Emilie Moens, Margot Agnus, Clémence Fontana (CAP 2016/17), team of embroiderers
Strasbourg, 2017
These puppets and embroidered objects are the result of the company's meeting with apprentice embroiderers around the theme of resistance of the Mothers of the Plaza de Mayo:
"Embroider to resist".
The procession as well as the mask represent these mothers who in Argentina, after the disappearance of their children during the military dictatorship from 1976 to 1983, gathered in the Plaza de Mayo; 40 years later they still gather and are figures of resistance against oppression.
The drums represent the disappeared children while the great puppet of death embodies the dictatorship.
After at view 30, the last seven views were completed the day after with a series a views of my Hasselblad 500 C/M camera at home. The film was then rewound (manually) and processed the film developed using 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 12min30 at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta Auto Bellows with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14.1.1) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with frame or the full size JPEG's together with some documentary smartphone color pictures.
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About the camera :
Maybe it would have been better not to ask for this question: « what’s new do you have at the moment?» to my local photo store, because Christine grab underneath the counter, stating « I have that … » . What a beast ! A Nikon F4 in the exact state of the Nikon brochure year 1990, presented with the standard AF Nikkor 1:1.4 f=50mm. I was already hooked by the machine. After two days, I decided to buy it even with some little common issues found on early Nikon F4 (see below), fortunately not affecting the whole, numberous functions of this incredibly complex professional SLR of the year 1990’s.
Nikon F4 came to the market on September 1988 starting with the serial number 2.000.000. Fully manufactured in Japan (modules came from 3 different Nikon factories) the F4's were assembled in Mito, Ibaraki (North to Tokyo) Nikon plant (no more in the mother factory of Tokyo Oi like the Nikon’s F). When I lived in Tokyo in 1990-1991, Nikon F4 was the top-of-the-line of Nikon SLR camera’s. I saw it in particular in Shinjuku Bic Camera store when I bought there, in December 1990 my Nikonos V.
Nikon F4 incorporates many astonishing engineering features as the double vertical-travel curtain shutter capable of the 1/8000s. Compared to the Nikon F3, the F4 was an AF SLR operated by a CCD sensor (200 photo sites). The film is automatically loaded, advanced with to top speed of 5,7 frame/s !! With the MB-21 power grip (F4s version). The F4 is a very heavy camera (1.7kg with the AF Nikkor 1.4/50mm), incredibly tough and well constructed. This exemplary is devoid of any scratches or marks, and in a condition proving that it was not used for hard professional appliances, for those it was however intended. The camera has still it original Nikon neck strap, the original user manual in French. The lens is protected by a Cokin (Franc) Skylight 1A 52mm filter and the original Nikon front cap. The two small LCD displays (one on the F4 body, one in the DP-20 finder) are both affected by the classical syndrome of « bleeding ». Fortunately, all information could still be read. One says that 70% of the early Nikon F4 suffer from this problem but also found on other models.
According its serial number and the production rate of about 5000 units/month, this Nikon F4s was probably manufactured in Mito, Ibaraki, Japan in May 1989.
The camera was exported abroad thereafter attested by the presence of the golden oval little sticker("Passed" on the DP-20 viewfinder. In order to certify the quality production, two Japanese organizations, the Japan Camera Industry Institute (JCII) and the Japan Machinery Design Center (JMDC), joined forces to verify and mark the conformity of products for the foreign market. This is how, between the 1950s and 1980s, this famous little gold sticker was affixed, with the legendary "Passed", meaning that the device had been checked. Finally, when we say that the device had been checked, the production line had been checked because each device could not be checked individually.
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About the flash :
I received from a German seller for 50€ this Nikon Speedlight electronic flash SB-26 that was, at the time of Nikon F4, the most powerful dedicated Nikon flash (Guide Number 36 at full power and 100 ISO).
The SB-26 communicates with the Nikon F4 body (and many other Nikon camera's) and can be operated in many different modes including TTL real-time metering with automatic equilibration of the ambient light using the 5-zone matrix metering done by the DP-20 photometric viewer as well in the center-weighted mode. Other possibilities include the normal TTL mode, an Auto mode using the own sensor of the flash and a manual mode with 7 power levels.
The flash head can cover the optical field from super-wide angle lenses 18-20mm, wide-angle lenses 28mm and 35mm, normal lenses 50mm, and long-focal lenses at 70mm and 85mm. The head can be rotated according two axis for indirect lightening. In addition, the SB-26 has a special focusing aid for the Nikon F4 autofocus system, projecting in the the darkness a red focusing image. SB-23 flash can be also used as master or slave flash in a coordinated flash system.
The flash requires 4 AA alkaline cells for approximately 100 lights at full power and much more with energy recycling at lower power levels.