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White painted outlines mark the spots where the Ceauşescus' fell, and a volley of bullet holes pepper the wall – apparently, the Ceauşescus were shot too quickly for the event to be captured live on video, so many of the holes seen were actually fired after they had been executed.
Whitebox Art Center presents
Robert Priseman: FAME
On view January 8 through 26th, 2014
Opening Reception Thursday, January 9, 7-9 PM
Whitebox Art Center is pleased to present FAME, an exhibition of paintings by Robert Priseman, on view through January 26. FAME brings together 70 haunting portraits of some of the 20th century’s most famous celebrities known for their tragic, premature deaths. Rather than use blank canvases, Priseman paints the portraits over miniature antique Christian icons that he purchases through online auctions on e-bay. Collectively, the images pose the question: what does it mean to be famous, to be iconic, in today’s society?
FAME both literalizes and deconstructs the notion that celebrity has replaced religion, drawing parallels between the immediacy of tabloid culture in the internet age, and the perceived presence and efficacy of the holy figures evoked in the icons. Priseman’s process of painting modern stars over ancient saints is also an act of effacement as much as it is one of substitution, a gesture that suggests “a simultaneous derituralising and remooring of religiosity” in the form of today’s celebrity culture, according to Michael Bailey of the University of Essex.
Priseman began his career as a portraitist, and eventually developed an interest in man-made interior spaces, particularly those associated with trauma. In a series of etchings entitled Modern Means of Execution and paintings entitled American Execution (both 2007-2008), Priseman depicted execution chambers, electric chairs and gurneys in precise detail and glowing color, all empty of human presence, but charged with the traces of past violence and the potential for more. FAME unites Priseman’s continuing exploration of death and memory with his ongoing interest in portraiture. The resulting body of work constitutes a moving contemplation of spirituality, fantasy and mortality in contemporary popular culture.
Robert Priseman has participated in the recent exhibitions, Francis Bacon to Paula Rego, a survey of British painting from the last 50 years at Abbot Hall Art Gallery (2012), and New East Anglian Painting at the Ipswich Art Museum (2012). He was included in curator Michael Peppiat’s recent publication, Interviews with Artists 1966-2012 (Yale University Press, 2012). Priseman’s work is held in a number of international collections, including the Museum der Moderne Salzburg, The Art Gallery of New South Wales, Sydney, Musée de Louvain la Neuve, The Mead Art Museum, The Royal Collection, The Wellcome Collection, the Scottish National Gallery of Modern Art, Swindon Art Gallery, and the Schneider Museum of Art. Born in Derbyshire, UK, he studied Aesthetics and Art Theory at the University of Essex.
FAME is curated by Tony Guerrero, Executive and Artistic Director of Whitebox Art Center. The exhibition issponsored by Elena Dranichnikova, Andrew McGrahan, Shona McGrahan, Ally Seabrook and Eliza Kentridge.
(further information and pictures you can see quite easily by clicking on the link at the end of page!
Mausoleum
© Photo bruart
Mausoleum Graz with Domherrenhaus - bruart Photo
The Mausoleum of Emperor Ferdinand II
Among the three in Styria from the age of the Counter Reformation originating mausoleums, the chronologically last emerged Grazer Mausoleum occupies a transregional position: It is a building with a European dimension. Ferdinand II entrusted 1614 his from Lodi, near Milan, coming Court artist Giovanni Pietro de Pomis (1569-1633) with the design and execution of this monumental grave construction, which was completed in 1636.
The Mausoleum - consisting of the symbol associated form of a cross of St. Catherine's Church and the oval tomb (symbol of the resurrection) - shows the ecclesiastical and dynastic representation intentions of the client: the patronage of St. Catherine of Alexandria does not only refer to a medieval predecessor building, but also stands in the context of the by Archduke Charles II, the father of Ferdinand II, in 1585 founded and run by the Jesuit Order University, which also stood under the patronage of the female martyr, the patron saint of Sciences. The dynastic intentions are recognizable at the symbolic crownings of the domes - scepter and imperial eagle with imperial sword and orb. The sandstone statues on the west façade - the by two angels flanked saint Catherine and two of the Holy to Christianity converted people - and the painted copper plates in the niches with the scenes from the life of St. Catherine form additionally not only a to the titular saint of the Church and patron of the university related program, but also show in the two to Catholic faith converted figures Porphyry and Faustina a Counter-Reformation aspect.
The completion of the interior was only in 1687 by the glorious victor over the Turks Emperor Leopold I initiated. He extended in the same time the originally related to his grandfather Ferdinand II equipment program by a glorification of the house of Austria and an apothesosis directed to his person.
The designs for the remarkable stucco decorations and for the altar of Catherine delivered the 1687 in Graz born Imperial court painter Johann Bernhard Fischer von Erlach. The stucco work was carried out 1688/89 by Josef Serenio, Girolamo Rossi and Antonio Quadrio. The at the same emerged nave frescoes with the Apotheosis of the Habsburg dynasty were probably painted by Franz Steinpichler. At the center of these frescoes is the then most topical relief battle of Vienna (1683) shown. The sculptures of St. Catherine's altar carved Marx Schokotnigg (1697/99); from the same artist stem the angels of the Marian altar (1697/1701). The altarpiece depicting the Immaculate Virgin painted in 1699 Antonio Bellucci. Of the church furnishing is furthermore the "sacred grave" (1768/69) by Veit Koniger to emphasize, by its playing platform and the multi-figured ensemble counting to the most important "holy shrines" in Austria.
The frescoes in the chapel grave with representations of the virtues and deeds of the Catholic Emperor Ferdinand II and typological juxtapositions from the Old and the New Testament that refer to the resurrection and redemption of Christ, painted about 1689 Matthias Echter. He also established the fresco in the choir with the mystic marriage of St. Catherine. The niche figures of stucco - personifications of the virtues of "faith", "love", "hope" and "justice" - created around 1695/96 Marx Schokotnigg. The paintings "Saint Ignatius" by Franz Wagenschön (1766) and "Mary Immaculate" by Josef Tunner (1858 ) were formerly as altarpieces in use.
The stucco work of the tomb chamber manufactured around 1640 Mattia Camin (they were in 1694 renewed by Josef Serenio). The here represented substantial program shows the insignias and coats of arms of the countries and hereditary lands of Emperor Ferdinand II, symbols of death and last rites and painted scenes from the Old and the New Testament that refer to the resurrection.
The tombs of Emperor Ferdinand II (d. 1637) and of Archduchess Maria Anna of Bavaria (d. 1616), the first wife of Ferdinand II, are characterized by inscription panels. Also, here is a so-called Herzgrüftl (small heart tomb) with the hearts of Ferdinand II, his mother, Maria of Bavaria, his second wife Eleanor of Gonzaga and of other archducal family members.
The Rotmarmorsarkophag (red marble sarcophagus) in the crypt room with the three-dimensional recumbent figures of the parents of Ferdinand II, in which, however, only his mother is buried, stems from the ancient Grazer monastery of the Poor Clares and may have been manufactured about 1608 by Sebastian Carlone.
The Mausoleum of Ferdinand II is due to its complex architectural and iconological program a Hall of Fame of the Counter-Reformation. It identifies itself by its political-imperial statement as foundation building of the Imperial House of Austria. From the artistic point of view, it is also a main example of the manifestation of Roman art movements in the High Baroque in Styria.
Horst Schweigert
Hidden in a room behind the height gauge, a gunman would shoot the prisoner in the back of the head.
The death sentence handed down to (The execution of) British drug smuggler Akmal Shaikh and the requests for clemency from the British government and other groups has highlighted the conflicting attitudes towards both the death penalty and the defense of “diminished responsibility” in China and the UK.
The has set off a torrent of discussion on-line with thousands of comments left at ifeng.com - a popular Chinese website that has been reporting the case.
The vast majority are of the opinion that it would not only be unfair but a serious challenge to Chinese law if the government spared the life of a convicted drug smuggler. These people insist there should be no sympathy for drug smugglers as heroin is one of the most dangerous drugs on the planet. They say it harms people, society and families – and the problems it causes cost the government billions a year. In addition there’s a widespread feeling that the way China runs its legal system is nothing to do with outsiders. They say this man was in China when he committed the crime and it should be up to the Chinese courts to punish criminals as they see fit.
www.bonlive.com has more
The collection of diesels as the temporary allocation of the 330/474 is largely comprised of E’s, but a few WVL’s are also used. Most are from the 11 reg batch last used on the D7, but an older one is WVL293.
This one was displaced from the 321 at New Cross in early 2023, but together with sister WVL294 it avoided the chop thanks to being sent to Northumberland Park to cover for a couple of 476 allocated WVN’s which had met premature ends.
WVL293 is seen at Beckton Bus Station, running about 10 minutes late after the wheelchair ramp had a hissy fit just after I boarded at North Woolwich.
The first cascaded WHV’s (from the 188) are finally starting to arrive, so the conversation might take place soon.
WVL294 is still in the fleet too, helping out at Bexleyheath pending electrics. 2.10.25.
Did this a few weeks ago with some mates. Dusty V doing the wire wool spin and Nick with the gun to my head (which I think he enjoyed more than he should of done).
A multi-generational family strolls through Warsaw’s Old Town Market Place.
Warsaw’s Old Town Market Place (Polish: Rynek Starego Miasta) is the centre and oldest part of the Poland’s capital. Immediately after the Warsaw Uprising, it was systematically blown up by the German Army. After World War II, the Old Town Market Place was restored to its pre-war appearance.
Rynek Starego Miasta is the true heart of the Old Town, and until the end of the 18th Century it was the heart of all of Warsaw. It originated in the late 13th Century, at the same time that the city was founded. Here the representatives of guilds and merchants met in the town hall (built before 1429, pulled down in 1817), and fairs and the occasional execution were held. The houses around it represented the Gothic style until the great fire of 1607, after which they were rebuilt in late-Renaissance style and eventually in late-Baroque style by Tylman Gamerski in 1701.
The district was damaged by the bombs of the Luftwaffe during the September 1939 Invasion of Poland. The ancient Market Place was rebuilt in the 1950s, after having been destroyed by the German Army after the suppression of the 1944 Warsaw Uprising. Today it is a major tourist attraction.
The current buildings were reconstructed between 1948 and 1953, to look as they did in the 17th Century when it was mostly inhabited by rich merchant families. The Warsaw Mermaid, a bronze sculpture by Konstanty Hegel, has stood in the centre of the square as the symbol of Warsaw since 1855.
Names of 18th-century Polish parliamentarians are used for the four sides of this vast (90 by 73 m) square:
* Dekert’s Side (Strona Dekerta), the north side (numbers, 28–42), named after Jan Dekert, which houses the Warsaw Historical Museum.
* Barss’ Side (Strona Barssa), the east side (numbers, 2–26), with the Adam Mickiewicz Museum honoring the 19th-century Polish poet.
* Kołłątaj’s Side (Strona Hugo Kołłątaja), the west side (numbers, 15–31).
* Zakrzewski’s Side (Strona Zakrzewskiego), the south side (numbers, 1–13).
The square is maintained by Wario Wojciech, who can often be seen in traditional dress, consisting of a red suit and a curved sword.
Warsaw Old Town is, as one might surmise, the oldest portion of the city, and contains numerous historic buildings, mostly from 17th and 18th centuries, such as the Royal Castle, city walls, St. John’s Cathedral, and the Barbican. The settlement itself dates back to the 13th Century, and was granted town privileges c. 1300.
During World War 2, the Old Town was badly damaged by the Luftwaffe in 1939, and then almost completely destroyed in the 1944 Warsaw Uprising. It was subsequently rebuilt with enormous attention to recreating much of what had been there before. The project was the world’s first attempt to resurrect an entire historic city core and was included on the UNESCO World Heritage list in 1980. The reconstruction efforts were again recognized in 2011 when all its documents and records were added to UNESCO’s Memory of the World Programme.
This description incorporates text from the English Wikipedia and translations from the Polish Wikipedia.
A Young Persons Guide To King Parrot Australian Album Tour 2025
All Ages Show
Singing Bird Studios
Frankston, VIC
Australia
Supports:
Goat Sharman
Wombat
Brutal Execution
Auschwitz I, Poland, An execution grounds next to Block 11.
collections.yadvashem.org/photosarchive/en-us/17433.html
Pictured above is the prison building in Auschwitz I, known as Block 11, located inside a walled courtyard. It was here that prisoners from Auschwitz I and Auschwitz II (Birkenau) were brought for punishment for what the Nazis considered serious offenses, such as sabotage in the Auschwitz factories or attempting to escape. It was also where political prisoners from outside the camp were housed while they awaited trial in the courtroom of the Gestapo Summary Court which was also in this building.
D800 panorama taken with 30+ pictures at 35 mm
Each dot is a bullet hole.
Death sentences usually took place at night, starting from 22:00. The sentenced inmate was taken from the cell to the execution chamber with hands in handcuffs or tied up. In the execution chamber, a Cheka officer would stand next to the door; then, he fired a shot to the forehead.
The walls of the execution chamber were covered with wooden panels and additional layers of rubber-coated fabric. A hole in the room’s corner collected the blood of the person executed. The doors had extra noise isolation material to muffle the sound of the shots. Moreover, a truck engine kept running straight outside the room.
Afterward, the KGB officers wrapped the dead bodies and buried them in the forest.
Congress’ Role in the Making and Execution of National Security Policy in the Trump Era
President Obama and the Republican Congress were usually at odds over national security policy. With a Republican in the White House now, will the President and Congress see eye to eye on threats and their solutions, or will differing institutional pressures and perspectives keep the respective ends of Pennsylvania Avenue apart? And, will the congressional investigations of Russia’s attempt to influence the presidential election end with a bang or a whimper? However the investigations conclude, what impact will they have on the relationship between the two branches?
Michael McCaul, Chairman, House Committee on Homeland Security; US Representative for Texas’ 10th Congressional District
Stephanie Murphy, US Representative for Florida’s 7th Congressional District
Adam Schiff, Ranking Member, House Permanent Select Committee on Intelligence; US Representative for California’s 28th Congressional District
Mac Thornberry, Chairman, House Armed Services Committee; US Representative for Texas’ 13th Congressional District
Moderator: Ryan Lizza, Washington Correspondent, The New Yorker
Photo Credit: Dan Bayer
To ensure that Josue Cedeno's regin of terror is ultimately put to bed, Wei prepares his final strike. The end.
Business Books That Matter is a new Book Club program co-organized by White & Lee and the Software Development Forum (SDForum) and sponsored by Microsoft.
The conversation centered on Execution: The Discipline of Getting Things Done by Larry Bossidy and Ram Charan.
Moderator:
Mark Cameron White
Partner, White & Lee LLP
Panelists:
J. Peter Herz
Former CEO of 3ware, Inc. and Board Chairman, IPextreme, Inc.
Bruce Lichorowic
CEO, Intalio, Inc.
General consensus was that the book was good for large company process execution with a Midwest mentality. But in the Silicon Valley, emphasis is on innovation and practice.