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On March 16 2018, Brookings Economic Studies’ Center on Regulation and Markets hosted a discussion on how to create a smarter, more efficient approach to infrastructure. At the start of the event, U.S. Department of Transportation Under Secretary Derek Kan discussed the president’s new infrastructure initiative. Following Kan’s remarks, a panel of experts explored how to implement infrastructure projects that save American taxpayer dollars while delivering the infrastructure investment that Americans deserve. Lastly, Representative Brian Babin (R-TX) spoke about his district's infrastructure policy efforts and gave closing remarks.
Photo by Paul Morigi
In light of the delay: David Motley, the city's PR-rep, made some last-second rescues before the excavator arrived. Many artifacts donated to the Historical Society include signage, hangars, garmet bags, copper panels from the turret, and Stacey Adams shoes that were still on the shelves.
We found a museum that had a bunch of old "video games". This was one of the many there. Sorry about the angle.
This fence is part of a gate that did not exist during operation of the concentration camp. Today, it leads to a separate area that contains several mass graves of thousands, as well as two execution sites where people were shot. Also, there is the gas chamber, where SS troops trained before going on to other camps such as Auschwitz, the newer ovens, which are under a beam where people were hanged and immediately burned, and a room where the liberating Americans found several thousand bodies stacked. Everyone should see Dachau and see the proof of the torture, abuse and murder, and learn how Germans trained there to go on to run other, even more brutal camps. And to learn the role that the average German had in supporting, and even benefitting from, the brutal Nazi regime.
this skiff only transported condemned criminals
plokoonremix.wordpress.com/2014/07/04/desert-skiff/
image credit: Piotr Menducki
The demolition of the old control tower building at Heathrow is more torture than it is execution. Little appears to have happened in the 15 days since my last photographs of the site although poor weather might account for the apparent lack of progress. The third of today's pictures draws back further from the former west wing, now almost completely gone, to give a wider site view. The east wing (left, background) appears more or less as on my previous visit and the now isolated main tower has gained extensive scaffolding and sheeting. I remain concerned that I shall not have the opportunity to capture the very last moments of this important building but I showed my commitment today by making a 160 mile round trip for a visit of no more than 10 minutes. In my series to date I have attempted to maintain the POV which I hope will enhance the value of this documentary effort.
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Each year, on the last Sunday of January the Kings Army hold a parade to commemorate the execution of Charles I. The march is along the Mall in London and the parade is on Horseguards Parade. These photos show the participants in 2012.
People attend the executions in Lucasville from all over the state. This day, groups have come from Cincinnati, Yellow Springs and Cleveland, with some local residents attending. According to one of the demonstrators, in the past busloads of students have come from Dayton and Cleveland to participate in the vigils.
Father Neil Kookoothe (center rear), of Saint Clarence parish in North Olmstead, Ohio, speaks to the group of Death Penalty abolitionists gathered for the vigil outside the prison.
This photo is part of our 7 day challenge, where we decided to make an image each day, concept and execution all done in a single day.
This concept evolved from something much more dark and ominous, but after some thinking we decided we really liked the aesthetics of the red details in the scarf and feather. Furthermore, the figure is reminiscent of the mythological weighing of the soul against a feather, a concept called psychostasia, as seen in ancient Egyptian, Greek and Christian mythology.
Concerning the technical photography bits:
We made this image in a derelict children's playground, just around the corner. The items were in our possession already. It just goes to show that you don't always need lots of fancy locations and items, as long as you have a good idea of what you want to do, and keep your eyes and imagination open.
Van Nelle Factory, Rotterdam The Netherlands – Architects: Brinkman and Van der Vlugt – masterplan 1914 – 1923; design 1923 – 1925; execution 1925 - 1931
The Van Nelle Factory is one of the highlights of the Modern Movement in the Netherlands. The impressive glass building is not only an example of functionalism and rational production, but also improved working conditions for workers in the twentieth century. The restored building is now one of the most important monuments of Rotterdam
The Firm Van Nelle was selling coffee, tea, tobacco and snuff in Rotterdam since 1782. The entirely new complex consists of the actual factory building, an office building, a warehouse, expedition and storage depots along the canal, a boiler house and several workshops. A cafeteria and sports fields were also to be found in the area. The factory building consists of three elongated in height sloping parts separated by stairwells. Tobacco has eight, coffee five and tea factory three floors. The staircases house the washing and changing facilities, toilets and lifts, separated for men and women. This allowed for continues factory floors and easily adjustable layouts. By using a concrete frame the non-load bearing facades could be made almost entirely of glass with only thin steel frames. Light and air could penetrate deep into the building. The expedition and storage strip along the water is connected to the main building by overhead conveyor bridges. Another sky bridge connects the plant to the office at the entrance of the complex. The office consists of a strip with two layers of offices and a large open space with glass walls and glass meeting rooms. The office follows the curve in the road. During construction, a tea room on the roof of the tobacco factory was added.
In 1942, low-rise warehouses designed by Brinkman and Van den Broek were realized. In 1974 at the back of the building, a new distribution centre was built. In 1951 other products such as pudding and chewing gum made their entrance. After a takeover by the American Standard Brands in 1989, Van Nelle competitor Sara Lee / Douwe Egberts, sold the complex in 1995, so it could finally get the status of national monument. Using the name Van Nelle Design Factory, the complex started a new life. The factory complex was restored by Wessel de Jonge and Claessens Erdmann. The transparency of the factory floor was maintained as much as possible by the new climate walls on the inside. The new inner facades are made of aluminium and therefore clearly identifiable as new elements. On the floors office spaces of various sizes have been realized for the creative sector. The ground floor is used for exhibitions and conferences. The adjacent buildings have been restored and are used by a number of architectural firms.
Cytadela Warszawska - Brama Straceń
The Warsaw Citadel is a fortress that was built in the 19th century when most of Poland was under Russian occupation. It was commissioned by Tsar Nicholas I after the suppression of the 1830 November Uprising, in order to bolster Russian control of Warsaw. As well as housing a Russian garrison it also served as a prison and place of execution.
"Frame", also known as "Turbo", is a prominent and highly respected graffiti writer known for his sharp letter structure, high-contrast colour palettes, and impeccable technical execution.
Finally, "Frame" is further recognised as compiling the definitive historical publication "Criminally Insane: CI Crew 19872005" which documents this legendary Melbourne crew's history and legacy.
For more information, or to follow this artist references refer to -
INSTAGRAM: www.instagram.com/frame_ci/
#Frame #Turbo #Flame #ThickAzBlood #TheArtsBadest #TheAlphabetBoogie #TAB #CrimsInsane #CriminallyInclined #CriminallyInsane #CrimsInc #CI #39
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National Portrait Gallery - June 27, 2026
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The Primary Collection contains more than 12,700 portraits. Of these, over 4,100 are paintings, sculptures and miniatures. In addition, there are over 8,500 light-sensitive works on paper, shown on a rotating basis to avoid excessive light exposure and thus to minimise deterioration and fading.
Located on the ground floor of the National Portrait Gallery, Room 33 is one of the first spaces visitors encounter on arrival. Known as History Makers Now, this display is dedicated to contemporary sitters through the very best of contemporary portraiture across all mediums. As a result, this room undergoes frequent refreshes and is an ideal space to hang new acquisitions including paintings, photography and sculpture.
The space is arranged in a constellation hang, featuring a cluster of sitters making significant contributions to Britain across a range of industries. Visitors will recognise some of their generation’s most well-known actors and singers alongside others they may be less familiar with who are trailblazers in their respective fields, nonetheless.
For this most recent display changeover, the Contemporary and Photography Curators first consulted the Paper Conservators as to which photographs had reached or were nearing their maximum light exposure levels and were required to come down from this display. Next, the curatorial team discussed how the remaining available space on the wall could be rearranged to show a diverse balance of portraiture that was visually and biographically appealing.
With a wish list of works in hand, the Curatorial and Collections team came together to determine what was practically and logistically possible. Works that were too delicate to display, promised on loan or pending acquisition were no longer contenders. What emerged was a final, carefully curated selection of portraits that you can now see on display.
www.npg.org.uk/blog/blog-container/history-makers
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" After a three-year closure, the gallery opens its (new) doors to reveal a brilliant transformation that includes a luminous show on a British pioneer of colour photography
The first image is sky high and spectacular: David Bowie, turning to face the world from a silver screen in his twenties. Colossal photographs glimmer and shift in two-storey projections at the foot of the escalator. Watch long enough and they eventually give way to other people, other images, including the late queen, painted with rigid precision on a damask couch with her favourite corgi. Suddenly, the painting appears to move, very slightly. The corgi twitches one ear.
The National Portrait Gallery (NPG) has come alive, after three years of closure and many more of shadows and stasis. Its temporary exhibitions came and went, almost always superb – Russian portraits, Elizabethan miniatures, Picasso, Cézanne, Freud – but corners of its permanent collection were too often deserted. Now everything (literally) has changed.
You walk from the shining new entrance straight into the present. Marcus Rashford in a humble headshot, Stormzy sitting tight with his mother, Jeanette Winterson posing with a garden spade in Susanne du Toit’s specially commissioned painting.
Tom Shakespeare: Intellect, with Wheels, Lucy Jones’s scintillating vision of the bioethicist and disability rights campaigner, wheeling round in his chair, has his irrepressible energy and mirth. Alex Katz’s massive yet minimalist diagram of Anna Wintour has the Vogue queen’s icy style to perfection. Slotted in between, emphasising its absurdly flattering elongations, and oleaginous glint, Jamie Coreth’s oil portrait of two actual royals, Prince William and the Princess of Wales.
You are immediately in the here and now – and the great feat of this renewal is to sustain that effect from first to last. Visitors ascend by escalator to the Elizabethan court, where the queen appears surrounded by her many male champions, all briefly captured in stupendous portraits before their respective executions or fall from grace. Round a corner, you are confronted by funeral monuments, spotlit in dramatic darkness.
Oliver Cromwell and his Roundheads face Charles I and his Cavaliers in a marvellous reprise of the English civil war through art. Eighteenth-century London is a fabulous throng of writers, drinkers, actors and ribald satirists. Nobody is isolated; every person, and their image, is treated as part of a living society.
The most perfect instance of this homes in on a single historic night. In the summer of 1816, Mary Shelley, her half-sister Claire and her lover, Percy Bysshe Shelley, visited Lord Byron and his physician, Dr John William Polidori, at Lake Geneva. Byron proposed a competition for the best ghost story. Mary Shelley’s Frankenstein won. Their portraits are drawn together, Romantic heads hugger-mugger against a dark wall.
Turn round and you can see Mary’s mother through a doorway: the pioneering feminist Mary Wollstonecraft, sleeves rolled up in John Opie’s pure and pensive portrait. Equally, there is a direct vantage point between Byron and his daughter, the mathematician and proto-computer-programmer Ada Lovelace. Everyone and everything connects, history knitting up.
The NPG was established in 1856 as an archive of exemplary figures. It was the first museum, outside the Uffizi’s self-portrait corridor, to be devoted entirely to portraits. And here lies its double conundrum: who should be included (it has the power to commission new images) and who should portray them? These two questions produce a third – how to balance the status of the sitter with the quality of the portrait.
So the image of Samuel Pepys is as stiff as the wig the great diarist wears, whereas Lord Beaverbrook, questionable media magnate, gets a tellingly confrontational painting by Walter Sickert. The poor queen got slick Pietro Annigoni, deadpan Bryan Organ and dogged Michael Leonard. No wonder they have tweaked the corgi’s ear.
But along with his terrific team of curators, director Nicholas Cullinan has made the most judicious of selections with this balance in mind. The rare and profoundly significant are beautifully displayed: the Chandos portrait, quietly off to one side, just as one imagines Shakespeare himself. The only surviving portrait of the three Brontës, a damaged fragment in a poignant case. The sole likeness of Jane Austen, so small it is presented at the end of a sequence of perfect miniatures like the coda to an evolving narrative.
And for supreme theatre, look at Joshua Reynolds’s early self-portrait with one hand shielding his eyes against the light, while also appearing to salute the future. What he now has in prospect is his own lifesize (and far-sighted) portrait of Mai, Britain’s first visitor from Polynesia in 1774, with his high intelligence and his tattooed hands, now hanging in pride of place in the 18th-century galleries.
Portraiture comes in every medium at the NPG, from toby jug to daguerreotype, church sampler to public statue, marble bust to digital print. A barely used rotunda has now become an eerie gallery of death masks – the London trees outside cast their fluttering reflections on the bronze face of Oliver Cromwell, strangely outsize even in death. The life mask of Marc Quinn, cast in 10 pints of his own blood, has so deteriorated with the decades as to stand as its own presage of death.
Photography often overshadowed painting towards the end of last century, exposing the inept and kitsch portraits the museum sometimes commissioned. But this is no longer true. It is not just that mediocre paintings have been discreetly stored away, but that the photographs are so well chosen. George Bernard Shaw in warm living colour, Noël Coward absolutely hidden – bar one silvery eye – in darkness, Malala Yousafzai exquisitely dressed in Arabic script in Shirin Neshat’s photographic portrait.
And the first of the temporary shows is the jubilant and uplifting Yevonde: Life and Colour, celebrating Madame Yevonde (1893-1975), the first British photographer to exhibit colour portraits. Born in Streatham, south London, an early suffragette and fast learner in a Westminster studio, Yevonde Middleton was a tireless original. Her idea of colour was practically DayGlo.
She photographed the red-haired actor Joan Maude against scarlet and vermilion, the gloweringly machiavellian Duchess of Argyll through sinister blue cellophane, Mrs Michael Balcon in gold with shotgun and owl as Minerva.
Her society ladies got up as goddesses are tonic and hilarious, especially Anthony Eden’s wife as the muse of history in something like a bathing cap, sent up by a watchful classical bust. Yevonde’s own self-portrait – tiny, in jaunty tweed suit, holding the flash wire of a camera magnified to the size of an elephant – is a final exclamation point to this wittily brilliant exhibition.
Almost half the sitters and artists at the NPG are now women. One gallery is devoted to women’s self-portraits, another to new portraits by women. A Rebel Women display includes mutinous aristocrats, coruscating poets and the original Roaring Girl, Moll Cutpurse. Grace Darling appears head to marble head against her contemporary Queen Victoria; Malala opposite the Princess of Wales.
Extraordinary lives are rediscovered – the Georgian boxer Jem Belcher, the Victorian miniaturist Sarah Biffin, born without arms or legs. The hang is so democratic, it unites servant with mistress and raw recruit with general on the same level. The wall texts are all enthralling knowledge.
This magnificent reinvention could not happen without deep observation, curiosity, wisdom and experience. And above all, perhaps, with the sense of humour that is everywhere apparent and perceived as a British trait. You could spend days here, in this spectacular building, with its cobalt and vermilion walls and more than 1,000 exhibits, and come away every time with a new understanding of British history, life and art."
www.theguardian.com/artanddesign/2023/jun/25/national-por...
www.theguardian.com/artanddesign/2023/jun/20/the-10-best-...
A Fatality is a gameplay feature in the Mortal Kombat series. It is a finishing move that can be used against one's defeated opponent at the end of the final round of a match, after the announcer says "Finish Him/Her". The Fatalities are usually lethal, featuring a brutal and morbid execution of the defenseless enemy character.
The art community in Second Life is a varied one. Fine art, outsider art, underground art, performance art and music are all mixed in with the technical aspects of programming and scripting.
Second Life is one of the first places to combine right and left brain thinkers into one fantastic execution of art and builds in a virtual reality.
The sophistication of the artist is apparent at several places on the SL grid. There are many places that rival my favorites, but these are my personal choices based on my reaction or how long it stayed with me.
The Apollo sim will always be my very favorite place, but here are two that just captured my head and heart. La Reve and pteron are included on my "to die for" list and of course, The A List!
Both are fantastic. Both are fabulously done with a flair that most of us who build, will never achieve. I also included a few stand-outs from Esperance, Nebulous's ArtHole installation, and also, the conceptual Muzik Haus.
Muzik Haus is included, not because of the build itself. That part is simple, but the concept itself is one that stays with me. Mr Widget is the dj and his party making mash-ups create a total ambiance that drives the performance itself.
He is my current favorite dj. He is a mash-up king. And he shares his knowledge with us so generously.
All these places and all these people... standing before you and your art, sometimes overwhelms me to a point of tears. The emotional connection I feel when I explore or listen is the reason why I believe that art equals life. For without art... life is a dreary place and that is no life for anyone.