View allAll Photos Tagged explosion
Built on the site of the Bedford Medical Clinic and opened some time in early 2009. However, it only lasted for six years before closing in early 2015. I wonder if this had something to do with the explosion of the Maccas population...
An explosion of lines and bokeh from some water hitting the ground.
Lumix GH1
Nikon E 50mm f/1.8
1/160 Sec
Nikon Speedlight SB-25 flash
Voy por la gente, como el dinero, volando en sus manos.Intentan cambiarme pero se dan cuenta de que realmente no pueden y cada mañana es un dia que no puedo planear, asi que si vas a ser mi hombre entiende que no puedo ser domesticada.
Quiero volar, quiero conducir, quiero ir. Quiero ser parte de algo que no se.
Ilustración de Andrés Casciani realizada para el poster promocional de la gira en España de la banda The Butterfly Explosion (Dublín).
Diseño de Melisa Benacot.
(Versión no seleccionada)
Australian International Airshow (at Avalon).
Real Explosions!
Canon 100-400mm
Schneider UV Haze Filter
*Cheap Tripod
Robert Delaunay French, 1885 - 1941
Political Drama, 1914
East Building, Upper Level — Gallery 415-A
A man and a woman seem to float against a background of nested, concentric rings in this abstracted, vertical painting. The center of the rings is just above the center of the composition. The rings are further divided into quadrants, so each ring is a different color at the top left, top right, bottom left, and bottom right. The rings are in shades of lemon and golden yellow, sky, slate, and cobalt blue, lilac and violet purple, red, mint green, and white. Where the rings get close to the edges of the composition, they become more muted in tone. The woman is to our right of center. Created in areas of flat color, she has a royal blue, feathered hat and blond hair. Closer inspection reveals that her brown dress or jacket is made of a piece of paper collaged to the painting. A dash of vivid blue suggests a skirt, and a black smudge there is difficult to interpret. To our left of center, a man wearing a white shirt and black jacket seems to fall backward, toward the center of the circles. One arm, amethyst purple, is flung up and that hand is red. A curving line, like a wide, flattened U, encloses the circles along the bottom edge of the composition along its width, and the circles extend off the corners to the sides and at the top. The artist signed the work in black block letters across the bottom center: “ROBERT DELAUNAY.”
Robert Delaunay had little artistic training beyond an apprenticeship to a stage-set designer. He studied the color theories of the French chemist Michel-Eugène Chevreul and how the neo-impressionists applied them to painting. He is best known for his Eiffel Tower series of 1909–1913, his Windows of 1912–1914, and his Circular Forms of 1913, which paved the way for Political Drama. His wife, Sonia Delaunay, was a painter and fabric designer whose work informed his use of collage and abstraction from the start.
In 1912, the poet-critic Guillaume Apollinaire praised Delaunay for his painting The Three Graces, in which curving lines and patches of color create a luminous, harmonious pattern. Apollinaire invented the term “Orphic cubism,” a reference to the mythical Greek musician and poet Orpheus, to emphasize the lyricism and musicality of this and other works. Delaunay at first embraced the term but later coined “simultaneism,” which placed more emphasis on color theory, the impact of succession, repetition, and contrast on color perception, and on Henri Bergson’s ideas about the intuitive perception of time and space.
What Delaunay had to say of his tondo First Disk of 1913, a remarkably early example of a fully abstract work without figure or ground, is also relevant to Political Drama: “Colors opposing each other had no reference to anything visible. In fact, the colors, though contrasts, were placed circularly....Reds and blues were opposed in the center...determining the extraordinarily fast vibrations physically perceptible to the naked eye. One day I called this experiment a ‘first punch.’”1 Delaunay carried this idea of visual violence into Political Drama and animated it with a story of actual violence.
The source is a newspaper illustration depicting a murder. The caption to the illustration reads: “Tragic epilogue....The Wife of the French Finance Minister Joseph Cailloux Shoots Dead Gaston Calmette the Editor of Le Figaro.” The illustration, which appeared on the cover of Le Petit Journal, shows the moment after Mme Cailloux fired at Calmette. Although Delaunay stripped most of the details, key elements are still visible: Mme Cailloux, who steps into the room; Calmette, who falls backward; and the sulfurous central circle of the explosion. Interestingly, these are the very elements for which Delaunay used collage.2 A vertical axis dividing the two figures and a horizontal axis connecting them capture the tension of their relationship. Concentricity becomes the sign of violence: a target or the scope of a marksman. At the same time, especially given the swirling patterns behind them, the figures might seem to be engaged in a dance. Delaunay frequented the Bal Bullier dance hall in Paris with his wife from 1912 to 1914.
Delaunay clearly recognized the power of concentrically arranged colored forms, something that would be fully exploited again only some 50 years later in the “target” paintings of Jasper Johns and Kenneth Noland and the concentric stripe paintings of Frank Stella. However, unlike Delaunay in Political Drama, these painters seemed intent on excluding political content. An early photograph reveals that Delaunay’s work originally bore its title as an inscription at the top of the sheet, balancing the artist's name at the bottom. The fact that it was cut off at some point may well testify to an attempt to tilt the work's delicate balance of figuration and abstraction toward the latter.
1. Robert Delaunay’s summaries from discussion groups he held in 1938 and 1939, cited in Arthur A. Cohen, ed., The New Art of Color: The Writings of Robert and Sonia Delaunay, trans. David Shapiro and Arthur A. Cohen (New York, 1978), 142.
2. The man’s jacket and head, the woman’s jacket and muff, and the four quadrants of the central circle, now faded, are all cut-and-pasted paper elements.
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
www.artwanted.com/artist.cfm?ArtID=42924
:D
I've joined some new places! Got a livejournal, an ArtWanted accound, AND a MangaBullet account. GO ME :D
Yeah I just wanted to kinda give an update using flickr. :D Plus I wanted to let a few people know that if I add you as missluminary, it's me. XD So no fear. I' m not a creepy stalker D:
"BUT SAWSHA. WEREN'T YOU A DEVIANTART PERSON?!?!?11!ONE?"
... yeah. and Version 6 sucks. D: It's going too slow for me. Plus I really wanted to expand art places besides deviantart. Plus the communities at these two art sites are so much better. D:
TNC: Thursday Night Confidential is the Gladstone's weekly independent music night.
Funk Explosion
Lead by two up-and-coming drummers, Adam Teixeria and Uros Stamenkovic, this band has brought together some of the finest young musicians on the Toronto’s funk scene.Jon Kay on T.Sax Andrew Kay on A.Sax,Chris Bucher on Tombone, Todd Pentney on Keys, Torrie Seager on Guitar, Tyler Emond on the bass and Adam & Uros on drums
Melody Bar: The Melody Bar is the Gladstone Hotel's free live music venue every Wednesday through Sunday. www.gladstonehotel.com/venue
Photos by: John Cavacas
While riding JAWS at twilight I caught several images of the gas explosion. The shape of the flames are what amaze me in this image.
A surprisingly angelic-looking result of a small aerosol can exploding in the trash as it was burned. This was not taken on the same day as the aerosol can explosion photo elsewhere in my photostream. This was a recent accidental explosion that no one was nearby for, thank goodness.