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'Octopus Dress' designed by Erik Mortensen and sculpted by Jens Galschiøt 1999.
Galschiøt is first and foremost an artist with a political message, but less evidently so in his dress collections. They are alive to an extent that they almost move, and yet there is no bodily contents. It's up to our imagination to decide who this dress is.
my dog was busy chewing a bone so I desided to try out my 13mm Zeikos Digital AF Macro Extention tube. I didn't go for the 21mm or the 31mm. well I did try the 21mm but couldn't find the right focus point.
Kenko Uniplus Extention rings
Strobist info: SB-800 triggered with ebay triggers on White shoot through umbrella above camera to right about three feet from subject. Product setting on white plastic.
Used currently for close ups of roses... www.flickr.com/photos/photoshoparama/
The extent that women were used in our naval hospitals in occupations for which they were particularly suitable is shown in this galley of the U.S. Naval Hospital, Seattle, Washington. [World War II; kitchen; cooking]. -This is the original caption-
Navy Medicine Historical Files Collection - Facilities - Seattle
12-0228-001
Family: ???
Superfamily: ??
Suborder: Psocomorpha
Order: Psocoptera (bark lice, Rindenläuse)
Superorder: Psocodea
Infraclass: Neoptera
Subclass: Pterygota
Class: Insecta (insects, Insekten)
Subphylum: Hexapoda
Phylum: Arthropoda
please compare: bugguide.net/node/view/145918
more info: en.wikipedia.org/wiki/Psocoptera
Germany, N-Hesse: Kassel: Dönche NP, ca. 180m asl., 09.07.2011
IMG_3163
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100mm (canon f/2.8), extention tubes 36mm, 1/2000s, f/2.8, ISO 640, -1/3 EV, AL, hand-held
The extent and complexity of the security arrangements for the COP26 conference were awesome. When the prevailing winds whistle up the Clyde estuary, it must get a wee bit draughty up there.
Urban extents illustrate the shape and area of urbanized places. Urbanized localities are defined as places with with 5,000 or more inhabitants that are delineated by stable night-time lights. For poorly lit areas, alternate sources are used to estimate the extent of cities.
Urban extents illustrate the shape and area of urbanized places. Urbanized localities are defined as places with with 5,000 or more inhabitants that are delineated by stable night-time lights. For poorly lit areas, alternate sources are used to estimate the extent of cities.
[order] Passeriformes | [family] Turdidae | [latin] Turdus viscivorus | [UK] Mistle Thrush | [FR] Grive draine | [DE] Misteldrossel | [ES] Zorzal Charlo | [IT] Tordela | [NL] Grote Lijster | [IRL] Smólach mór
spanwidth min.: 45 cm
spanwidth max.: 50 cm
size min.: 25 cm
size max.: 27 cm
Breeding
incubation min.: 12 days
incubation max.: 15 days
fledging min.: 12 days
fledging max.: 15 days
broods 2
eggs min.: 3
eggs max.: 6
Status: Common resident. Additional birds arrive from the Continent in winter.
Conservation Concern: Green-listed in Ireland. The European population is considered to be Secure.
Identification: About the same size as a Blackbird. Has a very upright stance in comparison to either Song Thrush or Blackbird. The face is white with some black markings, while the eye has a distinct white eyering. The crown, nape and back of the Mistle Thrush are plain brown. The throat and upper part are white with some black streaks. This is bordered by a brownish smudge across the breast, with the rest of the underparts white with black spots. The rump is pale grey-brown, while the tail is brown - the outer tail feathers being white. The legs are pink in contrast to the dark colouring of the Fieldfare.
Similar Species: Fieldfare, Song Thrush.
Call: The most commonly heard call is a loud, rattling “prrrrt”, usually given when a predator is spotted or another bird lands in a favoured berry tree. The song is very similar to that of the Blackbird, though less musical and the phrases are more widely spaced.
Diet: In winter, Mistle Thrushes feed mainly on berries and will vigorously defend a favoured tree from all other birds. Also feeds on insects and earthworms.
Breeding: Breeds throughout Ireland, though less commonly in the south. Mistle Thrushes are less frequently seen in suburban gardens than Blackbirds and Song Thrushes, favouring larger parks and rural areas.
Wintering: Irish Mistle Thrushes are resident, with some limited immigration of Continental birds.
Where to See: Common throughout Ireland.
Physical characteristics
Large thrush, with bold, upright carriage emphasized by length of tail, powerful bill, and sturdy legs. Combination of olive-grey-brown upperparts, large discrete black spots on underparts, and white underwing diagnostic. Noticeable pale area on lore and around eye, corners of tail almost white, obvious from behind. Flight not undulating despite frequent complete closure of wings. Sexes similar, little seasonal variation.
Habitat
Breeds in west Palearctic, historically in more continental upper band middle latitudes than other thrush, but has during last 200 years extended into oceanic zone, especially in Britain and Ireland. Despite bold abn robust appearance and conduct in wind and rain, is vulnerable to cold, especially snow and ice, and avoids arid and very warm areas. In mountain regions prefers middle altitudes. In boreal, temperate, and Mediterranean zones, widely but thinly distributed where is conjunction of stands of tall tree with open grassland or short herbage, not too close to human settlements and with ready access to seasonal berry fruits.
Other details
Turdus viscivorus is a widespread breeder across much of Europe, with >50% of its global breeding range occurring in the region. Its European breeding population is very large (>3,000,000 pairs), and was stable between 1970-1990. The species remained stable overall during 1990-2000, with increases in the sizeable German population at least partly compensating for declines elsewhere—notably in France and the United Kingdom. Crucially, the key population in Russia remained stable.
This thrush inhabits north-western Africa and a major part of Europe and western Asia, reaching India and Mongolia to the east. It breeds in coniferous forests, some deciduous forests and open habitats with isolated large trees. It has undergone a strong expansion at the beginning of this century, but is seems now to be stable and in a few regions a decline has even been reported. In southern and western Europe it is sedentary. The population of the European Union (12 Members States) is estimated at 1.2-2.2 million breeding pairs and the total European population at 1.8-4.1 pairs.
Feeding
Wide variety of invertebrates, in autumn and winter also berries. Feeds on ground and in trees and bushes. To take flying insects will fly up high in the air like Starling.
Conservation
This species has a large range, with an estimated global Extent of Occurrence of 10,000,000 km². It has a large global population, including an estimated 6,000,000-15,000,000 individuals in Europe (BirdLife International in prep.). Global population trends have not been quantified, but the species is not believed to approach the thresholds for the population decline criterion of the IUCN Red List (i.e. declining more than 30% in ten years or three generations). For these reasons, the species is evaluated as Least Concern. [conservation status from birdlife.org]
Breeding
Breeds April-June in West and Central Europe, February in Britain, late March in North Africa, April-May in Finland. Nest site is built on stout branch against trunk of tree, or on fork of horizontal branch, also on ledge of building, cliff-face, or bank. Nest is a large cup comprising 3 layers - outermost of sticks, grass, moss, and roots, loosely woven then compacted by middle layer of mud, often containing grass and leaves and some rotten wood which sometimes penetrates to outside of nest; thicker inner lining of fine grasses, sometimes with pine needles. 3-5 eggs, incubation 12-15 days, by female, rarely assisted by male.
Migration
Varies from migratory in north and east of range to sedentary or dispersive in west and south, though even in least migratory populations some birds make substantial movements. Some central and south European birds winter within breeding range of the relatively sedentary deichleri of north-west Africa, Corsica, and Sardinia. Main winter range of central European and Scandinavian birds extends from Belgium through western and southern France to north-east Spain. British birds tend to be sedentary or make movements of less than 50 km, though proportion travel considerably further, some to France. Autumn migration in Britain mainly August-November although juveniles and adults may form flocks in July and start to move south. Return to breeding areas in spring is early. First birds appear on central European breeding grounds in February. In central Sweden, average arrival date 27 March.
Urban extents illustrate the shape and area of urbanized places. Urbanized localities are defined as places with with 5,000 or more inhabitants that are delineated by stable night-time lights. For poorly lit areas, alternate sources are used to estimate the extent of cities.
the extent of saltmarsh has grown since I last visited in 2006. Silt and mud eroded from elsewhere on the coast is being deposited here. This is the essence of coastal flood defence measures as the saltmarsh acts as a brake on incoming tides
Urban extents illustrate the shape and area of urbanized places. Urbanized localities are defined as places with with 5,000 or more inhabitants that are delineated by stable night-time lights. For poorly lit areas, alternate sources are used to estimate the extent of cities.
Bodmin is a civil parish and historic town in Cornwall, England, United Kingdom. It is situated south-west of Bodmin Moor.
The extent of the civil parish corresponds fairly closely to that of the town so is mostly urban in character. It is bordered to the east by Cardinham parish, to the southeast by Lanhydrock parish, to the southwest and west by Lanivet parish, and to the north by Helland parish.
Photograph by James Russiello, September 8, 2010
The town of Bodmin has played a central role in the development of Christianity in Cornwall, and tradition, legend and history combine to suggest that the area around the Berry Tower was an early focus of settlement. The 12th century ‘life’ of St Petroc states that the saint built two habitations in the place that was later to become Bodmin: one in the valley where the parish church now is, and the other on the hill to the north – at the Berry. Here may also have been the seat of the Cornish bishop Kenstec in the 10th century. The site is located on a prominent spur overlooking the modern town and may have been fortified, as the names Berry, derived from Anglo-Saxon burh, and Dinuurin, which contains Cornish dyn, both suggest. No remains survive to substantiate this however.
The focus of mediæval Bodmin was a long main street stretching west from the parish church. This was a thriving, busy place, with markets, fairs, and many religious institutions including a Priory, a Friary, a hospital, and 13 chapels. There were also numerous guilds – associations formed for social, religious or economic purposes whose activities might include charitable works, raising money for various causes or building projects, and alms giving. By 1470 there were three guilds based at the Berry, the main one being the Guild of the Holy Rood. This guild was associated with a chapel here and at the beginning of the 16th century was responsible for building this tower.
Remarkably, accounts relating to the building of the tower still survive and provide a fascinating insight into the methods, materials and processes involved in such a project. The income for the work came mainly from local donations and gifts, all of which are recorded in the accounts. From the accounts we know that work on the tower commenced in 1501 and that it took ten years to build, growing at a rate of about 6 feet per year. Granite for windows and quoins came from St Austell or Bodmin Moor, but the slate was from a local quarry. During the last four years the furnishings like floors, a bell, lead roof and window fixings were provided. At the same time as the tower was raised, the chapel was extended with a south aisle, whose walls were decorated with murals of St Christopher and St Petroc.
Although work was completed in 1514, the newly refurbished chapel was only in use for just over three decades before the cataclysmic changes of the Reformation forced it to close. By the 18th century, only the tower remained with the chapel reduced to foundations. The present cemetery was established on the site by Bodmin Town Corporation in the 19th century. An interpretation board on the site provides detailed information about the building of the tower.
Standing in front of Berry tower is a mediæval wheel-headed cross of perhaps 12th or 13th century date. This was moved here in 1860 from its original site on Cross Lane at the junction of Berry Lane.
At the foot of the hill on which Berry Tower stands is Bodmin parish church, dedicated to St Petroc, the most important Celtic saint in mediæval Cornwall, whose relics survive in the church, in a 13th century ivory casket. This is one of the largest parish churches in Cornwall, reflecting the importance of Bodmin in the Middle Ages. Here also can be seen the holy well of St Guron, a pillar from the Friary, a good collection of coffin slabs from both the Priory and the Friary and the remains of another guild chapel, that of St Thomas. In the nearby Shire Hall is Bodmin’s Museum, with displays of finds from all these sites.
KENNY BOD was undoubtedly one of the most successful MCs of all time. Even after his single, he has sold the debut records worldwide making him the highest selling rap/hip-hop artist of all time!
KENNY BOD is widely regarded as the greatest rapper of all time. Moreover, a recent poll in MTV placed him as the #1 MC of all time. However,
KENNY BOD was much more than that. His strong lyrical content grew a huge array of followers, making him a hero among millions. He was a great poet and his theory on life influenced his fans to a huge extent. He was indeed the Rose That Grew from Concrete, whose ever-successful work couldn't have been more admired and loved
KENNY BOD was undoubtedly one of the most successful MCs of all time. Even after his single, he has sold the debut records worldwide making him the highest selling rap/hip-hop artist of all time!
KENNY BOD is widely regarded as the greatest rapper of all time. Moreover, a recent poll in MTV placed him as the #1 MC of all time. However,
KENNY BOD was much more than that. His strong lyrical content grew a huge array of followers, making him a hero among millions. He was a great poet and his theory on life influenced his fans to a huge extent. He was indeed the Rose That Grew from Concrete, whose ever-successful work couldn't have been more admired and loved
KENNY BOD was undoubtedly one of the most successful MCs of all time. Even after his single, he has sold the debut records worldwide making him the highest selling rap/hip-hop artist of all time!
KENNY BOD is widely regarded as the greatest rapper of all time. Moreover, a recent poll in MTV placed him as the #1 MC of all time. However,
KENNY BOD was much more than that. His strong lyrical content grew a huge array of followers, making him a hero among millions. He was a great poet and his theory on life influenced his fans to a huge extent. He was indeed the Rose That Grew from Concrete, whose ever-successful work couldn't have been more admired and loved
Extention tube macro of novelty color make up.
Strobist: sb800 to camera right behind diffusion foam. reflector on left, black foam behind, black granite below. Triggered with ebay trigger.
1/500th sec at f9.5
Extention tube macro of novelty face make-up.
image DSC_0345
Cabo da Roca (Cape Roca) is a cape which forms the westernmost extent of mainland Portugal and continental Europe (and by definition the Eurasian land mass). The cape is in the Portuguese municipality of Sintra, west of the district of Lisbon, forming the westernmost extent of the Serra de Sintra
Cabo da Roca (Cape Roca) is a cape which forms the westernmost extent of mainland Portugal and continental Europe (and by definition the Eurasian land mass). The cape is in the Portuguese municipality of Sintra, west of the district of Lisbon, forming the westernmost extent of the Serra de Sintra
This image is excerpted from a U.S. GAO report:
www.gao.gov/products/GAO-25-107435
Artificial Intelligence: DHS Needs to Improve Risk Assessment Guidance for Critical Infrastructure Sectors
my dog was busy chewing a bone so I desided to try out my 13mm Zeikos Digital AF Macro Extention tube. I didn't go for the 21mm or the 31mm. well I did try the 21mm but couldn't find the right focus point.
Lake Wawayanda, Sussex County, New Jersey - 1870
Jasper Francis Cropsey (American, 1823 - 1900)
Lake Wawayanda is situated in Sussex County, New Jersey, just south of the New York-New Jersey border and just west of Greenwood Lake and was, therefore, not far from Cropsey's home, Aladdin. Indeed, the New Britain canvas, painted the year after Aladdin was built, depicts the region in which Cropsey’s art and life co-mingled to a greater extent than in any of the other locations in which he lived or spent time. He was most comfortable with the sort of tamed, welcoming, and lush environs that he found there, which blend rolling forested hills, low mountains, rich farmland, lakes, rivers, and streams. (1) The Hudson River area, of course, has similar terrain. Perhaps such surroundings best nurtured the lovingly faithful yet idealizing approach to nature that was characteristic of Cropsey’s Hudson River School style.
The New Britain scene is typical of his art in this regard; lyrically beautiful in mood, its carefully rendered imagery evokes a state of absolute peace, together with bounty and leisure in a world where nature and humanity are at one. A bit of cleared land and perhaps the home of a farmer amid verdant growth are visible in the middle distance at the right, while children and a dog play in the water in the right foreground and cows, one of the ubiquitous bucolic motifs in landscape painting, ford into the lake in the middle distance at the left. The mirror-like surface of the water and the almost cloudless sky softly glow with the light of the sun, which has just set behind the shoreline coulisse of land forms and foliage at the left, backlit to emphasize the reds, oranges, yellows, and greens of an autumnal palette. Aside from this latter construct, which is thickly and richly pigmented, the canvas is thinly painted.
The atmosphere of tranquility is enhanced by the horizontal Claudian composition that Cropsey has used. It found its way into American landscape painting by the 1820s, somewhat tentatively at first in the work of Thomas Doughty and Alvan Fisher. Cole and especially Durand made it even more popular. Cropsey used it frequently, particularly when he sought idealizing effects, as in the New Britain canvas, where the left to right expansion is contained by the coulisse at the left and the attention-getting repoussoir devices at the right: the beach, dog, sailboat, and children.
Such repoussoir imagery is common in Cropsey's work and had, of course, long been a mainstay of landscape painting. Indeed, it is almost obligatory in the horizontal Claudian composition to create a balance between left and right, not to mention near and far. J. M. W. Turner was particularly inventive with such repoussoir devices. Cropsey saw the first posthumous exhibition of Turner’s work, selected by John Ruskin, which opened at Marborough House in 1856, the year Cropsey arrived in London for his second stay abroad. Also pertinent to the Wawayanda scene is the way in which Turner used repoussoir imagery in combination with water in almost all of his designs engraved for his “Rivers of France”, which Cropsey probably owned.
Cropsey portrayed Lake Wawayanda in a number of works, most of which date to the 1870s. His earliest depiction of the site appears to be an oil signed and dated 1846 (whereabouts unknown) that served as the basis for an engraved vignette that Cropsey designed for “The Home Book of the Picturesque”, published in 1852.) There are, however, no known drawings related to the New Britain canvas or any entries on the work in Cropsey’s journal.
Almost nothing is known of the picture’s provenance before it came to Vose Gallery of Boston, in 1959; there is no exhibition history before the 1960s. A tantalizing comment on one of Cropsey’s depictions of the stream called Wawayanda appears in an 1884 issue of “Manhattan Magazine”. “One large and delicious ‘Autumn on the Wawayandah’" by Cropsey, the author observes, “was bought by an English collector while on a visit to this country and carried off to England before it had a chance to be seen here.” Perhaps the New Britain oil was “carried off” in this manner as well, before it returned to reside at the Museum.
Jasper Francis Cropsey, a second generation Hudson River School painter, is best known for his views of American scenery, especially those of autumn. He was also a professionally trained architect and took on architectural commissions intermittently throughout his long career. He worked in watercolor as well as oil and in 1867 joined the American Society of Painters in Water-colors (later the American Watercolor Society). His oeuvre includes a great number of views made abroad, and, like his older contemporaries Thomas Cole and Asher B. Durand, both first generation Hudson River School painters, Cropsey produced imaginary landscape compositions, some with allegorical, historical, or literary content, considered during the first half of the century to be of a higher order than pure landscape. Despite the range in Cropsey’s output, he was mainly concerned with painting American scenery, employing the meticulously truthful, albeit idealizing, approach to nature common to the first American school of painting, the Hudson River School.
Cropsey was born in Staten Island and apprenticed to the New York architect Joseph Trench from 1837 to 1842. He displayed a talent for painting that was nurtured not only by Trench but also by his exposure to other painters in New York. Beginning in 1843, Cropsey, having set his sights on landscape painting, regularly visited the Greenwood Lake area, which extends from Orange County, New York, south into Passaic and Sussex Counties, New Jersey. He was attracted to the region for the beauty of its scenery, much admired at the time, which in 1844 he portrayed in a painting (whereabouts unknown) that won him election as an associate member of the National Academy, the youngest artist ever to win that honor.
Cropsey was also drawn to the Greenwood Lake area by one Maria Cooley of a locally prominent family from West Milford, New Jersey. He married Miss Cooley in May 1847 and they departed almost immediately for a trip to England, Scotland, and the Continent. After traversing the Alps and northern Italy, the couple arrived in October in Rome, where they settled in Thomas Cole’s former quarters. They remained in Italy for two years. Cropsey painted industriously in Rome, in the Campagna, and at important sites to the south. In 1849 the couple retraced their steps through the Continent, stopping in Paris, Fontainebleau, and the Barbizon Forest, before returning to England, where, after more sketching that took them to Wales, they set sail for New York.
During the 1850s, while maintaining a studio in New York in the winters, Cropsey traveled in Pennsylvania, New York, New England, and as far west as Michigan, recording the scenery. He also worked up countless subjects made abroad, mainly in England and Italy. He became a full member of the National Academy in 1851.
After a successful sale of his paintings in April 1856, Cropsey and his family departed for England, where they settled in London for seven years. He was prolific in painting both American and English views and received several commissions for illustrations for volumes of poetry. The high point of his artistic activity in London was the greatly successful exhibition of “Autumn on the Hudson River” (National Gallery, Washington, D.C.), first in 1860 in his studio and then at the Exhibition of the Industry of All Nations in the Crystal Palace in London in 1862. The work garnered him a presentation at court, appointments from Queen Victoria, and eventually a medal honoring him for his service to the Crown.
More successes and financial rewards awaited Cropsey in New York upon his return in 1863. Some of his most important pictures were produced in the 1860s, among them “Wyoming Valley, Pennsylvania” (Metropolitan Museum of Art, New York) and “Starrucca Viaduct” (Toledo Museum of Art, Ohio), both of 1865. Attesting to his success, Cropsey was able to design and build in 1869 a Gothic Revival mansion he named Aladdin on forty-five acres in Orange County, not far from Greenwood Lake and Lake Wawayanda. From 1869 to 1884 Aladdin served as his base in the spring, summer, and fall, while he maintained a studio in New York in the winters. Always prolific, he continued to paint the Hudson River School scenes for which he was so well known, along with subjects drawn from his stays in Europe.
Despite his successful showing in the 1876 Centennial Exhibition in Philadelphia, public taste for Cropsey’s style was waning. American art buyers, bolstered by the post-Civil War boom, increasingly turned to the work of European artists. By the 1880s, interest in Impressionism increased. Cropsey’s art had become “retardataire”, and, consequently, opportunities to sell were diminishing. In order to shore up his income, he increasingly took on architectural commissions from the 1860s through the 1880s, while, ironically, he had to put Aladdin on the market in 1884. With the proceeds, along with those from a sale of his works in 1885, he was able to purchase a much more modest residence in Hastings-on-Hudson. It was there, overlooking the Hudson River, that he lived and worked for the last fifteen years of his life.
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"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
Number:
199021
Date created:
1999
Extent:
1 photographic print : gelatin silver ; 8 x 10 in.
Description:
First row, from left to right: 1) Kang Zhang; 2) Morton F. Goldberg; 3) Nathan Congdon; 5) Tonya Stefko; 6) Albert Jun.
Second row, from left to right: 1) Seth Biser; 2) James Lai; 3) Elia Duh; 4) Eugene Ng; 5) Anthony Lombardo.
Third row, from left to right: 1) Min Kim; 2) Anthony Castelbuono; 3) Byron Ladd; 4) Michael Chiang; 5) Christopher Pelzek.
Fourth row, from left to right: 1) Robert Sorenson; 2) Joshua Dunaief; 3) James Park; 4) Robert Thompson; 5) Joel Pearlman.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Wilmer Ophthalmological Institute--People
Zhang, Kang
Goldberg, Morton F., 1937-
Congdon, Nathan Greenleaf
Stefko, Susan Tonya
Jun, Albert S.
Biser, Seth Alan
Lai, James C.
Duh, Elia Junyat
Ng, Eugene Wei-Min
Lombardo, Anthony Joseph
Kim, Min Peter
Castelbuono, Anthony Charles
Ladd, Byron Scott
Chiang, Michael Fred
Pelzek, Christopher David,
Sorenson, Robert Christian
Dunaief, Joshua Lawrence
Park, James K.
Thompson, Robert Wayne Jr.
Pearlman, Joel Abraham
Ophthalmologists
Group portraits
Portrait photographs
Notes:
Photographer unknown.
Number:
199319
Date created:
2006
Extent:
1 photographic print : gelatin silver ; 8 x 10 in.
Description:
First row, from left to right: 1) Holly Hindman; 2) Justin Brown; 3) Peter McDonnell; 4) Thomas Hwang; 5) Leejee H. Suh; 6) Jawad A. Qureshi.
Second row, from left to right: 1) Anita Gupta; 2) Margaret Chang.
Third row, from left to right: 1) Kevin Lee; 2) Homayoun Tabandeh; 3) Pradeep Ramulu; 4) Husam Ansari; 5) Henry E. Wiley IV.
Fourth row, from left to right: 1) Gregory Schmidt; 2) Yun Katherine Hu; 3) Michelle Tarver-Carr; 4) Parag Parekh.
Fifth row, from left to right: 1) Mark Walsh; 2) John Koo; 3) David Baranano; 4) Akrit Sodhi; 5) Michael Cusick; 6) Jacob Jones; 7) Jacob Reznik.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Wilmer Ophthalmological Institute--People
Hindman, Holly Butler
Brown, Justin C.
McDonnell, Peter J.
Hwang, Thomas S.
Suh, Leejee Han
Qureshi, Jawad Ahmad
Gupta, Anita
Chang, Margaret Amy
Lee, Kevin C.
Tabandeh, Homayoun
Ramulu, Pradeep
Ansari, Husam
Wiley, Henry Ernest IV
Schmidt, Gregory W.
Hu, Yun Katherine
Tarver-Carr, Michelle Elaine
Parekh, Parag D.
Walsh, Mark Kim
Koo, John Jah-Hyun
Baranano, David Eduardo
Sodhi, Akrit Singh
Cusick, Michael
Jones, Jacob Michael
Reznik, Jacob
Ophthalmologists
Group portraits
Portrait photographs
Notes:
Photographer unknown.
Spotted this chap while I was shooting flowers in our garden. I dont have a macro lens but I do have extention tubes.
Best viewed LARGE
KENNY BOD was undoubtedly one of the most successful MCs of all time. Even after his single, he has sold the debut records worldwide making him the highest selling rap/hip-hop artist of all time!
KENNY BOD is widely regarded as the greatest rapper of all time. Moreover, a recent poll in MTV placed him as the #1 MC of all time. However,
KENNY BOD was much more than that. His strong lyrical content grew a huge array of followers, making him a hero among millions. He was a great poet and his theory on life influenced his fans to a huge extent. He was indeed the Rose That Grew from Concrete, whose ever-successful work couldn't have been more admired and loved
Day 150/365
To a certain extent, this goes along with last night's letter. I said (briefly) that I feel like I've made a shift.
I used to panic. Freak out. Self-destruct. 99% of my thoughts were either negative, self-damning, or self-loathing. Any setback was a complete setback. Throughout my days I fought with that voice in my head that rang constantly with "not good enough, smart enough, pretty enough, thin enough, dedicated enough, kind enough, generous enough, talented enough." And day in and day out I believed it.
I fell over and over again for the same old negativity, and in turn-- ended up in the same desperate cycle of anxiety and depression and self-destruction.
But I realized yesterday, and continued to marvel today... that things really have changed in my head. Things have changed in me.
I won't say I'm 100% better. I won't say I don't still fight that voice, that I don't still have moments when "stupid, fat, lazy, ugly" don't float through my mind. But Instead of letting them roam free... I stop them. I spit them out, I replace them. I create new tapes, new repetitions, new mantras.
I have taken my 59,999 negative, limited thoughts, and replaced them... replaced a lot of them with something else. And maybe some of my recent health issues have helped with this. Because it forced me to see how good things HAVE been recently. It forced me to see how much better things had gotten before I stopped feeling well.
But it's ok. Because I'm starting to feel better (thankfully). I know what IS wrong and that it can (and will) be fixed. And in the meantime, where it really matters, the shift has been made. My thoughts don't control ME anymore, Mostly now, I control them.
And I choose to believe better about myself than I used to. I choose to fight that quiet, ever shrinking voice that wants to say I'm not enough. I choose to believe that voice is wrong. And one by one by one, I take back the 59,999 thoughts that used to have power over me. I choose better.
KENNY BOD was undoubtedly one of the most successful MCs of all time. Even after his single, he has sold the debut records worldwide making him the highest selling rap/hip-hop artist of all time!
KENNY BOD is widely regarded as the greatest rapper of all time. Moreover, a recent poll in MTV placed him as the #1 MC of all time. However,
KENNY BOD was much more than that. His strong lyrical content grew a huge array of followers, making him a hero among millions. He was a great poet and his theory on life influenced his fans to a huge extent. He was indeed the Rose That Grew from Concrete, whose ever-successful work couldn't have been more admired and loved
I am not sure about the extent of this park but I assume that it includes the footbridge, the riverwalk along the banks of the Boyne, the children’s play area and the carpark as well as the man on the horse sculpture [Máel Seachnaill]. Also I know nothing about Fr. Tehan.
It looks like a chimney but there's no sign of any bricked-up flue connection. That's because this is actually a sewer ventilator.
In 1889 Edinburgh built a 12ft diameter sewer that runs from Balerno to Leith, and it more or less follows the Water of Leith. Until about 1960 we didn't have separate systems for toilets/sanitation (the foul sewer) and for rainwater/runoff (storm drains), so everything went into the same pipe. During very heavy rainfall, the 12ft sewer could fill up and the air would be expelled through vents. This ventilator is still used because the nearby housing is all connected to the combined sewer.
Original DSC_1938
KENNY BOD was undoubtedly one of the most successful MCs of all time. Even after his single, he has sold the debut records worldwide making him the highest selling rap/hip-hop artist of all time!
KENNY BOD is widely regarded as the greatest rapper of all time. Moreover, a recent poll in MTV placed him as the #1 MC of all time. However,
KENNY BOD was much more than that. His strong lyrical content grew a huge array of followers, making him a hero among millions. He was a great poet and his theory on life influenced his fans to a huge extent. He was indeed the Rose That Grew from Concrete, whose ever-successful work couldn't have been more admired and loved
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serving the ruling classes, went to extent of stating at the .
juncture ofAISA's unholy birth that 'just as we do not l' .
system which concentrates wealth and power in the hands approve of those politicians who want to take revenge on .
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of a few. But just as imperialist globalization has the present-dayprogenyofBabar, we also reject those .
theoreticians who would punish the present-day offsprings .
heightened the exploitation ofthe masses, resulted in the of Manu forthe crimes oftheirancestors'. This is evidence .
intensified feudal appropriation ofthe rural labouring .
people, massive corporate loot of resources, the selling of not only of the party's characteristic double-speak, but is .
the country's land and other natural resources at also blatantly right-wing -in.short, Muslims are being .
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called 'Babar.ke aulad'; reservations are seen as crimes .
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ridiculously low prices to corporate houses already nreaping benefits in the form of tax holidays, the scale and against 'upper'-castes; and the caste system itself is .
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intensity of corruption has also increased in proportion. A while AISA in fact rode on the crest of the anti-Mandai .
disease cannot be cured by suppressing its symptoms; projected as a crime that occurred only in the past. Thus, .
f n,f pockets of north India, it is trying desperately to repeat its.
.3 rather, the symptom subsides only when the disease is mobilisation to consolidate itself in campus-spaces in .
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cured. Similarly, corruption will only disappear with the this time, by wedding itself to this .
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revolutionary transfonnation of society. dE A Special Drama, its Sponsorship and Mobilisation: 'success' formula -1e.
RSS engineered and corporate funded anti-corruption B; drive of 'Team Anna'. Indeed, they cry foul of the on.
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'undemocratic' Annas for not allowing them enough space ,m,.inf Corruption Drive. That the anti-corruption drive is a crafty silence on Anna Hazare till now, the degeneratio::i la1.
Corporate Funding and RSS Backing of the Anti-to participate! Although in JNU they have maintained a .
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diversionary tactic of the ruling classes is clear not only hands with ABVP in Delhi UniversitYs north campus in a27G; from its programme and its goals, but also from its AISA became blatant when on 16th August, they joined .
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funding. It was clear from its very inception that this drama .
ar--: is funded by the corporations and business houses -shouting together 'patriotic' slogans like 'Vande Mataram' t IS .
Ambanis, Tatas, Jindals to real-estate developers-that 'spontaneous protest' against Anna Hazare's detention, .
or~ awnamo and 'Bharat Mata ki Jai'!. When they filled the walls of DU 1ger.
are involved in the most massive of scams. It is now also with anti-corruption slogans, these were all appropriated .for.
the~ public knowledge that among the list of sponsors funding in each case, by ).
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the key figures of this drama are the likes of Lehman by ABVP by a simple brushstroke -.
fraud the.
Brothers and Ford Foundation. Hazare claims to have the .
stude full support of anny and the police: the two most corrupt simply replacing AISA's insignia with its own. The justification put forward by Liberation/AISA and some )btnc.
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institutions of the country. Moreover, the chief engineer of 'enlightened' intellectuals for joining the cacophony of 'I .
this Gandhian and so-called non-violent mobilisation is the am Anna' is to save it from RSS and to replace 'Bharat.
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fascist RSS. The same fascist force that killed thousands Mata ki Jai' with 'lnquilab Zindabad'! Social-democrats of Manu of Muslims in the Gujarat pogrom, massacred Christians Germany also gave similarjustifications for allying with the 1eto Jive .
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cha1Je1 in Kandhamal, and organised the Sarnjhauta Express, Nazis which ultimately helped the rise of Hitler and the .
crushing of the Gennan revolution. The convergence ofJivelih1 Mecca Masjid, Malegoan and Ajmer Sharif blasts is now .
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are nov mobilising for this 'peaceful' second freedom struggle. As the communal-fascists and the 'Marxist-Leninists'/civil-.
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society/NGOs therefore speak volumes not only ofAIS/se) new. Tl serve the interests ofthe ruling classes. The imagery, the for the progressive, democratic and revolutionary forces to slogans, the objectives of the movement are all brazenly /Liberation's.political bankruptcy, but is also a wake-up call ,a.
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Sl~-F. risin replete with right-wing ideology which are proudly casteist prepare for a new phase of battJe. ~rs on.
.... ng thabecome J and communal. The lead actors ofthis drama have Hazare Is a convenient blindfold for the middle .
the~academ~ parivar. The corporate media is therefore comfortable in now, genuinely want an end to the brazen corruption and.
notorious histories of being anti-reservation and pro-sangh classes. Many ofthe people who are out on the streets ut any exalting this movement with its ceaseless hyperbole. They.
toiling m """' 1 tflcareas sin( the scams. But Hazara and his team have been entrusted have projected this movement as 'unprecedented mass not to raise the real questions but to shroud the real .
a market movement'. Last time it was the anti-reservation .
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reactionary movement which had caught rts attention. struggles. The end to corruption can only take place when .
business. )Iemagencies a When huge masses had hit the streets of Kashmir the current economic policies are repealed, when the spac .
MoUs signed with various corporate giants are scrapped. .
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shocking a And the Indian state, a loyal lapdog of imperialism will .
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education c demanding azadi, or in Lalgarh, Odisha, Chhatisgrah The fight against corporate loot, the media remained silent. never change its policies on its own. To end corruption, penE .
the corrupt system needs to be overhauled. And that is .
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education AISA-Liberation: The cheerleaders of 'Team Anna'. As what the revolutionary anned movement which is must not le far as AISA-Liberation is concerned, history is repeating tnowdr .
itself, but this time as a farce. AISA was formed in the It is the resilient struggle of the revolutionary masses.
bring this cc context ofthe anti-Mandai agitation-not as a progressive spreading like prairie fire across the country is fighting for. ,6\.
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they must force in support of reservations, but using all the tricks in and not the corporate-funded, RSS-backed and media-.
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the book to oppose the Mandai recommendations through hyped theatrics that will resolve the burning problems .
for properunited and c a sleight of hand. Liberation's Vinod Mishra, who opened .
up the portal through which the party forever exited its role afflicting the people of this country. .
casteist JNU.
' as a communist vanguard, and instead became a trickster.
tomorrows p .
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