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Although smaller than its grander Art Nouveau drawing room across the hall, the cosy sitting room of Billilla is no less beautiful as it is filled with light through a large bay window featuring Art Nouveau stained glass.
The Art Nouveau stained glass panels of the bay window and the wooden fretwork framing it are the only two features installed as part of the 1907 extension and renovation of Billilla. The rest of the room is, like the Billilla billiard room, remarkably intact decoratively in fine Victorian style.
Even though it is smaller than the drawing room, the sitting room was still one of the showpiece main rooms of the mansion when guests came to call. Elegantly proportioned and appointed, it too is a very femininely oriented room. The ceiling of the drawing room is decorated classically inspired boiseries and garlands. These are also reflected in bas reliefs along the plate rail and across the mirrored overmantle over the black and white tile fireplace.
Above the white painted dado and plate rail, the walls feature panels of Art Nouveau wallpaper. Although we usually associate the Art Nouveau period with the first decade of the Twentieth Century, it actually began in the 1880s, when Mr. Weatherly bought Billilla. Mrs. Weatherly probably chose the more restrained, earlier style of Art Nouveau paper because it was just becoming fashionable at the time she moved in.
The room is accessed by two sets of doors with glass panels and brass doorknobs.
Built in High Victorian style in 1878 for successful gold miner Robert Wright, Billilla mansion was originally a thirteen room mansion erected on seven and a half acres of land.
When economic boom turned to bust in the 1880s, the property was purchased in 1888 by wealthy New South Wales pastoralist William Weatherly who named it Billilla after his land holdings and established a home there for his wife Jeannie and their children Violet, Gladys and Lionel.
The house was substantially altered by architect Walter Richmond Butler in 1907, extending the house beyond its original thirteen rooms and adding the Art Nouveau façade seen today.
After William Weatherly's death in 1914, his wife, who was much younger, remained living there until her own death in 1933. She bequeathed the property to her daughter, Violet, who maintained the home with reduced staff until her own death in 1972.
The property was purchased in 1973 by the Bayside Council who subsequently used Billilla as a historical house with guided tours, a wedding and events venue, a school and finally in 2009 as an artist's precinct in the property's outbuildings. Billilla is a beautiful heritage property retaining many of its original features thanks to its long private ownership still incorporating a stately formal garden and the magnificent historic house.
Billilla, at 26 Halifax Street, Brighton, is one of Melbourne’s few remaining significant homesteads, built on land which had originally been owned by Nicholas Were. The house has a mixture of architectural styles, featuring a Victorian design with Art Nouveau features and has exquisite formal gardens, which retain much of their original Nineteenth Century layout.
Billilla retains many original Victorian elements and a number of outbuildings still stand to the rear of the property including the butler’s quarters, dairy, meat house, stable garden store and coach house.
Billilla was opened to the general public as part of the Melbourne Open House weekend 2022.
Billilla was used as a backdrop in the 1980 Australian Channel 10 miniseries adaptation of Sumner Locke Elliott's "Water Under the Bridge". It was used at the Sydney harbourside home of Luigi, Honor and Carrie Mazzini.
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www.thrivecollective.org/portfolio/les-seeds-of-love/
Thank you NYS Senator Marty Golden, Royal Talens, the Lutheran Elementary School Mural Committee, Michael “Kaves” McCleer, and all the students and volunteers who made Seeds of Love possible.
SAM IS A MAGAZINE ABOUT STREET-ART, GRAFFITI, ILLUSTRATION, GRAPHIC ART AND EYE POPPING STUFF RELATED TO THESE. WE FEATURE ART FROM THE HEART!
The New York State Pavilion was constructed for the World’s Fair in Flushing Meadows-Corona Park. Designed by architect Philip Johnson, the “Tent of Tomorrow” measures 350 feet by 250 feet, with sixteen 100-foot columns suspending a 50,000 square-foot roof of multi-colored panels. The popular exhibit for the state of New York also held three towers, measuring 60 feet, 150 feet, and 226 feet. The two shorter towers held cafeterias for the fair, and the tallest tower, as the highest point of the fair, held an observation deck. Fair visitors ascended the towers in the “Sky Streak” capsule elevators.
The pavilion included a display from the New York State Power Authority with a 26-foot scale replica of the St. Lawrence hydroelectric plant. The pavilion’s mezzanine featured art from local museums and information about the state’s industries along a path called “Highways through New York.” The Fine Arts Gallery showed pieces from the Hudson River School and portraits of New York State colonists. Approximately six million people visited the New York State Pavilion.
Perhaps the most spectacular feature of the exhibit was the Texaco Company’s map of New York State. The map was designed with 567 terrazzo mosaic panels, each weighing 400 pounds. Rand McNally & Company assisted in constructing the $1,000,000 map, which featured the 50,000 square miles of New York State in meticulous detail. The cities, towns, highways, roads, and Texaco stations were accurately mapped in the 9,000 square-foot design. After the fair, the space under the tent was used as a roller skating rink and as a performance space by the Council for International Recreation, Culture, and Lifelong Education. By 1976, the roof above the map became unstable and the tent was removed, exposing the map of New York State to the ravages of weather.
The New York State Pavilion also included the adjacent “Theaterama,” which exhibited pop art works by Andy Warhol (1928-1987) and Roy Lichtenstein (1923-1997) among others. The “Theaterama” also screened a 360-degree film about the wonders of New York State, from Jones Beach to Niagara Falls. The space was converted to the Queens Playhouse in 1972 with its first production, George Bernard Shaw’s “Pygmalion,” opening in October of the same year. The theater continued to operate until 1985 and was renovated and reopened in 1994.
Flushing Meadows-Corona Park, often referred to as Flushing Meadow Park or Flushing Meadows Park, occupies 1,255 acres between the Van Wyck Expressway and the Grand Central Parkway, stretching from Flushing Bay to Union Turnpike. The site, originally known as the Corona Ash Dumps, was cleared by Parks Commissioner Robert Moses in preparation for the 1939-1940 World's Fair, and later used for the 1964-1965 World's Fair. Iconic remnants from the two fairs include the New York State Building, the Unisphere, and the New York State Pavilion. The US Open tennis tournament takes place in Flushing Meadows Park at the USTA Billie Jean King National Tennis Center, and the New York Mets play their home games in Citi Field at the north end of the park. Shea Stadium, the Mets' previous home, once stood adjacent to Citi Field.
National Register #09000942 (2009)
The "The Gables" has a beautiful, light filled tea room which they call the "Peacock Room" because of the beautiful Art Nouveau inspired blue peacock wallpaper they have decorated the room with. It used to be "The Gables" best, or master bedroom and dressing room. Now turned into one room it has a high ceiling featuring Art Nouveau mouldings and several elegant stained glass windows featuring stylised Art Nouveau flowers depicted in a striking combination of blue and gold, and one window full of golden yellow pears. The window of pears has a similar window in the entrance hall.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
Another art work from the Curious Affections exhibition at GOMA featuring art works by Patricia Piccinini. This work was commissioned for the exhibit and spans two levels, you can even go inside the orange ballon structure.
Artwork of this event benefited the Regional Food bank and all featured art related to Metal Gear Solid and/or Kanye West.
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Available Light B&W 35mm Photojournalism by Johnny Martyr
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The main hallway leading from the original front door, past Mr. Weatherly's study, the dining and breakfast rooms is a beautiful and bright space, owing to a couple of ingenious design features. A large light well above, featuring Art Nouveau moulding fills the space with natural light which is then reflected off several full length mirrors along the walls.
Light too comes from the front door, which not unusually, features beautiful leadlight panels in both its doors as well as an arched lunette above. The lunette has a stylised Art Nouveau tulip in it, whilst the late Victorian era door panels feature four panes of flowers and two panes of birds, all hand painted and expertly coloured in rippled glass.
The l-shaped hallway is papered with light Art Nouveau wallpaper featuring irises, and as well at the ornate foliate chandeliers, it is also lit with Art Nouveau lanterns of burnished copper.
Built in High Victorian style in 1878 for successful gold miner Robert Wright, Billilla mansion was originally a thirteen room mansion erected on seven and a half acres of land.
When economic boom turned to bust in the 1880s, the property was purchased in 1888 by wealthy New South Wales pastoralist William Weatherly who named it Billilla after his land holdings and established a home there for his wife Jeannie and their children Violet, Gladys and Lionel.
The house was substantially altered by architect Walter Richmond Butler in 1907, extending the house beyond its original thirteen rooms and adding the Art Nouveau façade seen today.
After William Weatherly's death in 1914, his wife, who was much younger, remained living there until her own death in 1933. She bequeathed the property to her daughter, Violet, who maintained the home with reduced staff until her own death in 1972.
The property was purchased in 1973 by the Bayside Council who subsequently used Billilla as a historical house with guided tours, a wedding and events venue, a school and finally in 2009 as an artist's precinct in the property's outbuildings. Billilla is a beautiful heritage property retaining many of its original features thanks to its long private ownership still incorporating a stately formal garden and the magnificent historic house.
Billilla, at 26 Halifax Street, Brighton, is one of Melbourne’s few remaining significant homesteads, built on land which had originally been owned by Nicholas Were. The house has a mixture of architectural styles, featuring a Victorian design with Art Nouveau features and has exquisite formal gardens, which retain much of their original Nineteenth Century layout.
Billilla retains many original Victorian elements and a number of outbuildings still stand to the rear of the property including the butler’s quarters, dairy, meat house, stable garden store and coach house.
Billilla was opened to the general public as part of the Melbourne Open House weekend 2022.
Billilla was used as a backdrop in the 1980 Australian Channel 10 miniseries adaptation of Sumner Locke Elliott's "Water Under the Bridge". It was used at the Sydney harbourside home of Luigi, Honor and Carrie Mazzini.
Nikon FM2n | Nikkor 50mm 1.8 AIS | Ilford Delta 3200 @ 6400 | Kodak HC110b
Available Light B&W 35mm Photojournalism by Johnny Martyr
Thanks for checking out my work!
Nikon FM2n or Nikon F2sb | Nikkor 50mm 1.4 AIS | Ilford Delta 3200 | Kodak HC110b | Epson V500 | Adobe Photoshop Elements
Available Light B&W 35mm Photojournalism by Johnny Martyr
Thanks for checking out my work!
Artwork of this event benefited the Regional Food bank and all featured art related to Metal Gear Solid and/or Kanye West.
Kiss/Army Of Darkness # 2
KISS is on top of the world and rocking faces until the night disciples of The Destroyer show up and the band disappears. With the tour canceled, a young Ash misses one of the most important events of his life that will change his destiny. Now the Chosen One has to get back on the right path and join the KISS ARMY OF DARKNESS!
Vampironica # 1
NEW ONGOING SERIES! When Veronica is bitten by a centuries-old vampire, her thirst for blood threatens to turn Riverdale into a haven for the undead. Will she put an end to the vampire threat or give in to her blood lust?
Mighty Morphin Power Rangers # 25
Drakkon returns and the Mighty Morphin Power Rangers will never be the same. The “SHATTERED GRID” event begins here!
Hack/Slash: Resurrection # 6
The first arc of the acclaimed return of Cassie and Vlad comes to a bloody end!
Hungry Ghosts # 3
One by one the candles are snuffed out as the ghostly game of dread and terror continues through the never-ending night. Next up, two tales of shocking horror: ''The way to a mans heart is through his stomach'' takes on a whole new meaning as an accomplished young chef returns to his small-town home from the big city to find insatiable mouths to feed. And in the backroom brigade of a fine French kitchen, an abusive master chef gets what's coming to him in the most unspeakable of manners.
* Featuring art by Paul Pope!
Doomsday Clock (2017-) # 4
The series you thought you’d never see reaches its fourth issue with a shocking revelation about the aftermath of Ozymandias’ actions and how they reach into even the darkest corners of the DC Universe. Don’t miss the latest chapter by the acclaimed team of writer Geoff Johns and artist Gary Frank!
The "The Gables" has a beautiful, light filled drawing room with an elegant tiled fireplace with a white painted wooden fire surround, high ceilings featuring Art Nouveau mouldings and three lancet windows featuring Art Nouveau stained glass. The two outer windows feature brightly coloured red flowers, whilst the central one features golden yellow and orange ones. All the flowers are highly stylised, and remind me of oriental lilies.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
The "The Gables" has a beautiful, light filled tea room which they call the "Peacock Room" because of the beautiful Art Nouveau inspired blue peacock wallpaper they have decorated the room with. It used to be "The Gables" best, or master bedroom and dressing room. Now turned into one room it has a high ceiling featuring Art Nouveau mouldings and several elegant stained glass windows featuring stylised Art Nouveau flowers depicted in a striking combination of blue and gold, and one window full of golden yellow pears. The window of pears has a similar window in the entrance hall.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
The "The Gables" has a beautiful, light filled tea room which they call the "Peacock Room" because of the beautiful Art Nouveau inspired blue peacock wallpaper they have decorated the room with. It used to be "The Gables" best, or master bedroom and dressing room. Now turned into one room it has a high ceiling featuring Art Nouveau mouldings and several elegant stained glass windows featuring stylised Art Nouveau flowers depicted in a striking combination of blue and gold, and one window full of golden yellow pears. The window of pears has a similar window in the entrance hall.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
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A graffiti wall in Shibuya featuring art by Faile, Dense & several others. Plus the important message, "Restation is a must!" Please add tags if you know the artists.
Character Creation
The Silver Surfer is a fictional character appearing in American comic books published by Marvel Comics. The character also appears in a number of movies, television, and video game adaptations. The character was created by Stan Lee and Jack Kirby and first appeared in the comic book Fantastic Four #48, published in 1966.
The Silver Surfer is a humanoid alien with metallic skin who can travel through space with the aid of his surfboard-like craft. Originally a young astronomer named Norrin Radd on the planet Zenn-La, he saved his homeworld from the planet devourer, Galactus, by serving as his herald. Imbued in return with some portion of Galactus' Power Cosmic, he acquired vast power, a new body and a surfboard-like craft on which he could travel faster than light.
Now known as the Silver Surfer, he roamed the cosmos searching for planets for Galactus to consume. When his travels took him to Earth, he met the Fantastic Four, who helped him rediscover his nobility of spirit. Betraying Galactus, he saved Earth but was exiled there as punishment. In the alternate continuity of Earth X and Universe X, Shalla-Bal, Norrin's lover and the empress of Zenn-La, is depicted as joining him as a second Silver Surfer, both serving as the twin heralds of the second Galactus Franklin Richards.
In 2011, IGN ranked the Silver Surfer 41st in its "Top 100 Comic Heroes" list. The Silver Surfer was portrayed by Doug Jones and voiced by Laurence Fishburne in the 2007 film Fantastic Four: Rise of the Silver Surfer.
Jack Kirby commented on the character's creation during an interview stating "My conception of the Silver Surfer was a human being from space in that particular form. He came in when everybody began surfing — I read about it in the paper. The kids in California were beginning to surf. I couldn't do an ordinary teenager surfing so I drew a surfboard with a man from outer space on it."
The Silver Surfer debuted as an unplanned addition to the superhero-team comic Fantastic Four #48 (March 1966). The comic's writer-editor, Stan Lee, and its penciller and co-plotter, Jack Kirby, had, by the mid-1960s, developed a collaborative technique known as the "Marvel Method": the two would discuss story ideas, Kirby working from a brief synopsis to draw the individual scenes and plot details, with Lee finally adding the dialogue and captions. When Kirby turned in his pencil art for the story, he included a new character he and Lee had not discussed.
As Lee recalled in 1995, "There, in the middle of the story we had so carefully worked out, was a nut on some sort of flying surfboard". He later expanded on this, recalling, "I thought, 'Jack, this time you've gone too far'". Kirby explained that the story's agreed-upon antagonist, a god-like cosmic predator of planets named Galactus, should have some sort of herald, and that he created the surfboard "because I'm tired of drawing spaceships!" Taken by the noble features of the new character, who turned on his master to help defend Earth, Lee overcame his initial skepticism and began adding characterization. The Silver Surfer soon became a key part of the unfolding story.
Following the Surfer's debut, Lee and Kirby brought him back as a recurring guest in Fantastic Four #55–61, 72, and 74–77 (ranging Oct. 1966 – Aug. 1968). The character made his solo debut in the backup story of Fantastic Four Annual #5 (Nov. 1967).
Beginning in August 1968, Lee launched the solo title The Silver Surfer. John Buscema was penciller for the first 17 issues of the series, with Kirby returning for the 18th and final issue. The first seven issues, which included anthological "Tales of the Watcher" backup stories, were 72-page (with advertising), 25-cent "giants", as opposed to the typical 36-page, 12-cent comics of the time. Thematically, the stories dealt with the Surfer's exile on Earth and the inhumanity of man as observed by this noble yet fallen hero. Though short-lived, the series became known as one of Lee's most thoughtful and introspective works.
Following his series' cancellation, the Surfer made sporadic appearances as a guest star or antagonist in such comic books as Thor, The Defenders, and Fantastic Four. Lee remained partial to the Surfer, even asking other writers not to use him as a general rule, and with Kirby collaborated on a seminal 1978 graphic novel starring the character, the only original story featured in the Marvel Fireside Books series.
After a 1982 one-shot by writer-artist John Byrne (with scripting by Stan Lee), the Surfer appeared in his second solo ongoing title in 1987.
Initially written by Steve Englehart, the series was to be set on Earth and one issue was completed under this premise before Marvel agreed to let Englehart remove the long-standing restriction regarding Silver Surfer being imprisoned on Earth. This first issue was shelved and a brand new first issue was written, to set up this plot twist; the original first issue would ultimately be reprinted in Marvel Fanfare #51. The series marked the first Silver Surfer stories not written by Stan Lee, a fact which Lee was openly unhappy about. He explained:
"After I gave up Spider-Man then someone else did Spider-Man, and someone else did the Fantastic Four and Doctor Strange and the X-Men and all of them. I felt that it was kind of nice for me to have been the only writer of the Silver Surfer, so I felt a little bit disappointed when somebody else did it. I would have liked to have been the only person. Had I known they were absolutely going to have the book done, I would have found the time to do it myself. I didn't really have time but I would have made the time, rather than have anybody else do it. ... this is not at all a criticism of Steve [Englehart] or of Marshall [Rogers, artist on the series], it's just that it's one book that I would have liked to have always done myself."
Englehart introduced many villains for Silver Surfer, as well as featured space politics involving Surfer's homeworld Zenn-La, which was caught in the middle of a renewed Kree–Skrull War. However, issues regarding Englehart wanting to use his Avengers character Mantis as Silver Surfer's companion, as well as editorial refusing to let him use Thanos or other concepts conceived by Jim Starlin, led Englehart to leave the book with issue #31. Starlin took over as writer with issue #34 after several fill-in issues, and incorporated Thanos, Adam Warlock, and Drax the Destroyer into the series.
Under Jim Starlin and later Ron Marz, the series would receive acclaim and sales boost due to Silver Surfer's involvement with Starlin's Infinity Trilogy, with George Pérez and J. M. DeMatteis also having brief writing stints on the series as well. Additional artists included Tom Grindberg, Ron Garney, and Jon J. Muth, as well as periodic guest spots by John Buscema. The title experienced great initial success which allowed Marvel to push the character into other media, including a 1990 video game, 1992 trading card set, and 1998 animated series, as well as spinning off a variety of other comics series including Cosmic Powers, Cosmic Powers Unlimited, Captain Marvel vol. 2, and Star Masters. It ran 146 issues, through 1998. The next year it was followed by the two-issue miniseries, Silver Surfer: Loftier Than Mortals.
A two-issue Silver Surfer miniseries (later collected as Silver Surfer: Parable), scripted by Lee and drawn by Moebius, was published through Marvel's Epic Comics imprint in 1988 and 1989. Because of inconsistencies with other stories, it has been argued that these stories actually feature an alternate Silver Surfer from a parallel Earth. This miniseries won the Eisner Award for best finite/limited series in 1989.
A new ongoing Silver Surfer series began in 2003, focusing on the character's alien nature and messianic allegory. It lasted 14 issues. The Surfer later appeared in an issue of Cable & Deadpool and has been reunited three times with the superhero group the Defenders. In 2006–2007, he starred in the four-issue miniseries Annihilation: Silver Surfer and co-starred in the miniseries Heralds of Galactus, both part of the Annihilation fictional crossover.
In 2007, the Silver Surfer starred in a four-issue miniseries Silver Surfer: Requiem by writer J. Michael Straczynski and artist Esad Ribic. The first issue was released May 30, 2007 to coincide with the character's first movie appearance. Published under the Marvel Knights imprint, Silver Surfer: Requiem portrays the character upon learning that he is dying as the silver shell he is encased in is deteriorating.
This was followed by the four-issue miniseries Silver Surfer: In Thy Name, by writer Simon Spurrier and artist Tan Eng Huat.
After an appearance in the "Planet Hulk" storyline in 2006, the Surfer was featured in its spin-off series starring the Hulk's son Skaar in 2008, both written by Greg Pak.
The Silver Surfer received a sixth volume, an eponymous 5-issue miniseries written by Pak, debuting in February 2011. He was also a core cast member in The Thanos Imperative (2010), Annihilators (2011), and Fear Itself: The Deep (2011). Beginning in 2011, the Silver Surfer began appearing regularly in The Mighty Thor and a new volume of Defenders, both written by Matt Fraction.
In March 2014, Silver Surfer volume 7 began as part of All-New Marvel NOW! by writer Dan Slott, artist Mike Allred, and colorist Laura Allred. In January 2016 Silver Surfer volume 8 began with a special 50th-anniversary edition expected release in March 2016.
In 2019, a 5-part mini-series titled Silver Surfer: Black was released featuring art from Tradd Moore in collaboration with writing from Donny Cates. The series is an extension of a Guardians of the Galaxy storyline in which the Surfer was sucked into a black hole and ejected into unfamiliar space territory. This run follows the Surfer as he traverses the spaceways on a journey back home.
Silver Surfer later plays an important role in King in Black storyline. With the help from Hugin and Munin, Surfer helps Enigma Force to enter Earth and chose Eddie Brock/Venom as a temporary Captain Universe, to aid his fellow heroes against Knull and his army.
Fictional Character History
Norrin Radd lived on the peaceful planet Zenn-La (Deneb System, Milky Way Galaxy). The Zenn-Lavians effectively eliminated the plagues commonly associated with human life on Earth, such as hunger, disease, crime, and war. The result of their quest for advancement and scientific discovery, in effect, created a Utopian society. Norrin's parents were Jartran and Elmar Radd. Jartran was a scientist, and Norrin followed in his footsteps, constantly studying. Unable to cope with what Zenn-La had become (a society that had devolved into hedonism and, in essence, become directionless), Norrin's mother Elmar committed suicide when he was very young. Norrin always blamed himself for this.
After his mother's passing, Norrin was nurtured by his father to become a great man. When Norrin entered manhood, his father was implicated in the theft of ideas belonging to another scientist. When Norrin confronted his father, he admitted negligence. Disgusted by his father's actions, Norrin completely withdrew from him. Depressed by his indiscretion made public and the apparent lack of support from his son, Jartran committed suicide.
Much like his mother and father, Norrin also dreamed of a society that had more substance. He believed that no goals were left to be achieved on Zenn-La. He was filled with discontent and often went to the museum to watch holograms of Zenn-La's past that revolved around their wars and space travel. This often troubled his girlfriend, Shalla-Bal. She believed they had all they could ever want together, but Norrin always dreamed of more.
One day, their peaceful existence was threatened by the presence of Galactus, the Devourer of Worlds, who subsists on the energies provided by entire planets. The Council of Scientists let Norrin use a spaceship to approach Galactus and plead on behalf of the planet. Seeing the hopeless situation of his home planet, Norrin Radd volunteered servitude to the Devourer of Worlds in order to spare Zenn-La from obliteration. Galactus accepted. Given a fraction of the Power Cosmic, and shaped by fantasies Norrin Radd entertained as a child, Galactus transformed Norrin Radd into the Silver Surfer. The Silver Surfer's main task was to find planets with the energy to satisfy Galactus's hunger.
Over time it became more difficult to find planets without life on them. Knowing Norrin Radd would resist taking a life, Galactus deliberately altered Norrin's mind to repress his moral compass, allowing Norrin Radd to more efficiently carry out the grim task of finding suitable planets to feed upon.
A decidedly introspective character plagued by the sins of his past, Norrin Radd forever seeks redemption, endeavoring to carry out justice throughout the universe.
The Silver Surfer’s introduction begins with the Surfer bringing Galactus to Earth. In turn, Galactus was confronted by the Fantastic Four. Ben Grimm’s girlfriend, the blind sculptress Alicia Masters, managed to reach Norrin Radd’s more human side, ultimately awakening his conscience that Galactus managed to suppress for many years. The Surfer turned on his master much to Galactus' surprise. The Surfer was easily dispatched by Galactus and Reed Richards ultimately managed to repel Galactus with the Ultimate Nullifier.
In reprisal for the Silver Surfer’s rebellious actions, Galactus created an energy barrier that would prevent the Silver Surfer from leaving Earth. No longer will he venture into space or be a witness to the universe's far-reaching wonders, his heart’s desire since he was a small child.
Trapped on Earth
The Surfer’s earliest contact with humanity was routinely met with fear. Entire countries reacted aggressively when the Surfer simply flew overhead, firing weapons of mass destruction at him. It seemed the Surfer would lead a life fraught with fear and rejection from Earth no matter what the circumstances. Occasionally, when he tried to help certain individuals on Earth, this too resulted in mistrust and fear. One of his worst experiences came from trying to assist Doctor Doom who tricked the Surfer and stole his cosmic powers. After his powers were returned, he had a hard time trusting any humans. He seemed a lost soul. Although they were ungrateful, the Surfer continued to protect humanity from great threats, all the while contemplating their savage and strange behavior.
Eventually, the Silver Surfer became a hero on Earth and began to rediscover his own very human feelings, thanks in large part to blind sculptress Alicia Masters. He fought alongside many of Earth's heroes and joined the superhero group, the Defenders. He even began to trust again and eventually formed friendships with some of earth’s heroes he worked alongside, specifically Doctor Strange. But this was only temporary - the Silver Surfer was not meant to be confined to such a small space.
But the Surfer longed to be free of his prison, to soar infinite space as he was meant to. The Surfer made repeated attempts to escape the impenetrable barrier Galactus placed around the planet. He once traveled through time to try to escape the insanity of Earth and did so successfully, only to find himself in a future where all civilizations had been destroyed. Faced with choices of being free in a dystopic, future Earth society or returning to Earth to live among a group of people who hated him, he chose the latter. He attempted to escape with the help of physicist Al Harper, but this failed as well. He was allowed to leave the barrier by Mephisto, only to find that Mephisto had kidnapped his love Shalla Bal therefore compelling his return to Earth once again to find her, while Mephisto reveled in his frustration.
Years later, with the help of Reed Richards, he successfully escaped. His first action was to go home, to Zenn-La. When he arrived, he found the paradise of Zenn-La destroyed and the residents claiming it to be the Surfer's fault. Galactus had returned and consumed the energies after the Surfer betrayed him. When he tried to find Shalla Bal, he learned she was kidnapped by Mephisto once again. In order to save Shalla Bal he returned to Earth, only to become trapped there once again. This would not be the last time Mephisto attempted to use Shalla Bal against the Surfer and he next tried to get the Surfer to destroy S.H.I.E.L.D., but eventually failed once again.
Free at Last
With the Fantastic Four's help, he was able to escape the barrier. The Silver Surfer made peace with Galactus when he saved his current herald, Frankie Raye, from the Skrulls. Galactus lifted the barrier and the Surfer was free to roam the spaceways once again, something he had long yearned for since his confinement. He wished to never return to Earth, the home of his imprisonment, ever again.
Once the barrier was lifted, the Surfer immediately thought of Zenn-La and his love Shalla Bal. He returned to find that after breaking his promise to Galactus to serve him, Galactus had returned to Zenn-La and consumed its energy. But the residents managed to escape his wrath and rebuild, with the help of Shalla Bal and the Power Cosmic he had granted her when Mephisto brought her to Earth to torment the Surfer. He proposed to Shalla Bal, now the Empress of Zenn-La, but she declined. With no place to truly call home, the Surfer returned to space.
Surfer then was attacked by the Elders of the Universe. With the help of Mantis, he learned of their plot to kill Galactus and destroy reality. Together, the already powerful beings had gathered the Infinity Gems. He managed to stop their plot with the help of Mantis and Frankie Raye. Eternity admitted to Galactus that if not for the Surfer's help, the universe may have been destroyed. But this turned out to not be the end of the Elders' threat to Galactus, as Death would not allow the Elders Galactus consumed to die. This meant that they survived inside Galactus making him very ill. With the help of Mr. Fantastic and Invisible Woman, they traveled to the Magick Realm to retrieve the Infinity Gems. In-Betweener interfered and traveled back to Galactus to kill him. Instead, he sent Galactus back to Magick Realm. Silver Surfer appealed to Chaos and Master Order of what the In-Betweener had done and they freed the Elders from a very angry Galactus.
Alignment with the Skrulls
The Surfer soon found himself in the middle of the Second Kree/Skrull War. At first, he remained neutral but through a Skrull trick, he ended up joining their side. He had helped the Super Skrull to escape the Eternals and helped to restore the Skrulls shape-shifting powers. The Kree knew of the trickery, but could not simply forgive the Surfer and made him their enemy. He was uneasy with his alliance when Reptyl joined their side and the Super Skrull was killed. Empress S'byll proved to not be as treacherous as most Skrulls after all and she and the Surfer attacked Hala themselves and defeated Nenora, the Supreme Leader. A truce was made between the races and the Surfer again soared the universe alone.
First Meeting with Thanos
The Surfer then met his next threat and one of his worse enemies, Thanos. Thanos was resurrected to kill half of the universe. He proved to be a very powerful and intelligent being. He faked his death so that the Surfer would not meddle in his affairs while he sought out the Infinity Gems. Thanos has the Surfer imprisoned on Dynamo City to further preoccupy him. After his escape, he met up with Thanos who had the Infinity Gauntlet. He stole the Surfer's soul and kept it in the Soul Gem. He meets Adam Warlock in the Soul World and, with his help, is able to free himself.
Infinity Gauntlet
With Thanos now in possession of the Infinity Gauntlet, he thought himself a god. To please Death, he instantly wiped out half of all life in the universe. The Surfer traveled to Earth to gain the help of any hero he could find. He was able to gather the help of Doctor Strange, the Avengers and some of Earth's mightiest heroes. Adam Warlock exited the Soul World and was best suited to lead the heroes against this growing threat.
The Surfer had a special part in Warlock's plans. While Thanos was distracted by Earth's heroes and the gathered cosmic deities, the Surfer was to take the Gauntlet from Thanos. When the time came, he was noticed and failed to capture the gems from Thanos. After the gauntlet is taken by Nebula, the heroes need Thanos' help to get it from her. The Surfer will not accept this and attacks Thanos. Doctor Strange makes a dimension for them to fight in to settle it with each other. They battle medieval style with limited powers and the Surfer emerges victorious but refuses to kill Thanos. When he turns his back, Thanos attacks him and the Surfer yields. The heroes eventually gained control over the gauntlet and it went to Adam Warlock.
During the Infinity Gauntlet, the Surfer faces many trials and tests. In the realm of perception the Surfer was able to destroy the demons of guilt, denial and doubt he harbored throughout his lifetime. He was able to get forgiveness for his past associations with family and love. He was also able to forgive himself. The only ones to not forgive the Surfer are the millions he brought death to as Galactus' herald. The guilt for this was something the Surfer never knew since Galactus had blocked that in his mind. He had Galactus turn the guilt in his brain back on and the Surfer could almost not bear it. He overcame this. In another reality he was able to defeat the Shadow Surfer, the dark side of himself, to finally become whole.
Infinity War
When the Silver Surfer learned Galactus had traveled back to Earth he was instantly concerned. He met Galactus who was seemingly abducting Doctor Strange. He tried to stop him and Galactus pitted Nova against him. Doctor Strange stopped their battle and told the Surfer he was willing to help Galactus and that the Surfer should help as well. They were able to trace the source of energy fluctuations that Galactus was concerned about and traveled toward their origin. This is the beginning of the Infinity War.
The Surfer and Nova succeeded in protecting the ship. After this, the Surfer played a little part in defeating the Magus and fought with Earth's heroes against their evil counterparts, the doppelgangers. Magus was eventually defeated by Adam Warlock with the brilliant planning of Thanos.
The Silver Surfer learned of Galactus' dismissal of Nova in a harsh way - by being attacked by his new herald Morg. Morg soundly defeated the Surfer and left him unconscious. The Surfer knew this new herald to be unworthy of the Power Cosmic but was unable to face him alone. In addition, Galactus blocked his energy from all former heralds, making him nearly impossible to find.
Surfer gained the assistance of Firelord despite their previous differences. Together they found Nova and resurrected Air-Walker. They all gained the cooperation of Terrax also, after battling him. Together all the former heralds of Galactus came upon Morg. Terrax realized instantly that they together were still no match for Morg, who had recently augmented his powers further through a mystical well. He suggested the Surfer speak to Galactus. The Surfer approached Galactus, but he would not listen and became frustrated with the Surfer's constant meddling. Galactus and the Surfer fought and naturally Galactus emerged the victor. The Surfer was able to finally reach Galactus by telling him that although he could kill him and all his former heralds, someone will replace them to fight the evil that is Morg. This would go on forever. Galactus agreed to remove Morg's cosmic powers.
The Surfer arrived back on the battlefield to find nearly all the heralds downed by Morg's might. Nova managed to seemingly kill Morg, but it was all a sham and Morg attacked her when she turned her back. Nova died in the Surfer's arms. The Surfer was furious but before he could get to Morg they were stopped by Galactus. He removed Morg's Power Cosmic, but he still remained a powerful enemy. The heralds fought him and the Surfer still refused to help kill him, not wanting to sink to Morg's level. The Surfer tried to stop him, but Terrax kills Morg. At a loss, the Surfer said a few words and sent Nova's body into a nearby sun. He regretted that he would never see her again.
While the Surfer searches for Terrax, he comes across Ganymede, who believes him to be one of Tyrant's servants. After a brief battle, the Surfer convinces her that he knows nothing of this one called Tyrant. She tells the Surfer of Tyrant's threat to the universe. Fortunately, the trail the Surfer was following to Terrax also seems to be leading to Tyrant.
Upon arrival at Tyrant's Fortress, they are attacked by Tyrant's robotic guards, which the Surfer easily dispatches. But Tyrant has plans for them and appears and easily defeats them both. When the Surfer awakens he is attached to an energy-draining device along with Ganymede, Gladiator, Beta Ray Bill, Terrax, and to his surprise, Morg. Tyrant is siphoning their energy for himself and to power his colossal ship.
The next victim of Tyrant is brought in to be attached to the machine, the Surfer's friend the Jack of Hearts. Rather than be captured, Jack releases the energy in his armor and is able to free Tyrant's prisoners. They engage Tyrant, with the exception of Morg and Terrax, who fight each other. Even their combined might is not enough to stop Tyrant, who only stops the battle upon the arrival of Galactus. Galactus allows Tyrant to keep Morg in exchange for the release of the others. The Surfer asks why he would deal so lightly with Tyrant, but Galactus replies he will deal with him at a time of his choosing. The Surfer then takes the others to safety.
Infinity Crusade
When the Goddess uses the power of 30 cosmic cubes, she gains control of some heroes susceptible to her message. This begins the Infinity Crusade. She manages to brainwash the Surfer into becoming one of her Holy Guard to help create a universe without evil. At first. he is a faithful follower until she asks him to begin an attack on the remaining heroes of Earth. He refuses to fight his friends and breaks her control over him. This causes his companion and fellow member of the guard Firelord to turn on him. The Surfer does not wish to harm Firelord but he does what he must to stop the Goddess and her plot.
On his way to warn the heroes, he is brought by Thanos to his ship. He agrees to aide Thanos, as the Surfer is instrumental to Warlock and Thanos' plan. He is to be a diversion for the attack on Goddess' planet Paradise Omega. He attempts a dangerous mission to absorb more energy than he ever has from the Sun, becoming a living bomb. Absorbing all this power made him lose his mind and Drax helped to guide him to the moon. He is able to destroy the moon of Paradise Omega and cause the distraction.
The Surfer survived the blast and fell to the planets surface unconscious. He awoke being attacked by Holy Guard members Storm and Wonder Man. Once his power returned he defeated them and tried to get them to realize they followed a madwoman. They remained faithful to the Goddess, but left the Surfer without any further confrontation after he healed Wonder Man's injuries. After the defeat of the Goddess, the Surfer is relieved by her plans being foiled, but at the same time remorseful of the return of evil and violence into the universe.
Blood and Thunder
After having met Beta Ray Bill while they were both held captive by Tyrant, the Surfer flew to find him and help aid him against a crazed Thor. He found Bill beaten by Thor and stopped him from killing him. The Surfer then took on the Thunder God and fought a hard battle, but was defeated. Adam Warlock then intervened and saved the Surfer. Together they assaulted Thor, but to no avail. The Surfer and Warlock were nearly killed. Luckily, Warlock showed the ability to control the Surfer's board since they had shared each others souls during the Infinity Gauntlet.
They sought the aid of Dr. Strange and together they all tried to stop Thor from destroying Asgard. They eventually sought the assistance of Thanos, who helped fight Thor while the Surfer fought the Dark Valkyrie. The Surfer defeated her and Thanos was able to trap Thor in an energy field. With the help of Doctor Strange and the Infinity Watch, they were able to stop Thor's madness.
Down to Earth
The Silver Surfer once again returned to Earth to go to Rick Jones' wedding. He went to inform the Fantastic Four of Nova's death. After a scuffle with the Human Torch, he agreed to help the Four find a seismic anomaly deep in the Earth. Through the caverns under Monster Island they discovered the source, that seemed to lead them right where it wanted them. Deep in the Earth, they find Nova, alive and well. Back at Four Freedoms Plaza, tests confirm that it is indeed his former love. They leave to soar the stars together.
Nova leads the Surfer to many places. They discover a hidden treasure of myth together and Nova tries to convince him to accept their riches. He turns the treasure into sand when Terrax tries to take it from them. Nova then tries to convince the Surfer to take the Champion's mystical wristlets to increase his power, but instead he destroys them. When Nova is kidnapped by some slave traders, the Surfer acts to save her and finally realize his love for her. When he pledges to her to be with her, Nova changes into her true form- Mephisto. Again he uses love to try to defeat the Surfer and is now in possession of the Surfer's soul.
He brings the Surfer to Hell and tells him to make himself comfortable. The Surfer still has hope and tries to fight for his freedom. He is shown that his parents souls are in the possession of Mephisto, which pushes him over the top. He does something he pledged never to do and kills Mephisto. He releases his parents souls, but again finds himself alone. Mephisto, living and well, is greatly satisfied over the outcome of his manipulations.
The Curse of the Power Cosmic
After the events with Mephisto, the Surfer returned to Zenn-la for the only comfort in his life, Shalla Bal. But to his surprise she had found a new lover, the Surfer's half-brother Fennan Radd. He soon realized that his great cosmic power has only brought him sorrow and met with Galactus. He asked Galactus to remove his power, but Galactus refused, telling him he is important to the universe. The Surfer sought out other means to have his power removed.
In space he comes across a planet that he once helped to destroy. He becomes suicidal, planning to use every last ounce of his Power Cosmic to destroy the world and it's memory. He soon decides it would be better to go out using his powers for good and travels to the planet Lathkolas, which has advanced technologically and in the process destroyed it's own ecology. He uses his Power Cosmic to grow life on the planet as he did on Zenn-La. But he loses control of his power and advances the planet billions of years in a matter of moments. In the end, the planet and all life on it is dead. This is more than the Surfer can handle and he losses control of his emotions.
He begins to fight violence with violence, in the process severely beating the Super Skrull. He finally comes to his senses and travels to a planet called Tanus, that is in total anarchy, and tries to help them. Soon, a ship from Earth arrives and inside of it Doctor Doom. He makes a deal with the Surfer to take the suffering away from these people in exchange for his Power Cosmic. The Surfer agrees and Doom's machines are able to siphon all his energies, leaving him still silver, but mortal. Doom then destroys the planet, claiming the people no longer suffer. The Surfer is now powerless and is taken captive.
It is revealed that this is not Doctor Doom himself, but one of his Doombots that set out to get the Surfer's power right after Doom had lost the Power Cosmic the first time. The robot now plans to kill his master and the Fantastic Four, but first he plans to kill the Surfer, ejecting him into space. Legacy arrives on the scene and uses every ounce of his power to revive the Surfer. Upon his revival his powers are restored and he chases after the Doombot, siphoning his power back from it and destroying it.
Immediately after this, the Surfer senses his former master is in danger. He leaves Legacy behind to go to Galactus' aide. He arrives to Galactus' ship to find that Galactus and Tyrant are having their long-awaited battle. Morg has found the Ultimate Nullifier, which he is using to torture Tyrant. But the Nullifier is about to have it's energy unleashed. Galactus tells the Surfer to leave the ship before he is destroyed. The Surfer does not wish for his former master to be destroyed, but Galactus insists. The Surfer barely escapes before Galactus' ship is destroyed along with Galactus and all aboard.
The Star Masters
Upon hearing the intergalactic transmission that Quasar is responsible for the deaths of hundreds in a peaceful organization known as the Charter, he goes to investigate. He finds Beta Ray Bill and together they seek out Quasar. Once found, the Surfer can instantly tell that Quasar speaks the truth and did not commit this heinous crime. Together they become the Star Masters to find the true culprit.
They soon find they have two problems: the Charter's Cosmic Commandos are after Quasar and a massive asteroid is about to collide with Earth. With the Commandos being no match for the Surfer, he is able to concentrate on the asteroid. With his knowledge of the barrier Galactus erected to imprison him there, he is able to use it to destroy the asteroid. But inside lies a tiny black hole that would also destroy Earth. It is stopped by Beta Ray when he transports it out of Earth's path.
Two of the Commandos, Morfex and Xenith, soon ally themselves with the Surfer and the Star Masters and they continue their search for the one responsible for the deaths and the attack on Earth. When they enter the Charter's ship, known as the Hub, they are ambushed and captured. They are thrown in the Cauldron of Conversion to die, but Quasar is able to protect them.
After their escape, the Surfer goes to find Beta Ray Bill, who disappeared after being thrown in the Cauldron. He goes to Asgard to find Bill dead. With Odin's help, the Surfer is able to resurrect Bill, but with part of his Power Cosmic. They return to the others where Bill is able to communicate with the contents of the Cauldron. It is a sentient virus that will destroy any race that has become a part of it.
Through this they learn the truth and the one behind the plot is the Axi-Tun leader Lord Votan. After Quasar is cleared of his charges, they travel to Tun to detain Votan. But he is not going down without a fight, and uses his power to sap their wills and capture them. Tana Nile uses her powers to transfer the remaining will power of the Surfer and the others to Quasar, who is able to escape. Together they are able to defeat Votan.
Planet Hulk
The Surfer was next controlled for fighting in the Red King's arena on Sakaar against the Hulk (who was sent out in space by the Illuminati). The Hulk, recognizing that the Surfer was his friend, destroyed the obedience disc that controlled him. The Silver Surfer was free and used his power cosmic to destroy the other alien gladiator's obedience disc to escape the arena.
When Norrin offered The Hulk to take him back to earth, he declined because he wanted to liberate Sakaar from the Red King's tyranny. The Surfer sensing the destruction of Xandar assisted in relief efforts of nearby planets until summoned by his former master, Galactus.
Annihilation
During the events of Annihilation, the Silver Surfer became aware of the invasion of his universe after the destruction of Xandar. He was able to save Air-Walker from the Seekers, who were trying to capture all of Galactus' Heralds for their leader Annihilus. He met up with Firelord and Red Shift but they were soon met by Stardust. Galactus had summoned the Surfer. He left to speak with his former master.
Galactus told his former Herald of the recent freeing of Aegis and Tenebrous from Kyln, two of his adversaries from early in universal history. Galactus asked Surfer to stand with him as his Herald once more. The Surfer accepted and his power increased and augmented, he was quickly tested by Ravenous, agent of Annihilus. The Surfer dispatched him easily.
Shortly thereafter Tenebrous and Aegis ambushed Galactus and his herald, striking them both down. The Annihilation Wave arrived and picked up the pieces, taking both Galactus and the Silver Surfer prisoner. Silver Surfer was held in a stasis sphere while the Power Cosmic was drained from both him and his master through technology given to Annihilus by Thanos.
After killing Thanos, Drax realized that he had no one to unlock the machine that kept Galactus captive because Thanos had set the power levels on the machine to his own level so that no one could unlock it. He than discovered the Silver Surfer was also being held in stasis. He freed the Silver Surfer while hoping that the Surfer still had enough power left to outmatch Thanos' power level that was set on the machine. The Silver Surfer was severely weak at the time but he still succeeded in overpowering the machine (this may be due to his latest power increase Given to him by Galactus), this was a great accomplishment for the Silver Surfer. Galactus than decimated the Annihilation Wave.
After this the Surfer went to Aegis and Tenebrous in an attempt to hold them at the Crunch until Galactus arrived. He was no match for them and they quickly brought him to near death. In a risky maneuver, he surfed the energies of the Crunch and was able to kill Aegis and Tenebrous with it. Nearly dead, Galactus healed the Surfer, amazed that the Surfer could accomplish such as task. The Silver Surfer continues to serve as Galactus' Herald alongside Stardust.
The New Fantastic Four
When Stardust found an energy source to fulfill their masters hunger, the Silver Surfer used his great tracking abilities to locate the source, who was hiding it from them. The source turned out to be Epoch, the protector of cosmic awareness. But there was a problem, the Fantastic Four needed Epoch, who they believed had stolen the body of their friend, Gravity.
At first, the Surfer was not interested in what they had to say, but after a brief battle with the Black Panther, who had temporarily taken Mr. Fantastic's spot on the roster, he decided to listen. He offered them time to retrieve their friend, but Epoch was to be fed to his master. After speaking with the Thing, the Surfer explained that he had come to the realization that Galactus is beyond good and evil and the Surfer planned to do anything necessary to feed his master.
It turned out that Epoch had taken Gravity in order to resurrect him as Protector of the Universe. But Gravity would not allow Epoch to be consumed and neither would the Fantastic Four. When Black Panther arrived back to the battle, he was equipped with a device similar to Doctor Doom's that siphoned the Surfer's Power Cosmic. His hand to hand abilities were no contest for the Black Panther and he was defeated.
With the heralds of Galactus beaten, they still had no hope of defeating Galactus. Instead, Gravity used all the power Epoch gave him to feed Galactus, who restored the Surfer's power and agreed to spare Epoch.
His tracking abilities were needed once again, this time by the Fantastic Four that just battled with him. They needed him to follow the trail of the contrasepsis, the creatures that fix repairs in reality. The trail lead to Eternity's plane of existence where they found the problem and what was causing Eternity's death and the abundance of contrasepsis. The Surfer helped fight the endless hordes while Doctor Strange preformed surgery on Eternity to save him.
Fall of Orbucen
After two stars suddenly went out without notice, the people of Orbucen realized the sign of fate: Galactus was drawing near their planet. Their worst fears materialized as the Silver Surfer arrived at the planet, scouting it for his master’s needs, not long afterward. Five days after the extinguishing of the two starts, Galactus arrived in Orbucen and begun setting up his equipment.
Once Richard Rider, a.k.a. Nova answering to Orbucen’s distress call arrived there, Galactus’ siphons had already penetrated the planet’s crust, a fore sign that the planet’s end drew nearer with each passing moment. In an attempt to help the people of Orbucen in every way possible, Nova assisted in the evacuation of the planet and the embarking of the population in arks, all the while stumbling upon Harrow, the shadow that life casts, a mysterious parasitic organism that filled its hosts with homicidal tendencies.
After containing Harrow, Nova was informed that the moment Galactus’ feeding process begun, an electromagnetic disruption reached critical level, simultaneously causing a malfunction in all the arks that would drive Orbucen’s people to safety. Knowing there was no time to repair it, Nova set course to persuade Galactus to refrain from consuming the planet, for a few hours, at least.
Galactus did not even notice Nova’s pleading, but the same could not be said for the Silver Surfer, who almost immediately grabbed Nova by the neck, and their battle commenced. At first, due to the Surfer’s swift attack, Nova was unaware of what hit him, but he soon regained composure and tried to reason with him; the Surfer however, showed no intention of stopping. After a relatively short fight in which Nova found himself outclassed, the duo finally landed on Orbucen again, at which point, the Surfer gave his reasoning: he did not wish his master to see him fraternizing with “lower” life forms, and took the fight away in order to speak to Nova, freely.
Expressing his respect for him, the Surfer advised Richard to leave the planet. Nova explained the situation with the malfunctioning arks to the Surfer, who simply locked the drive tech and made the ships operational again by merely blinking, much to Nova’s astonishment. The Surfer then once again advised Nova to drive the arks to safety and then abandon the planet, for his own good.
Later on, after realising Harrow had escaped and went on yet another killing spree, Nova wasted precious time attempting to stop him, and as a result the electromagnetic disruption from Galactus’ instruments became too intense for him to open a stargate, and escape. In an act of despair, Nova rushed into Galactus’ vessel from within the energy siphons. Inside the vessel, he detected once again , and located his physical body for the first time in a floorboard. After a short fight, the Surfer appeared, freed Nova from Harrow’s clutches, and revealed Harrow’s presence to Galactus’ who in return disintegrated Harrow, as a punishment. Galactus spared Nova, by teleporting him and the Surfer five light-years away from Orbucen. The Surfer bid Nova goodbye, but also advised him to refrain from crossing paths with him, or Galactus in the future, before returning to his master once again.
Godhunter
After the consummation of his home planet by Galactus, and the death of his people, Beta Ray Bill decided to pursue the Great Devourer, and put up a complex scheme in order to defeat him: seeing that his power was lilliputian in comparison to Galactus’ might, the cunning Bill decided to attempt and destroy the planets Galactus chose for consumption, in order to eventually starve him. That lead to an inevitable conflict, at first with Stardust, and, eventually with the Silver Surfer himself, whom Galactus dispatched to take care of Bill’s nuisance, after Bill destroyed a planet named I’Than IX.
The Surfer pursued Bill’s ship, Skuttlebutt, all the while trying to reason with Bill. Bill, finally emerging from his ship, refused to hear to the Surfer’s pleadings, and attacked him, hammering him away. The Surfer swiftly recuperated, using his trusted board in order to stun Bill, and then quickly managed to overwhelm Bill in hand to hand combat, while expressing his sadness for having to fight his old friend and comrade.
After persuading Bill to submit, the Surfer tried, once again, to reason with him, and explain that while he could understand Bill’s loss concerning Corbin, Galactus was a force of nature. Skuttlebutt subtly following their exchange from afar, took advantage of the Surfer’s hesitation during his conversation with Bill in order to strike and enable Bill to run away.
Later on, Bill crossed paths with the Surfer again, in an unexplored planet, while Bill was trying to locate Galactus once again. Bill’s initial strike was repelled by the Surfer, who, this time, refused to do more than simply speak. Hesitantly, Bill accepted to listen to him. Expanding on their earlier conversation, the Surfer outlined the events that occurred during Annihilation, and how Galactus’ power was so diminished, that it would not be long before his life would end, taking the sheer number of his pursuers into account. The Surfer also revealed that if Galactus’ existence where to end, all the life within forty-two light-years would cease to exist. Bill reluctantly accepted to permit Galactus to feed in order to sustain himself. It was at that time that the people of I’Than and their assembled fleet attacked the weakened Galactus, Surfer and Stardust, and were near-victory until Bill himself intervened and helped the Devourer complete his sustaining process revitalize himself and destroy the opposing fleet. After the event, Galactus and Bill came to a mutual understanding, and Galactus dispatched both his heralds to find him new planets to feed upon, once again.
Return of the Silver Savage
Upon learning of the Old Power of Sakaar, the Surfer travels to the planet in order to warn the residents of Galactus' coming. If Galactus were to consume the planet, he may not need to feed for millennia and billions of lives will be spared. On the planet he finds Skaar, the son of Hulk, about to destroy the world. Skaar had obtained the Old Power for himself and saw that to save Sakaar, all life must be wiped out.
The Surfer stops him before he can do this, and with his Power Cosmic, returns the Old Power to the planet. But to do this, the Surfer used much of his power and Skaar is able to put an obedience disc on him. The Silver Savage is now a slave of Skaar, who rides with the Red King to destroy the forces of Axeman Bone. In the battle, the Surfer still worries for innocent lives and tries to persuade Skaar to help save them, but Skaar is only interested in killing Axeman. Only then does Caiera come from the Old Power and try to stop Skaar's destructive path. She gains control over the Surfer's obedience disc and has him show Skaar what it is to be a god.
The Surfer fuses himself with Skaar and brings him to Galactus. Skaar, acting as herald, tries to stop Galactus from consuming Sakaar, only to watch in horror as Galactus does so anyway. The Surfer then sends Skaar back to Sakaar, explaining that this is only a vision of things to come. But Skaar still refuses to evacuate. He planned to use the Old Power and force more than Galactus can handle into him, making Galactus hungrier than ever. Realizing that showing Skaar what will happen did not change Skaar, Caiera opens a portal and sends Skaar away from the planet. There will be no evacuation, and Galactus had arrived.
In her last moments, Caiera is able to get some of the ancient stone ships into the sky and save as many as she can. Galactus consumes Sakaar, his hunger absent and he falls into a deep sleep. But before Skaar goes through the portal, he shoots out a beam of the Old Power into Galactus as promised, waking him and making him crave the Old Power. The Surfer tries to calm Galactus, but with a gesture he sends the Surfer across the universe, having enough power to no longer need a herald. The Surfer begins to warn other worlds with the Old Power to prepare for the coming of Galactus.
The "Death" of Galactus
Galactus eventually released the Old Power from his being and the Silver Surfer once again returned to his side as herald. On Earth, the Surfer discovered something disturbing - the corpse of Galactus buried beneath the surface. He was immediately able to trace some possible suspects - Mr. Fantastic and the other members of the Fantastic Four. The Surfer informed his master and went to the Baxter Building to speak with Richards.
Mr. Fantastic revealed that the Galactus he buried was from the future and was killed by the New Defenders and brought back through time to create the Galactus Engine. Using Galactus' power to save the remaining inhabitants of their world, it caused Galactus' death. In order to prevent this future death, Galactus sent the Surfer to summon more involved as they planned to go to Nu-World and question those involved.
The Thanos Imperative
Sensing the coming danger to the universe, the Surfer preceded Galactus to an area known as the Fault, a massive fissure in space caused by the War of Kings. On the other side of the Fault was a twisted, undead universe known as the Cancerverse. With help from the Magus, the inhabitants began their invasion into the universe with their goal being to remove death from the universe and rewrite reality.
While Galactus, the Celestials and many other abstract cosmic beings lined the edge of the Fault, the Surfer teamed up with his old friend Quasar and Nova to help assist in the defense of the universe. But things were about to get much worse, as the Cancerverse had it's own version of the extremely powerful Galactus Engine.
While the abstracts continued their fight at the Fault, Nova recruited a party of the universe's heaviest hitters, including the Silver Surfer, to face the evil leader of the invasion - a corrupted version of Captain Mar-Vell, known as Lord Mar-Vell. Nova Prime and the Surfer, along with Ronan, Gladiator, Beta Ray Bill and Quasar rushed Mar-Vell's location. The Surfer showed his impressive powers by easily defeating two of the most powerful members of the Revengers at the same time - Iron Man and Thor. He faced Mar-Vell himself along with Nova, but Mar-Vell blasted a hole through Surfer's board and easily defeated Nova. Their battle was eventually cut short when Mar-Vell became aware of the Avatar of Death's location. As he departed, he created a massive explosion to destroy his enemies.
Quasar was able to protect the other heroes from their deaths and the Surfer returned with the others to continue the battle at the Fault. When Death returned to the Cancerverse, she destroyed it's inhabitants, causing the universe to collapse on itself, thus closing the Fault. The Surfer then attended a memorial service on Hala for those who were lost in the battle.
Chaos War
Again, the universe was in danger of complete obliteration. The evil god Mikaboshi planned to destroy all of reality by defeating and taking the power of all the gods and skyfathers of the universe. Hercules, recently resurrected, formed a new God Squad. Needing more power for their team, he used his new powers to summon Galactus and the Silver Surfer. The Surfer was enraged, as Galactus was just about to feed and now he was on Earth, a planet the Surfer has saved many times. Luckily, it seemed Galactus agreed to help with this great threat and remain with the team, which included Thor, Daimon Hellstrom, Sersi and others.
When they faced Mikaboshi, he's power proved to be far greater than anticipated. Even the gods he controlled shared in his great power, giving Zeus the ability to topple even the mighty Galactus. The God Squad was forced to retreat.
The Silver Surfer was among other members of the squad that were halted in their escape and trapped between realities. All that remained - including Hellstorm, Sersi, and Venus - were all in between mortal and god, which the Surfer deemed no coincidence. They ended up in Takamagahara, the land of the Japanese gods, where Mikaboshi had originally been trapped. They began to form a plan to trap him once again, but he sent his minions and opened the gate to his former prison, releasing the evil inside.
The team was nearly trapped in nothingness, but the Surfer resisted and helped the other members to resist as well. Again, their power was not enough and they were forced to retreat, the Panther God of Wakanda seemingly sacrificing himself to help them escape.
Back on Earth
After the events of Chaos war, Silver Surfer takes Galactus to Sol (our sun) to feed and rejuvenate, thus removing one billion years out of the sun's life span. He visits Earth and observes the usual chaos while contemplating his role in events passed and his inability to feel human emotions. Flying over Mexico, he witnesses a couple about to get shot down by military men for stealing money. He intervenes, subduing the men and healing the woman from the brink of death but is unable to save the man. The O.A.S first contact squad of the Mexican military are alerted of his presence and send Suzi Endo to initiate a diplomatic greeting. However, the High Evolutionary arrives and attacks the Surfer, leeching him of his precious Power Cosmic. Left powerless and fragile in his human state, the Surfer is taken into custody by the Mexican government and is put under the care of Suzi Endo. He awakens strapped to machines, nearly driving him mad as he is used to flying free amongst the stars, but Suzi creates a diversion and the Surfer escapes from his bonds.
They escape the facility on a land-skimmer and briefly share a kiss as Norrin remembers his usual emotions towards Shalla Bal given Endo's remarkable resemblance to her. They find the High Evolutionary who has taken one of Galactus' Star Spheres and has begun terraforming the desert into a lush jungle before they can enter it. They find themselves threatened by the ever-expanding jungle which threatens to kill those inside it. Norrin is reminded of his early days as the Silver Surfer and the way pre-sentient life on a planet seemed to bond to each other and gain sentience when faced with danger. He shares another kiss with Endo and tells her it is his job to stop the madness the High Evolutionary has started and his to do alone. She convinces him that she can help and arranges a diversion to get them on the ship. Once inside Endo tries to find a way to the High Evolutionary but is somehow imbued with the remaining portion of his power cosmic.
The High Evolutionary appears and tells Norrin how all his life he has brought death and destruction under a supposedly right cause. He then shows- with the appearance of the old man who has been saved and renewed after receiving a portion of his power- how his Power Cosmic can be used to create and restore life instead of tear it down. He requests the aid of a herald to aid him in his cause - bring life to dead worlds. Norrin declines but to his surprise he sees the invitation was not directed to him but to Suzi. She accepts.
Norrin did not trust her judgement. He felt the Power Cosmic was his burden to bare. With this he rams Suzi out of the star ship to the jungle below in a fall that is sure to kill them both. Luckily, she makes use of her new powers and develops wings and lands them in the jungle where the other survivors are. She tells him the Suzi he knew is no more and joins the High Evolutionary as they move to the moon. Frustrated, Norrin takes his anger out on a pack of mutant wolves that recently appeared and convinces the rest of the survivors to flee. He is rescued by the Future Foundation and the Mexican military who destroy the jungle with help from Sue Storm. They use a Future Foundation craft to go to the moon where High Evolutionary has begun wide-scale terraforming on the moon.
In space, Reed devises a plan to separate the newly bonded Power Cosmic from Suzi back to Norrin. The plan works and most of the Power Cosmic is given to Norrin. He is once again transformed to the Silver Surfer and confronts Suzi ... with a kiss. Somehow, his powers have been restored but his emotions remain intact. Unused to these emotions, he nearly turns on his friends who are trying to stop Suzi and the Evolutionary from their task, which will surely do great damage to the Earth.
When Galactus awakens from his rejuvenation, he plans to feed on the Moon. Realizing that his duty will always be that of Galactus' herald, he is forced to chose between those emotions and continuing to serve cosmic consonance. He chooses the latter, taking the remaining Power Cosmic from Suzi and departing with his master. He leaves behind a single flower for her and Reed tells her that as long as he has known him, the Silver Surfer has never been as happy as he was when he was with her.
The Annihilators
The Surfer joins a group of "cosmic police," the Annihilators. Their plan is to fight cosmic-level threats to the galaxy. It is surprising that Galactus would let his Herald go gallivanting off on his own adventures when he is supposed to be looking for planets for the Devourer to eat, but in any case, he fights with them in their first adventure against Klobok, a Skrull seeking to bring the Dire Wraiths back from Limbo. During this mission, Silver Surfer combined his energy manipulation powers with those of Quasar and Ronan to fuse 2 stars.
It is unclear whether this story arc occurs before or after the High Evolutionary storyline. In any case, it must be before the Galactus Seed, since he is not shown to be weakened even when he is fighting at such a great distance from Asgard. It must also be before the Annihilators: Earthfall series, since he is apparently no longer part of the group at that time, presumably because during Earthfall, he is tethered to the World Tree.
Powers and Abilities
In order for Norrin Radd to perform his duty as his herald, Galactus gives Norrin Radd a fraction of his cosmic powers. Possessing him with the Power Cosmic, which is the core from which his other abilities manifest from, Silver Surfer can manipulate the 4 fundamental forces of the universe (electromagnetism, gravity, strong nuclear force and weak nuclear force), by varying degrees. He is one of the most powerful Heralds of Galactus, and the most powerful member of the Annihilators. Tyrant once said that Silver Surfer was the most powerful member of a group that included Gladiator, Beta Ray Bill, Terrax and Morg, and Ikonn considered him an Alpha plus-level threat, just like Beta Ray Bill, Gladiator and Quasar.
Invulnerability
The Silver Surfer's skin is nearly impossible to penetrate, capable of withstanding extreme pressures and temperatures. He can travel through the core of a star and even through black holes without injury or disorientation. He has also been able to withstand punches from She-Hulk without any damage or pain, as well as attacks from the likes of Thor, Hulk, Beta Ray Bill, Namor, Wonder Man, Vision, the Thing, Drax, Korg, Abomination, Champion, Durok, Blastaar, Ravenous, Nova Prime, Quasar, Firelord, Terrax, Morg, Ronan, Super-Skrull, Cable with his powers fully unleashed, Iron Man and Human Torch well enough.
Regeneration
The Silver Surfer can regenerate parts of himself with the Power Cosmic, including his board, at will.
Super Strength
The Power Cosmic gives the Silver Surfer incredible strength. At a baseline, the Silver Surfer can lift/press more than 40 tons. He has frequently exhibited the ability to significantly boost his physical prowess, and enhance his strength to levels enabling him to fight the most powerful beings in the universe including Thor, the Hulk, Thanos and Beta Ray Bill.
Phasing
The Surfer has the ability to phase through solid objects though not turn outright intangible. This is done through his use of matter manipulation on solid objects/barriers or using his ability to travel through self-made spatial portals.
Stamina
The Silver Surfer does not need to breathe and can survive in any environmental condition (miles underwater, the heart of a star, the rigors of outer space, etc.). He does not need to eat or drink to sustain himself but he sometimes does to chose to do so. The Surfer rarely needs rest and can go for years without tiring.
Energy Absorption
The Surfer's skin is designed to absorb various energies from beta particles to any energy wavelength on the electro-magnetic spectrum (from infrared energy to visibile light, to quantum radiation). He is constantly being charged from hundreds of nearby stars and energies from distant galaxies. He can change this absorption into reflection if he chooses. The Surfer has also absorbed so much energy from a sun before, that he turned into a living bomb.
Blast Power
The Surfer can absorb and tap into ambient cosmic energy into his body at will and allowing him to use these energies at different forces. The Surfer could also channel energy through his hands also known as energy beams that can destroy a planet. He can use various energies for offensive purposes as well. He can create large blasts or beams down to the subatomic level.
Energy Manipulation
The Surfer can use energy to create force fields and shields. He can solidify energy to imprison enemies. He can manipulate the energies around him to make space travel possible for beings around him that can not survive in space. He can also control gravity.
Matter Control
The Silver Surfer can rearrange matter to create other objects of importance by rearranging molecules. He can also change the state of matter, such as changing solids into gas. Matter Transmutation helps the Surfer escape traps and prisons and can also be used to make an enemies weapons inactive.
Super Speed
The Silver Surfer's board allows him to move at rates of velocity far beyond that of lightspeed. He has even demonstrated the ability to enter the time stream at his own volition and ability.
Flight
The Silver Surfer flies through the atmosphere of any planet, as well as through the rigors of outer space. He is capable of complex aerobatic manueverability, while also being able to turn, stop and accelerate without any loss of control. He typically uses his surfboard, but has been occassionally observed to fly without the use of it.
⚡ Happy 🎯 Heroclix 💫 Friday! 👽
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A year of the shows and performers of the Bijou Planks Theater.
Secret Identity: Norrin Radd
Publisher: Marvel
First Appearance: The Fantastic Four #48 (March 1966)
Created by: Stan Lee (writer)
Jack Kirby (artist)
The Silver Surfer has been seen:
Gladiating with The Hulk in BP 218 Day 100!
www.flickr.com/photos/paprihaven/27495953978/
Hitting the beach in BP 2020 Day 230!
As I had arrived early to the event, I took a moment to catch the art exhibit featuring art from Guadalajuara at the OK Contemporary museum.
The "The Gables" has a beautiful dining room with a spacious bay window featuring Art Nouveau stained glass, and an elegant tiled fireplace. It was the first room used for a wedding breakfast when "The Gables" became a venue for hire. The dining room fireplace features plain dark blue glazed tiles and feature tiles of stylised pink Art Nouveau roses in the surround.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
Leica M6 TTL .85 | Leitz Summitar 5cm f2 | Ilford XP2 rated at 1600 ISO | Processed normal & scanned at Target | Adobe Photoshop 7 for Mac
Available Light 35mm Photojournalism by Johnny Martyr
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In 1940 this beautiful illuminated fountain of the Muses of Music, Dance and Drama was completed for the entrance to the Hollywood Bowl by the Federal Arts Projects (WPA) at a cost of $100,000
postmarked 1955
www.lacountyarts.org/civicart/objects-1/info/199#:~:text=....
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Available Light B&W 35mm Photojournalism by Johnny Martyr
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Nikon F2sb | Nikkor 50mm 1.4 SC | Ilford Delta 3200 @ 6400 | Kodak HC110b | Epson V500
Available Light B&W 35mm Photojournalism by Johnny Martyr
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The Buffalo Bill Center of the West, formerly known as the Buffalo Bill Historical Center, is a complex of five museums and a research library featuring art and artifacts of the American West located in Cody, Wyoming. The five museums include the Buffalo Bill Museum, the Plains Indians Museum, the Whitney Western Art Museum, the Draper Natural History Museum, and the Cody Firearms Museum. Founded in 1917 to preserve the legacy and vision of Col. William F. "Buffalo Bill" Cody, the Buffalo Bill Center of the West is the oldest and most comprehensive museum complex of the West.
The complex can be traced to 1917, when the Buffalo Bill Memorial Association was established after the death of William F. Cody, the original Buffalo Bill. Gradually other elements were added to what started as a historical center. The current seven-acre building has more than 50,000 artifacts and holds five museums.
Since 2008, the center has been part of the Smithsonian Affiliates program, the first museum complex in Wyoming to have this status. As an Affiliate, the Center of the West has hosted Smithsonian artifacts. It has also recently loaned some of its own vast collections to a Smithsonian exhibition in Washington, D.C.
The museums are connected by the unifying theme of the history, culture, art, and natural science of the American West. The Center of the West's overall mission is to connect people to the American West. The institution includes the Buffalo Bill Museum, redesigned in 2012, which highlights Western ephemera and historic objects in telling the life story of W. F. "Buffalo Bill" Cody. Edward Rothstein of the New York Times wrote,
The exhibition [on Buffalo Bill] affirms what the center as a whole demonstrates: that behind the mythologizing is something worth cherishing, even if it is flawed, complex and still evolving. The old impulse to demolish the myth has been put aside.
The inaugural museum opened in 1927 in a log cabin across from the current location. It was moved and reinstalled in 1968, and it is now part of a five-museum complex. The museum offers a wide-ranging view of the life and times of William F. Cody, as well as of the "Buffalo Bill" character he created, which made him the world's most celebrated person of his time.
The museum showcases the fame and success Cody attained through his "Buffalo Bill's Wild West show," and addresses his influence on the economic and cultural development of the American West.
The museum features the stories and objects of Plains Indian people, their cultures, traditions, values and histories, as well as the contexts of their lives today. The first curator was George Horse-Capture, an enrolled member of the A'aninin tribe. The majority of the collection is from the early reservation period, ca. 1880-1930. It contains artifacts primarily from Northern Plains tribes, such as the Arapaho, Lakota, Crow, Cheyenne, Blackfeet and Pawnee. The holdings also include important contemporary objects, ranging from abstract art to star quilts.
The museum also sponsors an annual Powwow held on the third weekend in June at the Robbie Powwow Garden at the Center of the West. This event attracts dancers, artisans, and visitors from all over North America.
The museum features paintings and sculptures of the American West. The gallery first opened in 1959 and was later united with the Buffalo Bill Museum.
In June 2009, it re-opened following a re-installation. Replicas of the studios of both Frederic Remington and Alexander Phimister Proctor help visitors learn about the artists and their techniques. Included are works by other classic Western artists: George Catlin, Edgar Samuel Paxson, Alfred Jacob Miller, Thomas Moran, Albert Bierstadt, Alexander Phimister Proctor, Joseph Henry Sharp and N. C. Wyeth. Contemporary Western artists include Harry Jackson, James Bama, Deborah Butterfield, Fritz Scholder, and the sculptor Grant Speed. Interactive stations allow visitors to create their own works of art.
The museum features approximately 20,000 square feet (1,900 m2) of interactive exhibits highlighting geology, wildlife, and human presence in the Greater Yellowstone region. Videos, natural history dioramas, and photography replicate the sights, sounds, and smells of the area. Specimens of grizzlies, wolves, bighorn sheep, moose, elk and other wildlife are on display.
The Cody Firearms Museum was completely redesigned and reinstalled in 2019 and contains the most comprehensive firearms museum in the United States. The collection includes firearms ranging from 16th-century hand cannons to guns of modern manufacture. It explores firearms as "tools of human endeavors" and boasts a collection of 7,000 individual firearms--4,200 of which are on display--with approximately 20,000 additional related artifacts. The core of the museum is the Winchester Repeating Arms Company factory collection, which was transported from New Haven, Connecticut to Cody in 1976. The collection has grown to include firearms from many other manufacturers.
The Center of the West offers a variety of programs for visitors, including lectures, family activities, chuckwagon dinners, based on availability.
The library houses a collection of 36,000 books, more than 600 numbered manuscript collections, and more than a million photographic images. Named in honor of Harold McCracken, writer, artist, and developer of the Buffalo Bill Center of the West, the library supports "inquiry across many disciplines related to the American West." The library has strong collections relating to Buffalo Bill, the Wild West show, Plains Indians, cattle and "dude" ranching, the fishing and hunting industries, the oil industry, Yellowstone National Park, and the Winchester Repeating Arms Company.
Cody is a city in and the county seat of Park County, Wyoming, United States. It is named after Buffalo Bill Cody for his part in the founding of Cody in 1896.
The population was 10,066 at the 2020 census. Cody is served by Yellowstone Regional Airport.
According to the United States Census Bureau, the city has a total area of 10.43 square miles (27.01 km2), of which 10.20 square miles (26.42 km2) is land and 0.23 square miles (0.60 km2) is water.
Cody's elevation is approximately 4,997 feet (1,523 m) above sea level. The main part of the city is split across three levels, separated by about 60 feet (18 m).
The Shoshone River flows through Cody in a canyon. There are four bridges over this river in the Cody vicinity, one at the north edge of town that allows travel to the north, and one about 5 miles (8.0 km) east of Cody that allows passage to Powell and the areas to the north and east. The other two are west of town; one allows access to the East Gate of Yellowstone National Park, and the other is used by fishermen in Shoshone Canyon and as access to the Buffalo Bill Dam.
Cody is located at the western edge of the Bighorn Basin, a depression surrounded by the Big Horn, Owl Creek, Bridger, and Absaroka ranges. At the western edge of Cody, a deep canyon formed by the Shoshone River provides the only passage to Yellowstone's Eastern Entrance. At its mouth and rising above Cody are Rattlesnake Mountain on the north side and Cedar Mountain on the south side. Much of Cody has views of Heart Mountain, whose 8,123 ft (2,500 m) peak is 9 miles (14 km) directly north of Cody, and the Carter Mountain massif, which forms a line with peaks above 12,000 ft (3,700 m), some 15 miles (24 km) to the south.
Cody experiences a semi-arid climate (Köppen BSk), with highly variable conditions. Summers are warm, with some heat spells pushing temperatures above 90 °F (32.2 °C). Winters are cold, with frigid periods alternating with sometimes milder temperatures. Relative humidity is usually a fairly dry 30% or less. Precipitation averages 11.5 inches or 292.1 millimetres annually, including 45.0 inches or 1.14 metres of snow per season. Due to the aridity, snow cover is highly unreliable, with 29.4 days per season with 1 inch or 0.025 metres or more on the ground. Cody enjoys about 300 days of sunshine per year.
Wind is an almost constant presence in the Cody area. Air flow in Cody area is turbulent, but during the winter most storms move in from the north-northwest. During the summer, it is not unusual to see storms move in from the southwest. Throughout a normal day, winds can be experienced as coming from almost any direction, mostly from the north and west, but sometimes from the south and east. The Canyon at the west end of Cody funnels rain and wind across the city from the west. The winds can be quite strong at 30 to 40 miles per hour (48 to 64 km/h) and last for several days.
Because of the dry climate, the entire area is laced with irrigation canals, holding ponds, laterals, and drops. The Buffalo Bill Dam between Rattlesnake and Cedar mountains forms a large reservoir about 10 miles (16 km) to the west of Cody. This reservoir (among others) feeds the Shoshone Project, a large irrigation water distribution system.
The monthly daily average temperature ranges from 27.3 °F or −2.6 °C in December to 70.6 °F or 21.4 °C in July. An average of 16.2 days have highs of 90 °F (32 °C) or higher and an average of 12.3 days have lows of 0 °F (−18 °C) or lower; the average window for freezing temperatures is September 30 thru May 10 and for measurable (≥0.1 inches or 0.25 centimetres snow, October 21 thru April 21. The record high temperature was 105 °F or 40.6 °C on July 14, 1925 and July 15, 1951, and the record low temperature was −46 °F or −43.3 °C on February 8, 1936.
The wettest calendar year has been 2014 with 16.59 inches (421.4 mm) and the driest 1956 with 3.58 inches (90.9 mm). The most rainfall in one month was 5.76 in (146 mm) in June 1992. The most rainfall in 24 hours was 2.51 inches or 64 millimetres on July 22, 1973. There are an average of 72.3 days with measurable precipitation. The most snow in one year was 73.4 inches (1.86 m) between July 1916 and June 1917. The most snow in one month was 29.0 inches (0.74 m) in February 2014.
Buffalo Bill - The Scout statue by Gertrude Vanderbilt Whitney commemorates Buffalo Bill
Themes surrounding Cody's pioneer and Cowboy and Western history are common in the cultural events and activities in the area.
The Buffalo Bill Center of the West is a large and modern facility located near the center of the city. It contains five museums in one, including the Draper Natural History Museum, the Plains Indian Museum, the Cody Firearms Museum, the Whitney Western Art Museum and the Buffalo Bill Museum which chronicles the life of William F. Cody, for whom the historical center is named. The historical center maintains large collections. It is a favorite stopping point for tourists passing through the town, on their way to or from Yellowstone.
Old Trail Town, a restoration of more than 25 historic Western buildings and artifacts, is located in Cody just off the Yellowstone Highway.
Rodeo is important in the culture in Cody, which calls itself the "Rodeo Capital of the World". The Cody Nite Rodeo is an amateur rodeo every night from June 1 through August 31.
Cody is also host to the Cody Stampede Rodeo. The Stampede is a Professional Rodeo Cowboys Association rodeo and is one of the largest rodeos in the nation that is held over the Independence Day Holiday. Many of the top cowboys in the country attend. The stampede has been held from July 1–4 every year since 1919. Cody hosts the Cody Stampede, a weeklong series of events around the 4th of July, featuring several parades where the main street is blocked off, rodeos, fireworks and more. In 2019 Cody Stampede celebrated its 100th year.
The Heart Mountain Relocation Center, was a War Relocation Camp where 14,000 Japanese Americans were interned during World War II (Internment of Japanese Americans). The Interpretive Center is approximately 17 miles east of town and includes surviving buildings from the camp, a war memorial, a walking trail, and a world-class museum.
Cody is also a bustling arts town.
Visual Arts are celebrated and displayed within the Buffalo Bill Center of the West, Whitney Western Arts Museum as well as many other collective local/regional galleries around town such as the Cody Country Art League, By Western Hands and more. Many photographers, painters, sculptors, designers, and artists love to capture the surrounding natural wonder and western aesthetics.
For nearly twenty years Cody has also been the home to the Rendezvous Royale art festival. The week-long festival includes the Buffalo Bill Art Show and Sale, a nationally renowned art show that features a wide range of interpretations of western art from emerging artists and contemporary masters. Rendezvous Royale features the art show sale, lectures, workshops, and a patrons ball.
The live music scene in Cody is especially vibrant in the summer when the City of Cody hosts an annual Concert in the Park series, The Cody Cattle Company does a nightly show, Dan Miller's Cowboy Music Revue is up and running, and several bars in town host touring artists.
Cody is also the home to several theatre and dance companies that promote community theatre and dance education from pre-k through high school. These companies produce many seasonal projects as well as annual productions. Throughout the year various dance recitals from the companies, as well as musical theatre and theatre productions from community members are produced and performed. The annual performing arts events in Cody are produced and The Wild West Spectacular Musical for seven seasons.
Public education in the city of Cody is provided by Park County School District #6. Three elementary schools – Eastside, Glenn Livingston, and Sunset - serve students in grades kindergarten through five. The district's two secondary campuses are Cody Middle School (grades 6-8) and Cody High School (grades 9-12).
Cody has a public library, a branch of the Park County Library System.
The primary industry in Cody is tourism. Hotels, restaurants and shops cater to travelers coming to visit the West and Yellowstone Park. Cody has several art galleries, with some notable local painters and artists living in the area.
Cody is fast becoming a hub for outdoor recreation. The Shoshone River runs through town offering class I-V kayaking and whitewater rafting. Shoshone Canyon offers over 300 rock climbing routes, while Cedar Mountain boasts nearly 600 boulder problems. Cody hosts nearly 50 miles of single track, with a large amount of it accessible by bike from town. A bike park was recently completed with jump and drop lines as well as a pump track. Skiing, both downhill and cross-country are very popular sports in Cody, with the local High School boasting competitive cross-country and downhill ski teams. Sleeping Giant Ski Area & Zipline, about an hour west of Cody, is a popular local downhill ski mountain, in close proximity Yellowstone East Entrance.
Another industry is western style furniture, with several small furniture makers producing custom pieces.
The oil industry seems to wax and wane over the years in the Cody area. Husky Energy was founded in Cody in 1938 (as Husky Refining Company), when Glenn Nielson purchased the assets of Park Refining Company, started four years earlier by area oil developer Valentine M. Kirk. Husky operated as refinery until 1980s, the facility being demolished in the 1990s.
As of the census of 2020, there were 10,066 people, and 4,401 households in the city. The population density was 981.7 people per square mile. The racial makeup of the city was 93.8% White, 0.6% African American, 0.6% Native American, 0.0% Asian, 0.0% Pacific Islander, and 3.8% from two or more races. Those of Hispanic or Latino origin made up 7% of the population.
21.4% of the population were under 18, and 6.6% were under 5. People over 65 made up 19.4% of the population. The gender makeup was 49.9% female and 50.1% male.
The median household income was $59,682, and the per capita income was $34,127. People under the poverty line made up 8.9% of the population.
As of the census of 2010, there were 9,520 people, 4,278 households, and 2,502 families living in the city. The population density was 933.3 inhabitants per square mile (360.3/km2). There were 4,650 housing units at an average density of 455.9 per square mile (176.0/km2). The racial makeup of the city was 95.9% White, 0.2% African American, 0.7% Native American, 0.4% Asian, 0.1% Pacific Islander, 1.0% from other races, and 1.8% from two or more races. Hispanic or Latino residents of any race were 3.1% of the population.
There were 4,278 households, of which 26.5% had children under the age of 18 living with them, 45.0% were married couples living together, 9.5% had a female householder with no husband present, 4.0% had a male householder with no wife present, and 41.5% were non-families. 34.8% of all households were made up of individuals, and 13.2% had someone living alone who was 65 years of age or older. The average household size was 2.19 and the average family size was 2.82.
The median age in the city was 42.4 years. 21.8% of residents were under the age of 18; 7.1% were between the ages of 18 and 24; 24.1% were from 25 to 44; 28.9% were from 45 to 64; and 18.2% were 65 years of age or older. The gender makeup of the city was 48.2% male and 51.8% female.
As of the census of 2000, there were 8,835 people, 3,791 households, and 2,403 families living in the city. The population density was 952.3 people per square mile (367.6/km2). There were 4,113 housing units at an average density of 443.3 per square mile (171.1/km2). The racial makeup of the city was 96.90% White, 0.10% African American, 0.42% Native American, 0.58% Asian, 0.05% Pacific Islander, 0.85% from other races, and 1.11% from two or more races. Hispanic or Latino of any race were 2.22% of the population.
There were 3,791 households, out of which 29.0% had children under the age of 18 living with them, 50.7% were married couples living together, 9.5% had a female householder with no husband present, and 36.6% were non-families. 32.2% of all households were made up of individuals, and 12.4% had someone living alone who was 65 years of age or older. The average household size was 2.27 and the average family size was 2.86.
In the city, the population was spread out, with 24.8% under the age of 18, 7.2% from 18 to 24, 26.4% from 25 to 44, 24.9% from 45 to 64, and 16.6% who were 65 years of age or older. The median age was 40 years. For every 100 females, there were 90.9 males. For every 100 females age 18 and over, there were 88.1 males.
The median income for a household in the city was $34,450, and the median income for a family was $40,554. Males had a median income of $31,395 versus $19,947 for females. The per capita income for the city was $17,813. About 9.4% of families and 13.9% of the population were below the poverty line, including 19.3% of those under age 18 and 11.0% of those age 65 or over.
Cody is governed by a city council and a mayor. The mayor is elected in a citywide vote. The city council consists of six members who are elected from one of three wards. Each ward elects two members.
AM Radio
KZMQ (AM) 1140 (Country), Big Horn Radio Network
KPOW 1260 (Country), MGR Media LLC
KODI 1400 (News/Talk), Big Horn Radio Network
FM Radio
KOFG 91.1 (Religious), Gospel Messengers
KUWP 90.1 (Wyoming Public Radio and NPR), University of Wyoming
KTAG 97.9 (Adult Contemporary), Big Horn Radio Network
KZMQ-FM 100.3 (Country), Big Horn Radio Network
KROW 101.1 (Rock), White Park Broadcasting
KBEN-FM 103.3 (Classic Country), White Park Broadcasting
KCGL 104.1 (Classic rock), Big Horn Radio Network
KWHO 107.1 (80s, 90s & Beyond), White Park Broadcasting
Television
KTVQ - (CBS) from Billings
KULR - (NBC) from Billings
K19LM-D - (PBS) - (translator for KCWC-DT in Lander)
Newspaper
Twice-weekly Cody Enterprise. Founded by "Buffalo Bill" Cody and Col. John Peake in August 1899. The paper has a paid circulation of 7,050, and is owned by SAGE Publishing of Cody.
Highways
- North Fork Highway Westbound / Greybull Highway Eastbound
U.S. 14, U.S. 16 and U.S. 20 run concurrently through Cody.
US 14A west (Burgess Junction) - Powell Highway
WYO 120 - Belfry highway northbound / Meeteetse highway southbound
WYO 291 - South Fork Road
The Yellowstone Regional Airport offers full passenger service. Flights are available through SkyWest (United Airlines), connecting through Denver, Colorado. Air cargo services are provided by FedEx and UPS.
Cody has four local transportation companies: Cody Over Land Transit, Phidippides Shuttle Service, Cody Town Taxi, and the Cody Shuttle. Cody Over Land operates routes within the city of Cody, from June through September. Phidippides is a full service transportation company with service to Cody, Yellowstone National Park, and airports in Cody, Jackson, and Billings. They also have courier and package service available. Cody Town Taxi and Cody Shuttle operate primarily in Cody.
Intercity bus service to the city is provided by Express Arrow.
Cody is served by the Cody Branch of the BNSF Railway, which runs south-west from Frannie for about 46 miles (74 km). The branch terminates in Cody near where WY-120 crosses the Shoshone River.
Notable people
Eric Bischoff (born 1955), Professional wrestling personality; former president of World Championship Wrestling
Larry Echo Hawk (born 1948), former attorney general of Idaho, member of the Idaho House of Representatives, tenth Assistant Secretary of the Interior for Indian Affairs, and current member of the First Quorum of the Seventy of the Church of Jesus Christ of Latter-day Saints; born in Cody
Laura Bell, author
Luke Bell (1990–2022), country musician and singer-songwriter, raised in Cody
William Frederick Cody (1846–1917) a.k.a. "Buffalo Bill", American scout, bison hunter, showman
William Robertson Coe (1869–1955), owner of Buffalo Bill's hunting camp, Irma Lake Lodge; a Cody and Wyoming benefactor
Frank Tenney Johnson (1874–1939), a western artist who had his painting studio in Cody from 1931 to 1939
Mike Leach (born 1961, died 2022) Former Mississippi State University head football coach
John Linebaugh, gunsmith; cartridge inventor
Jackson Pollock (1912–1956) — Abstract expressionist painter
Alan K. Simpson (born 1931), former U.S. Senator
Colin M. Simpson (born 1959), former Wyoming State Representative and Speaker of the House
Milward Simpson (1897–1993), former Governor of Wyoming; former U.S. Senator
Pete Simpson (born 1930), historian; former state representative from Sheridan County; former administrator at the University of Wyoming
Mark Spragg (born 1952), author
Craig L. Thomas (1933–2007), former United States Senator from Wyoming
Kanye West (born 1977) rapper and producer, owned 2 ranches near Cody
Sister cities
Georgia (country) Lanchkhuti, Georgia
Wyoming is a landlocked state in the Mountain West subregion of the Western United States. It borders Montana to the north and northwest, South Dakota and Nebraska to the east, Idaho to the west, Utah to the southwest, and Colorado to the south. With a population of 576,851 in 2020, Wyoming is the least populous state despite being the 10th largest by area, with the second-lowest population density after Alaska. The state capital and most populous city is Cheyenne, which had an estimated population of 63,957 in 2018.
Wyoming's western half consists mostly of the ranges and rangelands of the Rocky Mountains; its eastern half consists of high-elevation prairie, and is referred to as the High Plains. Wyoming's climate is semi-arid in some parts and continental in others, making it drier and windier overall than other states, with greater temperature extremes. The federal government owns just under half of Wyoming's land, generally protecting it for public uses. The state ranks sixth in the amount of land—-and fifth in the proportion of its land—-that is owned by the federal government. Its federal lands include two national parks (Grand Teton and Yellowstone), two national recreation areas, two national monuments, and several national forests, as well as historic sites, fish hatcheries, and wildlife refuges.
Indigenous peoples inhabited the region for thousands of years. Historic and currently federally recognized tribes include the Arapaho, Crow, Lakota, and Shoshone. Part of the land that is now Wyoming came under American sovereignty via the Louisiana Purchase, part via the Oregon Treaty, and, lastly, via the Mexican Cession. With the opening of the Oregon Trail, the Mormon Trail, and the California Trail, vast numbers of pioneers travelled through parts of the state that had once been traversed mainly by fur trappers, and this spurred the establishment of forts, such as Fort Laramie, that today serve as population centers. The Transcontinental Railroad supplanted the wagon trails in 1867 with a route through southern Wyoming, bringing new settlers and the establishment of founding towns, including the state capital of Cheyenne. On March 27, 1890, Wyoming became the union's 44th state.
Farming and ranching, and the attendant range wars, feature prominently in the state's history. Today, Wyoming's economy is largely based on tourism and the extraction of minerals such as coal, natural gas, oil, and trona. Its agricultural commodities include barley, hay, livestock, sugar beets, wheat, and wool.
Wyoming was the first state to allow women the right to vote (not counting New Jersey, which had allowed it until 1807), and the right to assume elected office, as well as the first state to elect a female governor. In honor of this part of its history, its most common nickname is "The Equality State" and its official state motto is "Equal Rights".[1] It is among the least religious states in the country,[15] and is known for having a political culture that leans towards libertarian conservatism.[16] The Republican presidential nominee has carried the state in every election since 1968.
There is evidence of prehistoric human habitation in the region known today as the U.S. state of Wyoming stretching back roughly 13,000 years. Stone projectile points associated with the Clovis, Folsom and Plano cultures have been discovered throughout Wyoming. Evidence from what is now Yellowstone National Park indicates the presence of vast continental trading networks since around 1,000 years ago.
The Union Pacific Railroad played a central role in the European colonization of the area. Wyoming would become a U.S. territory in 1868. It was the first state to grant women the right to vote in 1869 (although it was then still a territory). Wyoming would become a U.S. state on July 10, 1890, as the 44th state.
There is evidence of prehistoric human habitation in the region known today as the U.S. state of Wyoming stretching back roughly 13,000 years. Stone projectile points associated with the Clovis, Folsom and Plano cultures have been discovered throughout Wyoming. In the Big Horn Mountains there is a medicine wheel that has not yet been dated accurately due to disruption of the site prior to the two archaeological excavations of 1958 and 1978. However, the Big Horn Medicine Wheel's design of twenty-eight spokes is similar to the Majorville Medicine Wheel in Canada that has been dated at 3200 BCE (5200 years ago) by careful stratification of known artifact types. Throughout the Bighorn Mountains, south to Medicine Lodge Creek, artifacts of occupation date back 10,000 years. Large ceremonial blades chipped from obsidian rock formations in what is now Yellowstone National Park to the west of the Bighorns, have been found in the Hopewell burial mounds of Southern Ohio, indicative of vast continental trading networks since around 1000 years ago.[1] When White explorers first entered the region, they encountered numerous American Indian tribes including the Arapaho, Bannock, Blackfeet, Cheyenne, Crow, Gros Ventre, Kiowa, Nez Perce, Sioux, Shoshone and Ute.
Europeans may have ventured into the northern sections of the state in the 18th century. Most of the southern part of modern-day Wyoming was nominally claimed by Spain and Mexico until the 1830s, but they had no presence. John Colter, a member of the Lewis and Clark Expedition, was probably the first American to enter the region in 1807.[8] His reports of thermal activity in the Yellowstone area were considered at the time to be fictional. Robert Stuart and a party of five men returning from Astoria, Oregon discovered South Pass in 1812. The route was later followed by the Oregon Trail. In 1850, Jim Bridger located what is now known as Bridger Pass, which was later used by both the Union Pacific Railroad in 1868, and in the 20th century by Interstate 80. Bridger also explored the Yellowstone region and like Colter, most of his reports on that region of the state were considered at the time to be tall tales. During the early 19th century, fur trappers known as mountain men flocked to the mountains of western Wyoming in search of beaver. In 1824, the first mountain man rendezvous was held in Wyoming. The gatherings continued annually until 1840, with the majority of them held within Wyoming territory.
The route later known as the Oregon Trail was already in regular use by traders and explorers in the early 1830s. The trail snakes across Wyoming, entering the state on the eastern border near the present day town of Torrington following the North Platte River to the current town of Casper. It then crosses South Pass, and exits on the western side of the state near Cokeville. In 1847, Mormon emigrants blazed the Mormon Trail, which mirrors the Oregon Trail, but splits off at South Pass and continues south to Fort Bridger and into Utah. Over 350,000 emigrants followed these trails to destinations in Utah, California and Oregon between 1840 and 1859. In 1859, gold was discovered in Montana, drawing miners north along the Bozeman and Bridger trails through the Powder River Country and Big Horn Basin respectively.
The influx of emigrants and settlers into the state led to further encounters with the native people there, and settler military presence along the trails increased; military posts such as Fort Laramie were established. In 1851, representatives from the United States and American Indian nations signed the first Treaty of Fort Laramie in hopes of ensuring peace and the safety of settlers on the trails. While the 1850s were subsequently quiet, tensions rose again after settlers increasingly encroached upon lands promised to the tribes in the region. This was the case after settlers, in 1864, blazed the Bozeman Trail through the hunting grounds of the Powder River Country, which the United States had promised to the tribes in the 1851 treaty. As encounters between settlers and natives grew more serious in 1865, Major General Grenville M. Dodge ordered the first Powder River Expedition to attempt to quell the violence. The expedition ended in the Battle of the Tongue River against the Arapaho. In the following year, the fighting escalated into Red Cloud's War, which was the first major military conflict between the United States and the Wyoming Indian tribes. The second Treaty of Fort Laramie in 1868 ended the war by closing the Powder River Country to whites. Violation of this treaty by miners in the Black Hills led to the Black Hills War in 1876, which was fought mainly along the border of Wyoming and Montana.
In 1866, Nelson Story Sr. drove approximately 1000 head of Texas Longhorns to Montana through Wyoming along the Bozeman Trail—the first major cattle drive from Texas into Montana. The Wyoming Stock Growers Association is a historic American cattle organization created in 1873. The Association was started among Wyoming cattle ranchers to standardize and organize the cattle industry, but quickly grew into a political force that has been called "the de facto territorial government" of Wyoming's organization into early statehood, and wielded great influence throughout the Western United States. The association is still active to this day, but it is best known for its rich history and is perhaps most famous for its role in Wyoming's Johnson County War. In 1892 the Johnson County War, also known as the War on Powder River and the Wyoming Range War, took place in Johnson, Natrona and Converse County, Wyoming. It was fought between small settling ranchers against larger established ranchers in the Powder River Country and culminated in a lengthy shootout between local ranchers, a band of hired killers, and a sheriff's posse, eventually requiring the intervention of the United States Cavalry on the orders of President Benjamin Harrison. The events have since become a highly mythologized and symbolic story of the Wild West, and over the years variations of the storyline have come to include some of the west's most famous historical figures and gunslingers. The storyline and its variations have served as the basis for numerous popular novels, films, and television shows.
In 1870, roughly three-eights of Wyoming's population was foreign born, coming primarily from Ireland, Germany and England. The Union Pacific Railroad played a central role in the settlement of Wyoming. The land was good for cattle ranches, but without transportation it was too far for a cattle drive. The UP railroad companies had large land grants that were used to back the borrowings from New York and London that financed construction. UP was anxious to locate settlers upon the land as soon as possible, so there would be a steady outflow of cattle, and a steady inflow of manufactured items purchased by the ranchers. UP also built towns that were needed to service the railroad itself, with dining halls for passengers, construction crews, repair shops and housing for train crews. The towns attracted cattle drives and cowboys.
The UP reached the town of Cheyenne, which later became the state capital, in 1867. The railroad eventually spanned the entire state, boosting the population, and creating some of Wyoming's largest cities, such as Laramie, Rock Springs and Evanston. The railroad needed coal, which was discovered in quantity in the southwestern part of the state, especially around Rock Springs In 1885, a murderous riot known as the Rock Springs Massacre broke out when white miners drove out Chinese miners employed by the Union Pacific Coal Company in Rock Springs.
The name "Wyoming" was used by Representative J. M. Ashley of Ohio, who introduced the Ashley Bill to Congress to provide a "temporary government for the territory of Wyoming". The name was made famous by the 1809 poem Gertrude of Wyoming by Thomas Campbll. "Wyoming" is derived from the Delaware (Munsee) name xwé:wamənk, meaning "at the big river flat", originally applied to the Wyoming Valley in Pennsylvania.
After the arrival of the railroad, the population began to grow steadily in the Wyoming Territory, which was established on July 25, 1868. Unlike Colorado to the south, Wyoming never experienced a rapid population boom in the 19th century from any major mineral discoveries such as gold or silver.
Inclusion of women's suffrage in the Wyoming constitution was debated in the constitutional convention, but ultimately accepted. The constitution was mostly borrowed from those of other states, but also included an article making all the water in Wyoming property of the state. Wyoming overcame the obstacles of low population and of being the only territory in the U.S. giving women the right to vote, and the United States admitted Wyoming into the Union as the 44th state on July 10, 1890.
In 1869, Wyoming territory granted women the right to vote, becoming the first U.S. state to extend suffrage to women. Wyoming was also the home of many other firsts for U.S. women in politics. The first time women served on a jury was in Wyoming (Laramie in 1870). Wyoming had the first female court bailiff (Mary Atkinson, Laramie, in 1870), and the country's first female justice of the peace (Esther Hobart Morris, South Pass City, in 1870). Wyoming became the first state in the Union to elect a female governor, Nellie Tayloe Ross, who was elected in 1924 and took office in January 1925.
Following on the reports of men like Colter and Bridger, a number of organized expeditions were undertaken in northwestern Wyoming. The Cook–Folsom–Peterson Expedition in 1869 and the Washburn-Langford-Doane Expedition in 1870 confirmed the stories of the mountain men. In 1871, Ferdinand Vandeveer Hayden led a formal geological survey of the area, the result of which ultimately convinced Congress to set aside the region. Yellowstone National Park became the world's first National Park in 1872. In August 1886, the U.S. Army was given administration of the park. In 1917, administration of the park was transferred to the new National Park Service. Hundreds of structures have been built and are protected for their architectural and historical significance, and researchers have examined more than 1,000 archaeological sites. Most of Yellowstone National Park is located in Wyoming.
Wyoming is also home to the nation's first national monument (Devils Tower created in 1906), and the first national forest (Shoshone National Forest created in 1891).
The Homestead Act of 1862 attracted many new farmers and ranchers to Wyoming, where they congregated along the fertile banks of the rivers. Most of the land in Wyoming in the 2nd half of the 19th century was in the public domain and so was open for both homesteading and open range for grazing cattle. As individual ranchers moved into the state, they became at odds with the larger ranches for control of the range and water sources. Tensions rose to a boiling point in April 1892 as an armed conflict known as the Johnson County War, fought between the large cattle operators and smaller ranchers and homesteaders. The increased number of settlers also brought with them merchants, as well as outlaws. A number of notable outlaws of the time started their careers in Wyoming, including Butch Cassidy and Harry Longabaugh, both of whom were incarcerated in Wyoming as young men.[25] A remote area in Johnson County, Wyoming known as the Hole-in-the-Wall was a well known hideout for a loose association of outlaw gangs known as the Hole in the Wall Gang. It was used from the 1860s through the early 20th century by outlaws operating throughout Wyoming.
Precious metals were never discovered in great quantities, though a small amount of gold was discovered near South Pass prompting a small rush in the 1860s. Coal was discovered early and has been mined extensively through the state. Union Pacific Railroad ran several coal mines in the southern part of the state to supply the railroad. In 1885 tensions at a Union Pacific mine in Rock Springs resulted in the Rock Springs massacre, one of the largest race riots in U.S. history. Oil is also plentiful throughout the state. In 1924, irregularities over the allocation of naval reserves near Casper resulted in the Teapot Dome Scandal. Natural gas, bentonite and uranium have also been mined through the state's history.
One exception is the copper mines in Carbon County west of Encampment. The Ferris-Haggarty Mine Site supplied copper for the electrification of the world in the late 1800s and early 1900s.
After 1890, Wyoming pageants and parades, as well as school courses, increasingly told a nostalgic story of Wyoming as rooted in the frontier West. During the 1940s, Wyoming millionaire William R. Coe made large contributions to the American studies programs at Yale University and at the University of Wyoming. Coe wished to celebrate the values of the Western United States in order to meet the threat of communism.
The "The Gables" has a beautiful, light filled drawing room with an elegant tiled fireplace with a white painted wooden fire surround, high ceilings featuring Art Nouveau mouldings and three lancet windows featuring Art Nouveau stained glass. The two outer windows feature brightly coloured red flowers, whilst the central one features golden yellow and orange ones. All the flowers are highly stylised, and remind me of oriental lilies.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
The "The Gables" has a beautiful, light filled entrance hall painted in white. It has a high ceiling featuring Art Nouveau mouldings and a gallery of windows featuring Art Nouveau stained glass of stylised flowers or fruit. The front door glass panels feature the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best.".
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
Voigtländer Bessa R2 | Voigtländer 15mm 4.5 Heliar | Kodak Tri-X 400 | Kodak HC110b | Epson V500
Available Light B&W 35mm Photojournalism by Johnny Martyr
Thanks for checking out my work!
Leica M6 TTL .85 | Leitz 5cm 1.5 Summarit | Kodak Tri-X at 1600 | Kodak HC110b | Epson V500
Out of focus points of light in black and white
#PhotographersStillUsingFilm #Johnny_Martyr
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
The "The Gables" has a beautiful, light filled tea room which they call the "Peacock Room" because of the beautiful Art Nouveau inspired blue peacock wallpaper they have decorated the room with. It used to be "The Gables" best, or master bedroom and dressing room. Now turned into one room it has a high ceiling featuring Art Nouveau mouldings and several elegant stained glass windows featuring stylised Art Nouveau flowers depicted in a striking combination of blue and gold, and one window full of golden yellow pears. The window of pears has a similar window in the entrance hall.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
A glimpse of the wonderful ★ ШHΛT'S THIS ΛЯT ★ Gallery featuring art, installation and pictures by the amazing Nur Moo.
The "The Gables" has a beautiful, light filled entrance hall painted in white. It has a high ceiling featuring Art Nouveau mouldings and a gallery of windows featuring Art Nouveau stained glass of stylised flowers or fruit. The front door glass panels feature the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best.".
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
The "The Gables" has a beautiful, light filled drawing room with an elegant tiled fireplace with a white painted wooden fire surround, high ceilings featuring Art Nouveau mouldings and three lancet windows featuring Art Nouveau stained glass. The fireplace features plain green glazed tiles and feature tiles of stylised pink Art Nouveau roses in the surround. The hearth tiles on the other hand are green and feature a drum and two long trumpets, which symbolises harmony in the home.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
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