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Vertebral Forms
by: Keith Appel
Item 2052
Medium: Silk Screen Original
Dimensions: 45in x 31in
Donor: Pat Wardlaw
Value: $750
LIVE AUCTION
You can bid on this and more than 150 more pieces of Alaskan art in the third annual KAKM Art Showcase Auction, LIVE from Anchorage on KAKM Public Television (Channel 7) on Feb 14, 15 and 16 (Thu, Fri, Sat) between 7:00 and 10:30 p.m.
AUCTION PREVIEW
See this piece in person at our Auction Preview event Saturday, February 9 between 1:00 and 5:00 p.m. at the KAKM studios:
Anchorage AK 99508
All funds raised benefit Alaska Public Telecommunications, Inc. (APTI), a 501(c)(3) nonprofit corporation in Anchorage, operating KAKM, KSKA and APRN.
MORE INFORMATION
Get more auction information online:
http://kakm.org/auction/
...or call 907-550-8400 during business hours (Mon-Fri, 8:30-5:00).
Photo by Clark James Mishler
•La Portavocía del Gobierno es asumida por Salvador Victoria, que gestionará también la Consejería de Presidencia y Justicia
•Mantiene a cinco consejeros del Ejecutivo de Aguirre y entran tres nuevos, personas ya vinculadas a la administración regional
•Enrique Ossorio se hará cargo de Economía, Jesús Fermosel de Asuntos Sociales, y Borja Sarasola de Medio Ambiente
•Se crea la Consejería de Empleo, Turismo y Cultura; y Vivienda pasa a depender de Transportes e Infraestructuras
O Evento
Aviação e Música em plena sintonia!
O AeroRock teve sua primeira edição realizada no ano de 2010, quando o ex-piloto comercial Mark Binder resolveu reunir pilotos formados no Aeroclube de Pará de Minas como uma maneira de confraternização. Com uma previsão inicial de 70 participantes, o evento reuniu mais de 400 pessoas entre pilotos, mecânicos, comissárias e amantes da Aviação. Ao final do dia, ao som do rock que tocava nas caixas de som, alguns pilotos decolaram e efetuaram algumas acrobacias com suas aeronaves...nascia assim a vocação do AeroRock: ronco de motores aeronáuticos com o som pesado de guitarras e baterias.
Nos anos seguintes, as edições ganharam em número de aeronaves, participantes e, a tradicional caixa de som daria lugar a shows de rock de tradicionais bandas brasileiras como por exemplo, Wilson Sideral, Tianastacia, Iggor Cavalera(Ex Sepultura), Marcelo D2, Jota Quest e Raimundos. A concretização do AeroRock entre os maiores eventos de acrobacia do Brasil se deu em 2013, quando o evento contou com a participação do piloto americano Skip Stewart, considerado um dos melhores pilotos de acrobacia do mundo. Com um público estimado de mais de 3000 mil pessoas, o evento em 2013 contou com mais de 40 aeronaves entre expostas e de passagem pelo evento. Em 2014, devido a Copa do Mundo no Brasil, o evento não foi realizado, retornando em 2015 novamente batendo todos os recordes: mais de 50 aeronaves, aproximadamente 5 mil pessoas estiveram presentes ao longo de todo o dia e, a inédita participação de uma aeronave militar da Força Aérea Brasileira, o T-27 Tucano.
Este ano, a sétima edição do AeroRock já traz atrações inéditas: pela primeira vez no evento, a Esquadrilha da Fumaça já confirmou sua presença na tarde do dia 25 de Junho. Mantendo sua essência desde a primeira edição, o AeroRock 2017 busca a interação entre pilotos e amantes da Aviação de uma maneira a trazer a todo público as emoções que a aviação acrobática traduz em suas manobras. E claro, fechando o dia ao som do puro Rock n' Roll.
The Royal Form website is based fully on CSS, Mootools, and Javascript. Additional assets will be added through out the March, April and May Months. IE. Dynamic system for the gallery database with categories and pagination, client login slider tab positioned at the top-most part of the browser, tooltips for hovering over the gallery image thumbnails (giving brief information about the project), sub-window for project previews based off of javascript, etc.
Norsk Form's yearly award ceremony for design. Held at the Norwegian Centre for Design and Architecture. Photo: André Gali
Ely Cathedral is in the top rank of the great English cathedrals, and indeed earns its place among the best of medieval churches internationally for its unique architecture and astonishing beauty. It is a church I've visited several times over the years and never fails to impress, its form at once imposing and strikingly individual. Owing to the flatness of the surrounding countryside it is visible from afar as a major landmark, which makes approaching this tiny city all the more enticing.
The church was founded as an abbey by St Etheldreda in 672 and didn't achieve cathedral status until the foundation of the diocese in 1109. Much of the present building dates from the following years, with the nave and transepts still substantially as they were built (aside from a few altered windows and later ceilings) and a fine example of Norman / Romanesque architecture. A little later during the 1170s the soaring west tower and western transepts were added which would have created a magnificent facade when complete and of a type rarely seen in this country. The style is richer with more use of ornamentation than before, but also many of the arches (particularly the upper parts of the tower) are pointed, making it an early example of the transition to Gothic (the octagonal top storey is from two centuries later, but follows the original overall plan in form, if not detail). The north-west transept however collapsed in the late 15th century and was never rebuilt, leaving the front of the cathedral will the curiously lopsided but not unattractive west front we see today. The Galilee porch that projects from the base of the tower dates from the beginning of the 13th century, only a few decades later but now fully Gothic in style.
The Norman eastern limb had been fairly short so the next major building phases saw the great eastward extension of the presbytery built in Gothic style in 1234-50. It makes an interesting contrast with the earlier parts of the building being so rich in style, externally punctuated with pinnacles and flying buttresses and profusely ornamented withing, making the Romanesque nave and transepts seem somewhat austere by comparison. Then in 1321 an ambitious new lady chapel was begun at the north-east corner, but soon afterwards work was delayed by unforeseen events.
In 1322 the old Norman central tower collapsed, bringing down with it most of the old Romanesque choir (but not the recently built presbytery beyond). The aftermath left the cathedral with a gaping hole at its heart, but this must have inspired those charged with its recovery, and under the direction of Alan of Walsingham the crossing was rebuilt in a unique way; rather than build a new tower of a similar form the central piers that supported it were entirely cleared away along with the adjoining bay of nave, transepts and choir to create a much larger octagonal central space. This then rose to become the unique central tower that Ely is so famous for, the Octagon, a combination of a lower octagonal tower built of stone crowned by a delicate lantern built of wood and covered with lead externally. The result is an incredible, piece of architecture, and the view inside of the open space rising to the curved vaults above on which the glazed lantern appears to float is unforgettable.
After the Octagon and beautifully spacious and richly adorned Lady Chapel were completed there was no more major work at the cathedral. The transept roofs were replaced in the 15th century with the wooden hammerbeam structures we see today, adorned with large angel figures in the East Anglian tradition. The most significant late medieval additions are the two sumptuously decorated chantry chapels built within the end of each choir aisle, each a riot of later medieval ornament and Bishop West's also being remarkable for its fusion of Gothic and Renaissance detail. The cloister appears to have been rebuilt at a similar stage though sadly very little of it survives today.
Sadly the Reformation saw a wave of iconoclasm of particular ferocity unleashed here in Ely. The most telling reminder is the Lady Chapel with its richly ornamented arcading carved with hundreds of small scenes and figures, all brutally beheaded (not a single head survives). Free standing statues in niches have all gone without trace, but in the case of Bishop West's chantry chapel the topmost figures were carved in relief, so these were hammered away leaving the mutilated remains as a testament to zealotry and intolerance. Most of the stained glass appears to have also been removed around this time, so there was surprisingly little damage here during the Civil War a century later as the Puritan frenzy had already been unleashed.
A corner of the north transept collapsed in 1699 but was rebuilt almost identically, a rare early example of such an exacting approach to reconstruction. The classical form of a window and doorway below are the only reminders of the rebuilding, some say with advice from Christopher Wren whose uncle had been bishop here decades earlier (Wren knew the cathedral as a result, and the Octagon is believed to have inspired his plans for St Paul's, as the ground plans of the Octagon and his domed central space at St Paul's are remarkably similar).
The cathedral saw further changes in the 18th century when the structure was in need of repair. James Essex was called in to repair the Octagon and the wooden lantern was stabilised but its external was appearance simplified by stripping away much of its original detail. The medieval choir stalls had originally sat directly underneath the Octagon with painted walls on either side, but these were removed at this time and the stalls relocated further east to the position they are in now. Sadly the Norman pulpitum screen at the end of the nave was also removed (the earliest of its kind to survive in any cathedral).
By the mid 19th century tastes had changed again and the Victorian preference for richness over Georgian austerity saw the cathedral restored under the direction of George Gilbert Scott. He restored the Octagon lantern to something much closer to its original appearance and added new screens at the crossing and behind the altar. Stained glass gradually filled the cathedral again and it remains one of the richest collections of Victorian glass in the country. The ceiling of the nave which had been left plain for centuries was given a new richly painted finish with scenes from the Old & New Testaments, begun by Henry le Strange but finished by Thomas Gambier Parry after the former had died halfway through the project. Gambier Parry also undertook the lavish redecoration of the interior of the Octagon lantern.
The cathedral has remained little changed since and is one of the rewarding in the country. There is much of beauty to enjoy here beyond the architecture, with many interesting tombs and monuments from the medieval and post-Reformation periods. There is a wealth of stained glass of unusual richness; not everyone appreciates Victorian glass (indeed Alec Clifton Taylor was quite scathing about the glass here) but while it is very mixed I find much of it is of remarkably high quality.
Since 1972 the Stained Glass Museum has been housed in the nave triforium (originally on the north side, it was later transferred to the south where it currently remains). This is the only collection in the country solely devoted to the medium and is a great ambassador for it, with fine pieces covering a range of styles and illustrating the development of the art through the various backlit panels on show in the gallery.
Visitors can usually take tours to ascend the Octagon and even the west tower on more select days. Tours do get booked up though so it took me many visits before I could make my ascent, but happily this time I finally managed it and it was a wonderful experience I won't forget. Frustratingly I was unable to ascend the west tower since I was at a symposium on the day when tours were held so I hope to have better luck next time.
For more historical detail and context see below:-
en.wikipedia.org/wiki/Ely_Cathedral
For entry fees and tower tours see the cathedral's website below:-
TAX FORMS: We have hard copies of IRS forms 1040 and 1040-SR (plus instructions); and state forms 1 & 1NPR (plus instructions); schedules WD & M (plus instructions), SB & AD; and rent certificates.
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All work copyright Melanie Smith/ Mudkiss Photography All Rights Reserved
It looks like a sad Cyclops. really nice wood to turn, this was a large gnarly hunk of buckthorn that was cleared from the neighborhood by the U of M St. Paul campus.
Form was the theme for this picture. I know it's not exactly a form, but still the outlines of somekind of form :)
The form of the coastline around Durdle Door is controlled by its geology—both by the contrasting hardnesses of the rocks, and by the local patterns of faults and folds.[5] The arch has formed on a concordant coastline where bands of rock run parallel to the shoreline. The rock strata are almost vertical, and the bands of rock are quite narrow. Originally a band of resistant Portland limestone ran along the shore, the same band that appears one mile along the coast forming the narrow entrance to Lulworth Cove.[6] Behind this is a 120-metre (390 ft) band of weaker, easily eroded rocks, and behind this is a stronger and much thicker band of chalk, which forms the Purbeck Hills.[5] These steeply dipping rocks are part of the geological structure known as the Lulworth crumple, itself part of a broader monocline (a kinked type of geological fold) produced by the building of the Alps during the mid-Cenozoic.
A 'back view' of the Durdle Door promontory from the east, showing the remnants of the more resistant strata in Man O'War Bay
The limestone and chalk are in closer proximity at Durdle Door than at Swanage, 10 miles (16 km) to the east, where the distance is over 2 miles (3 km). Around this part of the coast nearly all of the limestone has been removed by sea erosion, whilst the remainder forms the small headland which includes the arch. Erosion at the western end of the limestone band has resulted in the arch formation. UNESCO teams monitor the condition of both the arch and adjacent beach.
The 120-metre (390 ft) isthmus which joins the limestone to the chalk is made of a 50-metre (160 ft) band of Portland limestone, a narrow and compressed band of Cretaceous Wealden clays and sands, and then narrow bands of greensand and sandstone.
In Man O' War Bay, the small bay immediately east of Durdle Door, the band of Portland and Purbeck limestone has not been entirely eroded away, and is visible above the waves as Man O'War Rocks.[10] Similarly, offshore to the west, the eroded limestone outcrop forms a line of small rocky islets called (from east to west) The Bull, The Blind Cow, The Cow, and The Calf.
(Wikipedia)