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Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
BRASA - Curta Metragem
Direção: Sebastian Mez
Brasil/Alemanha
Copyright © Ariela Bueno. All rights reserved. REPRODUÇÃO PROIBIDA - ® Todos os direitos reservados.
Training Butt like Kim Kardashian with Leah Miller and Eric Astrauskas. Please credit www.PTinTO.com if using this video.
A gate is a device which gives admittance to an enclosure, so this one looks a bit odd standing where there is no fence, hedge or wall. None is required, of course, because the ditch on either side provides an effective impediment to the ingress of ill-intentioned persons, unless on foot. I can't help feeling that the farmer is over-doing it a bit though. The gate is half a mile up a footpath, probably too narrow even for a car; there is a slight widening here, but this gives a false impression. A throwaway shot taken back in March to try out a newly-acquired camera. I'd sold several others to pay for it. I don't use a lot of colour film, simply because it can't be easily developed at home which, for me, is half the fun of taking snaps. The seller threw in seven rolls of colour film and it would be a pity to waste them; I'm finding it a struggle to get through them though. Annoyingly, I'd bought three colour films just before buying the camera, thinking them enough to last me through the summer. Without a tripod, I took this by standing my new acquisition on a fence post ...a slightly risky proceeding as the camera was wobbly and it was a blowy day. Quite a pleasing result, once the horizontals had been corrected and, although brilliant colours in summer daylight are all very well, I like the accurate rendition of more subtle colours in winter.
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
Mirit Ben Nun: Shortness of breath 'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual. This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting. In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset. Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'. This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant Tali Tamir August 2010
Owlbert celebrates University College Birmingham as one of Europe’s leading specialists in vocational degree courses. The design features the tools, accessories and accoutrements of the trades, jobs and skills the college is known for. Look out for University College Birmingham Coat of Arms motifs, such as the bull, bear, sheath of corn and motto, ‘Service Before Self’.
Artist: Meghan Allbright
Meghan Allbright is a Birmingham-based artist, who describes herself as having a ‘magpie-like’ way of making – often using packaging designs, re-appropriated imagery and a glut of materials to create works that are loosely based on systems and hierarchies.
Her painting style uses a similar technique of layering and mapping. She collects children’s book illustrations, alongside more industrial imagery, (such as chimneys, pylons and cogs) to create ‘suspended’, dreamlike landscapes. A random application of paint is built up and then drawn into – creating a blur of imagery that merges real with fiction.
Sponsor: University College Birmingham
Auction Price: £5000
The Big Hoot captured the imagination of everyone in Birmingham and beyond, with hundreds of thousands of people taking to the streets with their Big Hoot Trail maps to explore the colourful invasion of individually designed owls. Taking in the city’s 10 districts, tourists and residents alike enjoyed their owl adventure, discovering and celebrating the extraordinary creativity produced by many of Birmingham’s artistic community and over 25,000 young people.
The Big Hoot owls went under the hammer on 15 October 2015 at The Big Hoot auction sponsored by Vodafone and we are thrilled to have smashed our target by raising the incredible sum of £508,035!
The money raised from the auction will support Birmingham Children’s Hospital Charity’s £3.65m Star Appeal. This appeal will enable us to create a first of its kind, a Rare Diseases Centre in the UK specifically for children. It will provide co-ordinated care, treatment, support and most importantly hope to children and families living with a rare or undiagnosed condition.
In addition the auction raised £15,000 for G’owl’d by Temper with proceeds going to Edward’s Trust, and £7,800 for Fleet and Free with proceeds going to Birchfield Harriers.
So thank you - we simply couldn’t have done it without you.
Artists have played a major role in The Big Hoot, creating almost 100 owl sculptures. We would like to thank all the artists for their incredible creativity and hard work.
Professional artists from Birmingham, the wider Midlands region and further afield have created extraordinary giant owls that are all unique in style and character and represent the city’s creativity, history and heritage, music, fashion, architecture and attractions.
Birmingham is home to a wealth of artistic and creative individuals and communities and many award-winning and nationally and internationally acclaimed artists. We are delighted with the response from Birmingham’s creative community and are thrilled to work in collaboration with them to transform the streets, squares and parks of the city.
For five months artists have been creating owls in their studios, at home and in The Big Hoot Artists’ Studio at the Custard Factory in Digbeth. Their inspiring and innovative designs have been realised in genres including graffiti, illustration, fine art, graphics, typography, mosaic and new media. They have worked with both community groups and with corporates to realise ideas and create their stunning designs.
The Big Hoot not only provides a high quality and ambitious free public event for families but also supports the creativity of artists and celebrates talent and diversity. The Big Hoot has provided an inspiring relationship between the city and the arts.
The artists have also reached out to communities enabling more people to participate in the arts, to experience working with professional artists and to be inspiring and inspired. From the north to the south of the city residents groups, youth groups and older peoples’ groups have been collaborating with artists to generate ideas, design and create owls for The Big Hoot.
Creativity is everywhere but the opportunity to participate is not. A range of activities have been programmed within Birmingham’s diverse communities and people from the age of 3 – 97 and from wards within the city boundaries have contributed to The Big Hoot and helped make the event extraordinary. Our projects have seen artists working with hundreds of residents and community members including children in looked after care, older peoples’ clubs, young people and residents organisations to design and decorate the owls displayed as part of the 10 week public event.
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
August 2010
The prof went round there with a parcel which had been delivered to us by mistake, and got a bucket of cooking apples in exchange.
Confira 7 exercícios para turbinar o Bumbum e ficar com o corpo em forma.
voce.fitness/fitness/serie-de-7-exercicios-para-conquista...
Whenever there's a glut of fruit, meat, vegetables or mushrooms we conserve as much as we can. It's very nice having a good food stash when the shops are far away. For me this isn't really living frugally - as far as we're concerned - we're rich !
Explored at #263
A shot from the summer's glut of these fabulous insects.
This one was basking on the warm path of colliery spoil
This is not a crop, but I'm uploading 1:3 size
www.butterfly-conservation.org/Butterfly/17/Butterfly.htm...
This shot has made it to the number 1 spot in:
Top 20 Butterfly Photos
"Wolken seh' ich abendwärts
ganz in reinste Glut getaucht,
Wolken ganz in Licht zerhaucht,
die so schwül gedunkelt hatten.
Ja, mir sagt mein ahnend' Herz:
Einst noch werden, ob auch spät,
wenn die Sonne niedergeht,
mir verklärt der Seele Schatten."
"Westerly I see clouds
bright as purest embers,
Clouds, all diffused in light,
becoming oppressively dark.
Yes, my dreading heart tells me:
now, as it becomes late and still,
as the sun goes down,
shadows transform my soul."
~ Johann Ludwig Uhland, 1787-1862 ~
This and the previous photo show typically changeable Scottish weather - they were taken two minutes apart.
A wider view of this.
Wallace history from Wikipedia.
The Wallace Monument from Stirling Castle, Scotland.
In an homage to Hendrick Goltzius' spectacular engraving of the Farnese Hercules, shown from his back side, here we see both the 'surprise' - the apples of the Hesperides in his hand - and Herc's massive glutes. Many, many people were taking in the view from this side rather than the front side when I was at the Farnese Collection in the MANN.
The Farnese Hercules is massive: it stands at 3.15 meters, almost ten-and-a-half feet. This fine example of Roman sculpture shows the Greek hero – he is sometimes known by his Greek name, as the Farnese Herakles – leaning on his customary wooden club, here cushioned by the Nemean lion skin. His downcast eyes, together with his pose, suggest that Hercules has been exhausted by his Labors – and it is on account of this that the sculpture has gained another name, the Weary Hercules.
There's a surprise in store when we look behind the back of the statue: he's holding two golden apples in his right hand. Hercules has evidently just accomplished his assigned Labor to steal the apples from the Garden of the Hesperides, in this case by holding up the skies in place of the god Atlas. Still, despite his size, the emphasis on his tiredness after the hard work of hefting up the heavens indicates that the Farnese Hercules is a very human and relatable hero.
On the rock, under the club, an inscription records the sculptor's name:
ΓΛΥΚΩΝ ΑΘΗΝΑΙΟΣ ΕΠΟΙΕΙ
Translation: Glycon athenaios epoiei/Glycon the Athenian made [this].
This particular marble statue was found - without its head and legs - in the Baths of Caracalla in Rome in 1546, in a passageway between the frigidarium and the north/west gymnasium. According to a letter of Guglielmo della Porta, the head had been recovered separately, from a well in Trastevere many years later, in 1563, and reattached to the body. Della Porta, a student of Michelangelo, was retained to sculpt new legs for the sculpture. When the legs were found years later, Michelangelo asked for della Porta's versions to be retained, to demonstrate that modern sculptors were every bit as talented as their Roman forebears. The legs weren't reintegrated into the sculpture until 1746.
The statue is a Roman copy of a bronze original attributed to the Greek sculptor Lysippos, who lived in the 4th century BCE. The sheer number of other replicas - from the large to the small (see the comments below) - of the Farnese Hercules suggest it was almost as famous in antiquity as it has been in Western art since its rediscovery in the 16th century and its display in the courtyard of the Palazzo Farnese in Rome.
Roman copy of a Greek work, ca. 2nd-3rd century CE.
Museo Archeologico Nazionale di Napoli, Farnese Collection (MANN inv. 6001)
The races are over and a glut of open-toppers are leaving at the end of the day. In the picture we have:
Go-ahead London General Volvo B7TL WVL93 (LF52 ZNE)
Traditional Travel AEC Routemaster RM1087 (87 CLT)
Privately owned ex First Centrewest/Beeline AEC Routemaster RMC1510 (510 CLT)
Reading Buses ex Lothian Tours Dennis Trident 520 (V524 ESC)