View allAll Photos Tagged implied
Model: Cindy Chow, first implied nude shoot I've ever done, which has resulted in probably some of my favourite photos I've taken so far.
As the name implies, the sculpture is in the form of an actual corridor. It measures eight feet tall, forty feet in length, and with a width of ten feet. The facing walls of the corridor are each formed by ten carved blocks of laminated sugar pine planks for an overall measurement each of 8' x 24½" x 16".
Within the concept “One man=all men,” VATICAN CORRIDOR, A Non-Specific Autobiography was conceived as an actual and metaphorical record of the journey through the life of the artist and, by extension, a projection of the possibilities we all share and may attain. Within both of the facing walls are ten carved life-size figures symbolically conjoined by arches to form a “corridor of the self.”
Prior to acquiring the materials necessary for the actualizing of the sculpture in wood, Robert Cremean spent two months creating a detailed preparatory study of the entire work, a process he had followed on only two prior occasions, one for DONOR WITH CRUCIFIXION and the other, although more suggestive than detailed, for HOMAGE TO PAUL APOSTLE. All of the pages of the original manuscript were published by Manuscript Press and may be found on its open website therein. From the first three pages of searching to the final pages of resolution, the artist’s graphic description of the three dimensional work provides us with the opportunity to read the artist’s philosophical concepts for that specific work of art and to understand how these concepts are interpreted symbolically through the human figure. Since this is an actual and a metaphorical autobiography, the Preparatory Study literarily addresses both.
It is very rare that a writer permits us to study his original unrevised and unedited manuscript and even more rare to have an opportunity to study the preparatory drawings and writings for a three dimensional work by a sculptor. With Vatican Corridor, A Non-Specific Autobiography we are permitted to experience, from the first three pages of searching to the final pages of resolution, the artist’s graphic description of a three dimensional work. This manuscript provides us with the opportunity to read the artist’s philosophical concepts for that specific work of art and to understand how these concepts are interpreted symbolically through the human figure. Because the basic philosophy—one man equals all men—is inherent in the work, the artist’s non-specific autobiography contains and is an extension of our own. And because each of the ten arches in the Preparatory Study and in the completed sculpture spans a period of three years in the artist’s life, the tenth arch was a projection five years into the future at last updated twenty two years later in the writing in 1995 and with the publication by Manuscript Press in 1996 of The Tenth Arch, the sculptural tenth arch realized in the form of a book.
The first figure of the Outer Wall is nearly fully revealed in the round. But by the Tenth Arch, it has been transposed into a negative, much like a waste-mold, only the egg shape of the final transposition still in place. Block by block and transposition after transposition, the three-dimensional figure is displaced by a concavity as the wall that contained it grows thicker and thicker. The reverse is true in each of the corresponding figures and blocks of the Inner Wall. Each part of the human figure is symbolic of a particular sense and/or concept and with its transference the figure of the Inner Wall becomes more complete.
But why is the piece called VATICAN CORRIDOR? When the artist first walked through the almost endless corridors of the Vatican Museum, he was struck by the glory and spaciousness of the place, by the number of sculptures there, by the fact that they were neutered by a fig leaf and that only a few of the works met his definition of being a “transparency.”As a result of this experience, he chose to name the sculpture VATICAN CORRIDOR, A Non-Specific Autobiography. On the fourth page of the manuscript, based upon this experience, is provided a statement as to the philosophical intent of the sculpture:
"The enclosure of one metaphor by another—one culture by another—one time segment by another. 'Paganism' is preserved through forfeit of genitalia—neutered by a fig leaf. Miles of historical artifacts enclosed within an historical artifact. And yet there are a few presences that are not dead—not neutered. A few glimpses—Man existing without metaphor. A few Transparencies. Are these not worth the endless walk?"
Collection:
Orange County Museum of Art
Newport Beach, California
As its name implies, Andrena caerulae, is a bee with a deep blue shimmer to its skin. Unlike the plain black models of most of the other 500+ species of Andrena this species stands out, making identification a bit easier. In the face you can see the darkened patches of short hairs that line the depressions between eye, ocelli, and antennae (fovea) that characterize the genus Andrena. This one was caught on the Channel Islands as part of a National Park Service study of bees along the coasts. A little bedraggled, but the only one we caught, so its picture is taken.
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All photographs are public domain, feel free to download and use as you wish.
Photography Information: Canon Mark II 5D, Zerene Stacker, Stackshot Sled, 65mm Canon MP-E 1-5X macro lens, Twin Macro Flash in Styrofoam Cooler, F5.0, ISO 100, Shutter Speed 200
Beauty is truth, truth beauty - that is all
Ye know on earth and all ye need to know
" Ode on a Grecian Urn"
John Keats
You can also follow us on Instagram - account = USGSBIML Want some Useful Links to the Techniques We Use? Well now here you go Citizen:
Art Photo Book: Bees: An Up-Close Look at Pollinators Around the World
www.qbookshop.com/products/216627/9780760347386/Bees.html...
Basic USGSBIML set up:
www.youtube.com/watch?v=S-_yvIsucOY
USGSBIML Photoshopping Technique: Note that we now have added using the burn tool at 50% opacity set to shadows to clean up the halos that bleed into the black background from "hot" color sections of the picture.
www.youtube.com/watch?v=Bdmx_8zqvN4
PDF of Basic USGSBIML Photography Set Up:
ftp://ftpext.usgs.gov/pub/er/md/laurel/Droege/How%20to%20Take%20MacroPhotographs%20of%20Insects%20BIML%20Lab2.pdf
Google Hangout Demonstration of Techniques:
plus.google.com/events/c5569losvskrv2nu606ltof8odo
or
www.youtube.com/watch?v=4c15neFttoU
Excellent Technical Form on Stacking:
Contact information:
Sam Droege
sdroege@usgs.gov
301 497 5840
These are only implied nudes. She wore a swimsuit under the fabric in all photos and just hid the ties when she needed to.
A small number of philosophers claim that the self implies an other in mind. Generally this other is a linguistic listening, speaking or whispering thing. I argue that for the Japanese the Other watches. But recently, in Japan too, there have arrived whispering Others such as Philip in Masked Rider Double, and Whisper in Youkai Watch. Both are surrounded by the printed word: a virtual library in the case of Philip and a tablet PC in the case of Whisper. They are portrayed somewhat comically. My take is that these whisipering others represent the Westernized Japanese mind. The Japanese too also now whisper to their other self as well as letting themselves be watched.
The recent Pokemon movie "Pokémon the Movie 20: I Choose You!" was for me a moving, and religious experience! It featured a baddie in the form of "Ma-shado-" Ma-shado- Ma-shado- is a "ghost" pocket monster, like the ghoul (youkai) "Whisper" from the recent cross over series "Youkai Wachi". Ma-shado- encourages whispering, like Whisper, as we can tell from the whispering noises made when Satoshi is possessed by Ma-shado-.
Still more philosophical is the world which Satoshi sees a dream of a pokemon-less, scientific world while possessed by Ma-shado-. I think that the movie is extremely realistic! As long as we are aware of our duality we can see the monster in our pockets and the conditioned intersubjective nature of the scientific, black and white world. But when we are possessed by the Whispering pocket monster, then the whispering is internalised and then we doomed to the monocrome lie (?) of materialism. Fortunately, one way of escaping the whispering is, according to this movie, by running when one will realise the the presence of the other, the irreality of the monotone world of science, and the fact that one is accompanied by a non-whispering, only-own-name-saying pocket monster. And finally, in a surprisingly moving schizo moment, the man of the hour spoke: Pikachu explained that the reason why he does not disappear into the the "monster ball" is because, paraphrasing, Pikachu does not want to miss a thing.
Nyua-zu is another speaking pocket monster but at least he speaks out loud. How can one encourage "pocket monsters" to say only their names, and not to whisper to themselves?
It seems to me that many of the traditional features of Japanese companies such as on the check list on the belt of (太田肇, 2017) were design to minimise whispering.
And doing Nembutsu -- chanting the name of a Buddha - may be a way of turning ones "pocket monster" from a Ma-shadow into a Pika-Chu. As I cycle along chanting, in a visored helmet thinking about Steve horseman Harley claiming we have stolen someone's face I wonder about what I might write, or imagine is written, on my helmet.
The line is of the most fundamental to “reading” a work of art: a single line can make shape, contour lines can evoke three-dimensionality, and implied lines can simply direct the eye. But beyond basic functions of a line for rendering shape or dimension or direction, depending on where a line is placed in space (the line-in-space) it has the power to alter human perception of the mind and body. Vertigo and optical illusions make strong cases for the line; these side effects distort what is perceived as real and material - what is truth and what is augmented.
Much of Czech contemporary art grapples with what is real and what is illusion. Whether in painting, sculpture, or installation, artists are looking for ways to both identify truth and either distort perception or completely augment one’s reality. To examine the ways lines are rendered is to find clarity in an artist’s mission to offer truth or alter perception; Czech artists Stanislav Kolíbal, Magdalena Jetelová, and Frederico Díaz are three artists who manipulate the line-in-space to draw attention to human vulnerability to error and misinterpretation.
The show features four of Kolíbal’s works, each work building on his exploration of line. His early use of line in primarily geometric, relating to themes of perceived differences in illusion and reality. Much of his oeuvre is informed by his penchant for geometric arrangement of matter and space. More recently, his emphasis has shifted to the need for order, a reflection on the unruliness of the earth, and the causal link to man’s presence there.
Jetelová uses thick, bold lines in all of the mediums she explores, including photography, sculpture, and land art. She sees the world turning faster, and as a result, people are losing contact with reality, which can be verified by the ubiquitous terrifying headlines of the media. By focusing on line, she allows the viewer’s vision to be narrowed to
a small point, which can then trace the pathway of the lines she has created. Her work often concentrates of these uncomplicated lines that start at point
A and end at point B. The simplicity points to the simplicity of the viewer’s vision, and the inability to see the surroundings. Her work is often characterized by this concentration on contextuality.
A busy artist and determined activist, Díaz chiefly creates installations, including many site-specific pieces. Most recently, his work has combined media and technology in order to create
a socio-political catalyst for social change. For this show, his installation Eccentric Gravity explores the time-tested tradition of designing and constructing buildings, specifically focusing on cathedrals, and their place as a religious icon in our culture. Line is as important, if not more, in design, and Díaz’s work points to this, exploring the relational qualities of line.
As a tool of expression, the line is integral to the artistic process, an understated communication of style. It links together these Czech artists in this exhibition who can seem, at times, quite disparate from each other. It reveals that an emphasis on any theme - geometry, humankind, the earth, order, social change - can be illustrated carefully through the use of line.
Ysabel Pinyol is the chief curator and co-founder of Mana Residences, Miami, Jersey City and Chicago. She lives and works alternately in New York and Miami.
White-faced whistling duck - As the name implies, these are noisy birds with a clear three-note whistling call. The habitat is freshwater lakes or reservoirs, with plentiful vegetation, where this duck feeds on seeds and other plant food.
The white-faced whistling duck breeds in sub-Saharan Africa and much of South America. This species is gregarious, and at favored sites, the flocks of a thousand or more birds arriving at dawn are an impressive sight.
The white-faced whistling-duck is classified as Least Concern (LC) on the IUCN Red List.
World wild life - Protect Animals Around the World!
Hope you enjoyed my pics!
All rights reserved ©Pix.by.PegiSue
www.flickr.com/photos/pix-by-pegisue/
~Protect animals and wild life habitat around the World! ~
Taken @ San Diego Zoo, San Diego, CA
and/or San Diego Zoo Safari Park, Escondido, CA
"http://www.EndExtinction.org"
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implicity 8418
copyright 1969
Size Young Junior 15/16
Waist 27
Hips 38
Cut & complete.
Young Junior/Teens' Skirt in Two Lengths and Mini-Pant skirt: Including a Tissue Lesson Chart ... "How To Handle Pockets"). The skirt V. 1 & 2 and the mini-pant skirt V. 3 & 4 with patch pockets have side zipper and waistband. V. 1 is regular length. V. 1 & 4 have shaped pockets with button trimmed flaps. Mini-length V. 2 has round pockets. V. 3 has top-stitched contrasting round pockets with flaps.