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Seattle artist group Implied Violence performs in the Frye Art Museum reflecting pool on October 9, 2010.
Photo: Steven Miller
chixink & pinkghost brought you: Implied Form - a T-Shirt design contest. To buy the winning designs go here: www.pinkghost.net/osCommerce/catalog/index.php/cPath/28
This was an assignment to use 4 different kinds of line: Continuous Contour, Lyrical, Structural, and implied! I really love how it turned out
Some examples for my proposed submission for Assignment 2, TAOP - Elements of Design. I've tried to take a given subject matter and expand on it, Street Scenes' but I have gone for looking into the reflections of my cars paint work for the scenes that can be found literally feet from it. The square crop for all is intentional, as I try to present the whole set as possibly paintings of the set criteria of the assignment. Getting the right effect that shows the waves of paintwork was intention to give the general suggestion they could all be an artists abstract oil painting.
A fêmea distingue-se pela garganta arruivada.
Veja os Vídeos nos endereços a seguir:
br.youtube.com/watch?v=106HF1_vdik
br.youtube.com/watch?v=sE1zej0BAbQ
Um texto em Português:
Ariramba- da-cauda-ruiva - Bico-de-agulha (Galbula ruficauda), Rufous-tailed Jacamar, fotografado no Parque Olhos D'água, em Brasília, Brasil. (Galbula ruficauda).
Família: Galbulidae Espécie: Galbula ruficauda
Comprimento: 22 cm; peso: 23 g. Presente da Amazônia até o Paraná. Encontrado também do México à Bolívia e Argentina. Comum em bordas de florestas úmidas (e no interior, próximo a clareiras, capoeiras, margens de rios e brejos) e em matas ralas e secas. Vive normalmente aos pares, pousado em arbustos, de onde voa para apanhar insetos, como borboletas e abelhas.
Faz ninho em buracos escavados em barrancos ou em cupinzeiros nas árvores. Põe de 2 a 4 ovos pontilhados de marrom. Conhecido também como beija-flor-grande, ariramba-da-mata-virgem, beija-flor-d´água, jacamarici, bico-de-sovela, sovelão (Minas Gerais), ariramba-de-rabo-vermelho e ariramba-de-cauda-ruiva.
Fonte: www.eln.gov.br/Pass500/BIRDS/port.htm
Ouça seu canto no endereço: www.xeno-canto.org/browse.php?query=Galbula ruficauda&lang=port
A text in english:
See the videos in the following address:
br.youtube.com/watch?v=106HF1_vdik
br.youtube.com/watch?v=sE1zej0BAbQ
Rufous-tailed Jacamar, Fotographed at Brasília's Olhos D'água Park (water's Eyeys Park), in Brasília, Brazil .
A novice may be forgiven for thinking, on first sight, that this bird was a Hummingbird. The shape, the needle-like bill and the iridescence cannot help but give that impression. But this a far larger species than any hummingbird. In overcast conditions it has a somewhat dull greenish colour on the upper parts, but in bright low-angle sunlight the bird seems to catch fire and all the colours of the rainbow, except blue, appear in a burst of splendour reminiscent of the queen of a Trinidad Carnival band. Go to Tobago and stop at the 23 1/2 mile post on the Windward Road and you are certain to see some of these birds flying in and out of their nest holes in the mudbank on the side of the road.
Listen its song at the addres: www.xeno-canto.org/browse.php?query=Galbula ruficauda&lang=port
Rufous-tailed Jacamar
From Wikipedia, the free encyclopedia
Rufous-tailed Jacamar
Conservation status
Least Concern
Scientific classification
Kingdom: Animalia
Phylum: Chordata
Class: Aves
Order: Piciformes
Family: Galbulidae
Genus: Galbula
Species: G. ruficauda
Binomial name
Galbula ruficauda
Cuvier, 1816
The Rufous-tailed Jacamar (Galbula ruficauda) is a near-passerine bird which breeds in the tropical New World in southern Mexico, Central America and South America as far as southern Brazil and Ecuador.
The jacamars are elegant brightly coloured birds with long bills and tails, which feed on insects caught in the air, like bee-eaters. They distinguish between edible and unpalatable butterflies mainly according to body shape (Chai 1996). This species is a resident breeder in a range of dry or moist woodlands and scrub. The two to four rufous-spotted white eggs are laid in a burrow in a bank or termite mound.
The Rufous-tailed Jacamar is typically 25 cm long with a 5 cm long black bill. The subspecies G. r. brevirostris has, as its name implies, a shorter bill. This bird is metallic green above, and the underparts are mainly orange, including the undertail, but there is a green breast band. Sexes differ in that the male has a white throat, and the female a buff throat; she also tends to be have paler underparts. The race G. r. pallens has a copper-coloured back in both sexes.
This insectivore hunts from a perch, sitting with its bill tilted up, then flying out to catch flying insects.
The Rufous-tailed Jacamar's call is a sharp pee-op, and the song a high thin peeo-pee-peeo-pee-pe-pe, ending in a trill.
Pen and brown and black ink, watercolour and opaque watercolour, over graphite
The ironic title given after Fuseli's death to this sinister domestic scene implies that the three women at the table are experienced inhabitants of a brothel, who are overseeing the initiation of a new recruit shown sewing in the foreground.
Another, more mundane possibility is that we are dealing with a Fuselian twist on the folk tale of Cinderella. If so, she would be the young woman tied to the wall, forced to work under the watchful eyes of her evil stepmother and her two daughters.
[The Courtauld]
Taken in the Exhibition
Fuseli and the Modern Woman: Fashion, Fantasy, Fetishism
(October 2022 – January 2023)
One of the most original and eccentric artists of the 18th century, the Swiss-born Henry Fuseli (1741–1825) is the subject of a new exhibition at The Courtauld.
Fuseli spent most of his career in London, where he established himself as one of 18th century Europe’s most controversial artists. He deliberately courted notoriety with his most famous painting The Nightmare and other sensationalistic images inspired by a wide range of literature and his own imagination.
Fuseli was praised by some as a creative genius, while others dismissed his works as ‘shockingly mad’. But much admired by his colleagues, he became the Royal Academy’s Professor of Painting and Keeper of its premises at Somerset House, in what is now The Courtauld Gallery, where he and his wife Sophia Rawlins (1762/3–1832) lived from 1805 until his death.
This exhibition focuses on Fuseli’s numerous private drawings of the modern woman. Blending observed realities with elements of fantasy, these studies present one of the finest draughtsmen of the Romantic period at his most original and provocative. Here, the fashionable women of the period appear as powerful figures of dangerous erotic allure, whom the artist regards with a mix of fascination and mistrust. Perhaps as problematic then as now, this visually compelling body of work provides an insight into anxieties about gender, identity, and sexuality at a time of acute social instability, as the effects of the first modern revolutions – in America and in France – swept across Britain and the Continent. Many of those anxieties still speak vividly to us today.
[The Courtauld]
Some examples for my proposed submission for Assignment 2, TAOP - Elements of Design. I've tried to take a given subject matter and expand on it, Street Scenes' but I have gone for looking into the reflections of my cars paint work for the scenes that can be found literally feet from it. The square crop for all is intentional, as I try to present the whole set as possibly paintings of the set criteria of the assignment. Getting the right effect that shows the waves of paintwork was intention to give the general suggestion they could all be an artists abstract oil painting.
Archaeological evidence implies that this area was used as a burial ground before 1617 when the first church was built on this site. If the man buried in the "Knight's Tomb" just inside the church was Governor George Yeardley, then regular burials commenced here by 1627. By 1692 the graveyard covered about one and one-half acres. After the 1750s there were fewer burials here since the church was abandoned by then. All totaled, there were probably several hundred burials in the original graveyard. Only about 30 of these were in the church under the floor.
Since there is little natural stone in tidewater Virginia, tombstones were rare in the seventeenth and eighteenth centuries. Almost all had to be imported, usually from England. Many of the people buried here after the 1680s were wealthy and their families could have afforded tombstones. Nineteenth-century reports indicate that many did and the graveyard contained many tombstones. Sadly, most of these have been lost or stolen, or destroyed by time.
Historic Jamestown Island, Va. Nikon D80. © Anthony Prater, 2012. All Rights Reserved.
chixink & pinkghost brought you: Implied Form - a T-Shirt design contest. To buy the winning designs go here: www.pinkghost.net/osCommerce/catalog/index.php/cPath/28
I took this shot near Makado Rock.
It was very competitive place for photographers, but there was implied order among them...
After taking several photos, every photographer gave their place to next person...
And waited for a while, they went back to best position again.
I experienced same kind of thing at Grand Canyon in 2007, I like that.
Rhythm- Because of all the paper towel flows together.
Value- There is high key value because of all of the light value.
Implied line there is an implied line around the egg.
Seattle artist group Implied Violence performs in the Frye Art Museum reflecting pool on October 9, 2010.
Photo: Steven Miller
So implied The Mail in June 1957.
And with a tip of the hat to the Embassy Girl and the Page Boy to get this into the UK Social History Pool.....
On June 9, 1957, fishermen dragged from Chichester Harbour, the body of a man dressed a frogman's suit.. Had and one hand were missing. The body could have been in the water for 6 to 14 months, the time elapsed since Crabb's supposed last dive, but it was impossible to determine the cause of death.
The body bore marked similarities to Crabb,size of feet, shape of legs, colour of body hair--and it bore a scar on the left knee identical to a wartime wound Crabb had received.
Had his body, half-eaten by fish, drifted from Portsmouth, or had it been released from a Soviet submarine?
Sooooooo did the Russians kill Crabb beneath the cruiser and allow the body to drift away? Did they take him to Russia and kill him there? Did they persuade him to join the Soviet navy and dump another body in the English Channel? According to an unnamed West German source, Crabb survived and lived behind the Iron Curtain using the name Korablov. Or was it just a dive too far for an unfit ageing man.
The British Government's papers on the affair will remain classified for a further fifty years by which time I shall be 103 years old.....
Shortly afterwards Hugh Gaitskill, the then leader of the Labour opposition,speaking in Parliament said that whilst the necessity for secret services cannot be denied in what he termed 'the present circumstances' i.e. the Cold War and the 'Communist threat' that there should be four conditions under which such services should operate:-
i) that operations be ultimately and effectively controlled by by a minister of state
ii) that operations should be secret
iii) that international relations should not be harmed
iv) and that such operations should be reasonably successful.
To laughter in the house he observed that in the affair of Commander Crabb not one single condition had been met.
The reptition of the planks on my fence one after another give the feeling of an implied line that your eyes follow from the top left corner to the bottom right.
‘Fruition implies that at some future time you will feel good. One of the most powerful Buddhist teachings is that as long as you are wishing for things to change, they never will. As long as you’re wanting yourself to get better you won’t. As long as you are oriented toward the future, you can never just relax into what you already have or already are. One of the deepest habitual patterns that we have is the feeling that the present moment is not good enough. We frequently think back to the past, which maybe was better than now, or perhaps worse. We also think ahead quite a lot to the future, always holding out hope that it will be a little better than now. Even if things are going really well now, we usually don’t give ourselves full credit for who we are in the present. For example, it’s easy to hope that things will improve as a result of meditation: we won’t have such a bad temper or people will like us more than they do now. Or perhaps we will fully connect with that awake, brilliant, sacred world that we hope to find. We use our practice to reinforce the implication that if we just did the right things, we’d being to connect with a bigger world, a vaster world, a world different from the one we’re in just now. Instead of looking for fruition, we could just try to stay with our open heart and open mind. This is very much oriented to the present. By entering into this kind of unconditional relationship with ourselves, we can begin to connect with the awake quality that we already have. Right now, can you make an unconditional relationship with yourself? Just at the height you are, the weight you are, the intelligence that you have, and your current burden of pain? Can you enter into an unconditional relationship with that?’
- Pema Chodron, Comfortable With Uncertainty.
this photo appears in the book xgray vision, which is available for sale through blurb.com.
prints of this photo may be purchased through my xgray.imagekind.com. this photo can be found in the gallery xgray vision 1.
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.
This is my fiance, and our first try at implied nudity. This session came out great!
Nikon D600, Nikkor 50mm 1.8G, SB-700, YN-560, YN-603 Triggers All set up in our bedroom.
Check out my website: www.GaryUsseryPhotography.com
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