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Photographed at Zealandia, Wellington, New Zealand.
As the popular name implies, it is naturally a tame bird; and in little frequented parts of the country it is so fearless and unsuspicious of man that it will approach to within a yard of the traveller, and sometimes even perch on his head or shoulder.
It lives almost entirely on small insects and the worms and grubs which are to be found among decaying leaves and other vegetable matter. Its nature is pugnacious and, in pairing season, the male birds often engage in sharp encounters with each other.
It generally breeds in the months of October and November. It constructs a large and compact nest, composed externally of coarse moss firmly interwoven and thickly lined inside with the soft hair like substance which covers the young stems of the tree–fern. It is usually built against the bole of a tree, at a moderate elevation from the ground, being often found attached to and supported by the wiry stems of the kiekie.
Order: Passeriformes
Family: Eopsaltriidae (Petroicidae)
Genera: Petroica
Species: australis
Sub Species: longipes, australis, rakiura
18 cm., 35 g., dark grey with long thin legs, the male North Island robin, almost black with white spot above bill and pale grey lower breast, female and juveniles similar but greyer; male South Island, dark grey upper parts and upper chest, yellowish white lower chest and belly, white spot above bill, female and juveniles simliar with more grey on breast; Stewart Island similar to North island bird.
North Island robin, longipes, apart from good populations on Little Barrier and Kapiti Islands, are now found in a narrow band across the central North Island from Tarankai to the Bay of Plenty. The South Island robin, australis, are quite common north of Authur’s Pass National Park, in Buller, Nelson and coastal Marlborough, but are patchily distributed in southern parts. The Stewart Island robin, rakiura is quite common.
This is an implied shape because how the lines arent completely connected but it still implied the shape of a star.
As the name implies, morning glory flowers, which are funnel-shaped, open in the morning, allowing them to be pollinated by hummingbirds, butterflies, bees, and other daytime insects and birds as well as Hawkmoth at dusk for longer blooming variants. The flower typically lasts for a single morning and dies in the afternoon. New flowers bloom each day. The flowers usually start to fade a couple of hours before the petals start showing visible curling. They prefer full sun throughout the day and mesic soils. In cultivation, most are treated as perennial plants in tropical areas and as annual plants in colder climates, but some species tolerate winter cold. Morning glories are a close relative of Moon flowers which open at night to be pollinated by moths.
Wilmington DE August 9,2008
* Implied Theme * I Really Like You To Definitely The Moon And Back: I ought to have informed her every single day because she was perfect every single day. * Popular Elements * 5A cz is perfectly coupled with heart-formed 925 silver. Engraved I Really Like U Towards the Moon & Back heart necklace, which express perfectly your ex towards the beloved families, enthusiasts and buddies. * Specs * Chain Length: 45cm+5cm/17.7in+2in Pendant Size: 2.4cm*1.9cm/.94in*.75in Weight:4.53g/.16oz. * Audience * A flexible piece for ladies,ladies,women. Appropriate as Love Day Gifts, Moms day gifts, Christmas presents, wedding anniversary gifts, birthday gifts,
www.inspiredbycreativityjewels.co.uk/product/alex-perry-n...
curated by Robert Wilson's Watermill Center
at the New Island Festival on Governors Island, New York, 2009
On December 7, 2013, the Auburn University football team defeated the University of Missouri for the SEC Championship, at which point, Auburn fans rolled Toomer's Corner. Later that same day, Michigan State University defeated Ohio State University, causing Auburn to be chosen to play in the BCS National Championship. Auburn fans returned to Toomer's Corner and rolled it again. This is during the second rolling. The snow-like lights are reflections of my flash off of a very light mist of rain.
Rooms for Tourists - 1945
Artist: Edward Hopper (American, 1882–1967)
Edward Hopper’s paintings of buildings are portraits, in which the human presence is implied but not seen. In Rooms for Tourists, Hopper portrays the exterior of a boarding house in Provincetown, Massachusetts. He made study drawings of the building and then traveled there repeatedly at night while he worked on the painting. The contrast between the warm, electrically lit interior and the darkness of night outside captures the sense of transience and impermanence inherent in the boarding house’s impersonal arrivals and departures.
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Rooms for Tourists, like most of Hopper's scenic paintings, displays the importance of light as a dramatic element. The mood in pictures depends on the special character of light at different times of day, the light also creating a common basis for architectural forms and natural phenomena. Architecture's geometric order and nature's more varied structure are brought together by the clearly delineated shadows, which, however, retain their transparency; the two spheres thus attain balance and harmony. It is obvious, however, that this balance can be achieved only by freeing the buildings from their human context.
The extreme conflict between nature and civilization is not found in all of Hopper's art, it does help to explain how he portrayed human subjects in his paintings. More important than this clearly defined contrast, however, is the suggestive mood of Hopper's landscape paintings. They all try to capture a subjective feeling that has no visual form of its own. Hopper's basic theme is the mediation between the internal and the external. This is seen in Rooms for Tourists, where we are unable to look inside the house, and where the horizon as motif points both to the visual forms of the world and to elements that transcend the world: we can perceive the evening light reflected in the objects but not the light itself or its source.
www.edwardhopper.net/rooms-for-tourists.jsp#google_vignette
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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"The first example that implies a correlation between the style of architecture and the trading routes of the Hanseatic Leagues are façade and gables of the so-called kontors , the branch offices. Although one expects them to be more or less alike in the different areas of the League, because they were functional trading buildings, the kontors offer a clear impression of how the League spread the same style over the sea. A kontor in the context of the Hanseatic League is a either a foreign trading post, which usually included a warehouse and further facilities for the merchants to operate their businesses abroad, or simply the house of a merchant. Most of time the merchants incorporated their entire life in the kontor: The warehouse, office (kontor is also an old expression for the word "office") and optionally a shop were united under one roof with the merchant's family. The most distinct part of these kontor buildings in the Hanseatic era carried the typical gable style, which generally characterized the term of the "Baltic style". A gable is the upper enclosing wall surface of a building in the area roof area. It is also considered to be short for the term gable wall, which defines the entire outer wall from the gable down to the ground. These gables can provide information about of where the Hanseatic League exported its style along its trading routes in the Baltic."
www.grin.com/e-book/120232/hanseatic-architecture
"The entrance hall, locally called the diele, was the most important room in a medieval dwelling. It was the place to work in, to make business deals and to keep goods. "
"A door from the hall led to the living room (dornse). As a rule, it was the only room that could be heated. The heating was provided by the hot air heating system in the basement. The vaulted brick stove was covered with stones, that in their turn were covered by a flagstone plate with round holes in it. When the stove was being heated, the holes were closed and the smoke went into the chimney. When the firewood had burnt, the register was closed and the holes opened to let the warm air into the living room. Another door with the above-mentioned interior portal in the living room led to the basement. "
"Storage rooms were situated above the hall and the living room. There were no windows on this floor. A winch was used to haul the goods up to the storage rooms that had a trap-door towards the street on every floor. "
As the name implies these "Almost All Black Everythings" were inspired by the recent collaboration between HOV and Nike. Personally I don't think I could pull off an all black sneaker on the regular so I switched it up a little and added some Midnight Grey accents in the form of Carnage and Safari patterns, a metallic black swoosh, some silver grunge markings on the lace panels and "Almost All Black" feature text on the lateral lace panel.
Now available from sekured.bigcartel.com/
Jennifer and I got together for a quick shoot and produced these results. While Fall may be setting in, things are just starting to get heated up!
©FranksRails Photography, LLC.
wishing wierd and wonderful holiday excursions to all travelers of space, time and/or mind...
happy entanglement to all
and to all a transendant new yr!!!
๓ậтëø
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