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The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
Mumford & Sons’ Ted Dwane details the group’s new South African-influenced EP
| Plaincut | bit.ly/1DfNmQD
Marcus Mumford and his ramshackle rock crew became one of the biggest bands in the world with 2009’s wildly successful Sigh No More and 2012’s even…http://bit.ly/1SndBNT
Sadao Hasegawa
if his images weren't superhypersaturated exercises in surreality, they would have starker colours and play with shadow and light almost to the point of seeming cold
hasegawa's darker works always stayed in my mind
Social media influencers met President Tajani to discuss social media trends and relations with big politics.
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Hội An is a city of Vietnam, on the coast of the South China Sea in the South Central Coast region of Vietnam. It is located in Quảng Nam Province and is home to approximately 120,000 inhabitants. It is recognized as a World Heritage Site by UNESCO. Hội An Ancient Town is an exceptionally well-preserved example of a South-East Asian trading port dating from the 15th to the 19th century. Its buildings and its street plan reflect the influences, both indigenous and foreign, that have combined to produce this unique heritage site.The city possessed the largest harbour in Southeast Asia in the 1st century and was known as Lâm Ấp Phố (Champa City). Between the seventh and 10th centuries, the Cham (people of Champa) controlled the strategic spice trade and with this came tremendous wealth. The former harbour town of the Cham at the estuary of the Thu Bồn River was an important Vietnamese trading centre in the 16th and 17th centuries, where Chinese from various provinces as well as Japanese, Dutch and Indians settled. During this period of the China trade, the town was called Hai Pho (Seaside Town) in Vietnamese. Originally, Hai Pho was a divided town with the Japanese settlement across the "Japanese Bridge" (16th-17th century). The bridge (Chùa cầu) is a unique covered structure built by the Japanese, the only known covered bridge with a Buddhist temple attached to one side.
ETYMOLOGY
Hội An translates as "peaceful meeting place". In English and other European languages, the town was known historically as Faifo. This word is derived from Vietnamese Hội An phố (the town of Hội An), which was shortened to "Hoi-pho", and then to "Faifo".
HISTORY
The early history of Hội An is that of the Cham. These Austronesian-speaking Malayo-Polynesian peoples created the Champa Empire which occupied much of what is now central and lower Vietnam, from Huế to beyond Nha Trang. Various linguistic connections between Cham and the related Jarai language and the Austronesian languages of Indonesia (particularly Acehnese), Malaya, Cambodia and Hainan has been documented. In the early years, Mỹ Sơn was the spiritual capital, Trà Kiệu was the political capital and Hội An was the commercial capital of the Champa Empire - later, by the 14th century, the Cham moved further down towards Nha Trang. The river system was the transportation for goods between the highlands, inland countries of Laos and Thailand and the low lands.In 1535 Portuguese explorer and sea captain António de Faria, coming from Đà Nẵng, tried to establish a major trading center at the port village of Faifo. Hội An was founded as a trading port by the Nguyễn Lord Nguyễn Hoàng sometime around 1595. The Nguyễn lords were far more interested in commercial activity than the Trịnh lords who ruled the north. As a result, Hội An flourished as a trading port and became the most important trade port on the South China Sea. Captain William Adams, the English sailor and confidant of Tokugawa Ieyasu, is known to have made at least one trading mission to Hội An (around 1619). The early Portuguese Jesuits also had one of their two residences at Hội An.
In the 18th century, Hội An was considered by Chinese and Japanese merchants to be the best destination for trading in all of Southeast Asia, even Asia. Japanese believed the heart of all of Asia (the dragon) lay beneath the earth of Hội An. The city also rose to prominence as a powerful and exclusive trade conduit between Europe, China, India, and Japan, especially for the ceramic industry. Shipwreck discoveries have shown that Vietnamese and Asian ceramics were transported from Hội An to as far as Sinai, Egypt.Hội An's importance waned sharply at the end of the 18th century because of the collapse of Nguyễn rule (thanks to the Tây Sơn Rebellion - which was opposed to foreign trade).
Then, with the triumph of Emperor Gia Long, he repaid the French for their aid by giving them exclusive trade rights to the nearby port town of Đà Nẵng. Đà Nẵng became the new center of trade (and later French influence) in central Vietnam while Hội An was a forgotten backwater. Local historians also say that Hội An lost its status as a desirable trade port due to silting up of the river mouth. The result was that Hội An remained almost untouched by the changes to Vietnam over the next 200 years.
Today, the town is a tourist attraction because of its history, traditional architecture and crafts such as textiles and ceramics. Many bars, hotels, and resorts have been constructed both in Hội An and the surrounding area. The port mouth and boats are still used for both fishing and tourism.
WEATHER
Calm mild weather is now limited to the season of May/June - end of August when the seas are calm and wind changes direction and comes from the South. The remainder of the year the weather is intermittent between rain & cold and hot & mild. Popular activities such as visiting offshore Cù lao Chàm islands are only guaranteed to be likely during the short season of end of May to end of August, which is the high season for domestic tourism.
HERITAGE AND TOURISM
In 1999, the old town was declared a World Heritage Site by UNESCO as a well-preserved example of a Southeast Asian trading port of the 15th to 19th centuries, with buildings that display a unique blend of local and foreign influences. According to the UNESCO Impact Report 2008 on Hội An, tourism has bought changes to the area which are not sustainable without mitigation. Due to the increased number of tourists visiting Hoi An a variety of activities are emerging which allow guests to get out of the old quarter and explore by motorbike, bicycle, Kayak or motorboat. The Thu Bon River is still essential to the region more than 500 years after António de Faria first navigated it and it remains an essential form of food production and transport. As such kayak and motorboat rides are becoming an increasingly popular tourist activity.
MUSEUM
The city has four museums highlighting the history of the region. These museums are managed by the Hoi An Center for Cultural Heritage Management and Preservation. Entrance to the museum is permitted with a Hoi An Entrance Ticket.
The Museum of History and Culture, at 13 Nguyen Hue St, was originally a pagoda, built in the 17th century by Minh Huong villagers to worship the Quan An, and is adjacent to the Quan Cong temple. It contains original relics from the Sa Huynh, Champa, Dai Viet and Dai Nam periods, tracing the history of Hoi An's inhabitants from its earliest settlers through to French colonial times.
The Hoi An Folklore Museum, at 33 Nguyen Thai Hoc St, was opened in 2005, and is the largest two-storey wooden building in the old town, at 57m long and 9m wide, with fronts at Nguyen Thai Hoc St and Bach Dang St. On the second floor, there are 490 artifacts, organised into four areas: plastic folk arts, performing folk arts, traditional occupations and artefacts related to the daily life of Hoi An residents.
The Museum of Trade Ceramics is located at 80 Tran Phu St, and was established in 1995, in a restored wooden building, originally built around 1858. The items originating from Persia, China, Thailand, India and other countries are proof of the importance of Hội An as a major trading port in South East Asia.
The Museum of Sa Huỳnh Culture, is located at 149 Tran Phu St. Established in 1994, this museum displays a collection of over 200 artifacts from the Sa Huỳnh culture - considered to be the original settlers on the Hội An site - dating to over 2000 years ago. This museum is considered to be the most unique collection of Sa Huỳnh artefacts in Vietnam.
WIKIPEDIA
Left-to-right, top to bottom: Smurfs; Stephen Biko; Apocalypse Now (which I first saw on an IMAX screen and left me speechless for hours); Gumby; Maurice Sendak's In the Night Kitchen (where he dared to show a naked boy falling into a world populated by Oliver Hardy clones); Aung San Suu Kyi; pewter miniature figures for Dungeons & Dragon and related role-playing games; Tank Girl; Steve Austin the Bionic Man; Godzilla; Sendak's Where the Wild Things Are; Marcus Garvey; Hogan's Heroes; Bugsy Malone (I wish all wars could be fought with cream puffs); Marty Feldman; HR Pufnstuf; Dr Who; Conan The Barbarian (sporting a CRASS tattoo); The Yellow Submarine; Planet of the Apes; Popeye; Killroy; Evil Kneivel; The A -Team.
Missing from this picture: Dr Seuss
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I am a fan of art, art my maker, I am photographer. The influence of contemporary art, pop art and collage brought by international artist such as Andrea Floris, Robert Rauschenberg, Andy Warhol, Roy Lichtenstein and several local artists such as Ahmad Shukri, Go with Abu Hassan and etc have made me to create artwork as above.
Virtually every week often appear in newspaper stories about children abuse. as an art maker and photographer, I started to feel not satisfied with what happened. from there I began to work on. Use of the main subject (kids) and the use of words in this artwork will make audiences think what is happening around us. I use the colors that are often used other pop artists to raise the mood of kids in this artwork.
Some people talk about how I create this artwork is not photography, too much text in this artwork, and etc. This is still photography, because I use the camera to capture the subject matter (kids), I use the lighting in my work, I use my drawing in the paper, but I tried to run away from the box what is photography itself. Reached when the photography / photographer to stay in style at the existing?
“ Art as part of culture usually serves to protect society " - Arnold Hauser (1951)
Youtubere støtter Redningsselskapet i forbindelse med Giving Tuesday 2017 - www.ntbinfo.no/pressemelding/youtubere-hjelper-redningsse...
Stoneware fired to cone 10 in reduction.
Wood ash glaze recipe based on Richard Aerni's basic ash glaze with 3% red iron oxide added:
Wood Ash 50
Custer Feldspar 12.5
Whiting 12.5
Silica 12.5
Ball Clay 12.5
___________
Red Iron Oxide 3
All Saints, Hitcham, Suffolk
If you don't know mid-Suffolk, you may well be surprised by the hills which roll across the space between Stowmarket and Hadleigh, as if this was not East Anglia at all. In this remotest part of the county, miles from the nearest town, villages take on a self-sufficient air, and Hitcham is the largest of them. Its church, All Saints, sits high in a wide open churchyard on the outskirts of the village. The house opposite the entrance to the graveyard was the medieval guild hall. This is a big church, and was once the centre of one of the county's largest parishes. It was the Priory of Ely's most valuable living in the whole of the county, worth twice as much as any other, and was therefore bestowed on favoured clerics.
This situation continued when the patronage was taken over by the state after the Reformation, and to be made rector of Hitcham remained a desirable appointment well into the 20th Century. As the excellent guidebook notes, some rectors of this parish achieved fame and influence. Take Adam Easton, for instance. In the 14th Century, he was made a cardinal while still rector here. However, as he was also Archdeacon of Shetland, Orkney and Dorset, as well as Prior of Saint Agnes at Ferrara in Italy and the personal secretary to Pope Urban VI, one assumes that he didn't spend a lot of his time on parish business. His successor John Bremore was the personal secretary to the antipope John XXIII at Avignon, so presumably he didn't live in the parish either.
John Whytewell, Rector throughout the Reformation, was chaplain to Thomas Cranmer, although, unlike that stubborn character, he received a royal pardon from Mary. Coming forward to the 17th Century, Laurence Bretton was a solid Laudian, ensuring his inevitable removal by the Puritans as a scandalous minister (for which, read 'liberal intellectual'). His successor, Miles Burket, had also been a Laudian, but in a Vicar of Bray fashion he became the Puritan preacher here, and died in poverty after the Restoration.
Mostly, the Rectors here seem to have been a jolly lot. John Matters, in the first decades of the 19th century, was famous for his befriending of, and care for, the poor of the parish, matched only by his neglect of his ecclesiastical duty. He is quoted in the guide as having a favourite saying: He that drinks strong beer, and goes to bed quite mellow, lives as he ought, and dies a hearty fellow. And his successor was Hitcham's most famous rector of all, but we'll come back to him in a minute.
Hitcham was not home to a great landed family, so it was the power and wealth of Ely priory that built this church. It is a grand affair, entirely rebuilt in the 14th and 15th centuries. One look tells you that this was not a piecemeal building. Mortlock observes that the grand flushwork porch is very like the one at neighbouring Bildeston, but it does not seem so imposing here against this big building. There is a very odd stop on the 15th century doorway. The one on the left is a lion, but on the right there appears to be a wild man and a tree surrounded by a picket fence.
At first sight, the interior is slightly disappointing. Large and plain, it is as if it had been scraped clean by Miles Burket's cronies, perhaps in reaction to the incumbency of Laurence Bretton. The brick floors are attractive, and the fine 14th century aches of the arcades reach right up into the clerestory, but the heavy Victorian woodwork gives it all a sombre feel.
The hammerbeam roof was rebuilt after the Reformation, and includes lots of unfamiliar secular imagery, the heraldry of the State. However, there is some dispute about exactly when this happened, why, and how much was renewed. The arms of both James I and Charles I are here, giving a date in the first third of the 17th century, but the pineapple pendants appear more recent. At the west end, however, there are a couple of secretive green men on the hammer beam ends, which must be from an earlier age. One theory suggests that the roof was repaired in a hurry after a fire, and then beautified later.
The chancel is a 19th century rebuilding (a photograph of this event, which used to be at the west end, is rather alarming, like a gap-toothed Madonna) and it is evidence of the Anglo-catholic enthusiasm of Alexander Grant, Rector for the last 40 years of the 19th Century. At nearby Kettlebaston, this enthusiasm was realised by the Vicar there in the form of a gorgeous little shrine, but here, something more grandiloquent was intended. Hence the five steps up to the chancel, and two more up to the sanctuary, representative of the seven sacraments of the Catholic Church, and familiar from 19th century London Anglo-catholic churches. There is no evidence that Anglo-catholicism ever took such a firm foothold here, though.
The chancel is so grand, some visitors must easily overlook the remains of the rood screen. Only the dado survives, but it is worth a look because instead of saints the panels depict angels holding the instruments of the Passion. Something similar can be seen at Blundeston in the north of the county, and there are also angels on the screen at Southwold of course. Not surprisingly, they were vandalised by the 16th century reformers. What is more surprising is that they have survived at all. Presumably they were moved to their present position at the time of the 19th century reordering, but when Arthur Mee came here in the 1930s, he could barely discern them as figures, and thought them saints. So they've been restored, probably under the influence of Munro Cautley when he was diocesan architect.
In such a wealthy parish, perhaps it is not surprising that little else medieval survives. The converse of this, of course, that the restoration of this church has generally provided work of quality. Although the benches are heavy, they do carry several bench ends which are probably the work of the great Ipswich woodcarver Henry Ringham. The best are the four evangelistic symbols towards the front. In fact, the guidebook suggests that the benches were removed from the church towards the end of the 19th century and replaced with chairs as at Rattlesden and Kettlebaston, only to be returned at the behest of the eccentric and splendidly-named Maxwell Maxwell-Gumbleton, who was jointly Bishop of Dunwich and Rector of Hitcham in the 1930s and 1940s. Maxwell-Gumbleton had a Bishop's throne built, which he installed in the chancel. It must have given his parishioners something to think about. It is still there today, and is replicated in slightly more modest form by the churchwardens' seats at the west end. Maxwell-Gumbleton's also are the George VI coat of arms, dated 1937, and a lovely modern font cover, given as a memorial.
From an earlier age are the very elaborate brass inlay in front of the sanctuary, and the mid-17th century memorial to a Waldegrave in the north aisle, more austere than it would have been twenty years before or after. In the south aisle there is a copy of the Adoration of the Magi by Rubens, which is in Kings College Chapel. At first, I couldn't work out why it looks a little odd, and then it hit me - it is in reverse.
Many years ago, I chatted with a churchwarden here, and she told me tha, although 42 men in this parish lost their lives in the first world war, only 28 of them are remembered on the war memorial here. She suggested that this was perhaps because the others were from chapel families, or perhaps the families had moved away before the memorial was installed. Whatever, it gave me pause for thought, for if a similar situation exists in other parishes, then we may assume that many hundreds of people who gave their lives have, in fact, been forgotten.
But one name stands out in this parish as forever being associated with it. You might overlook the simple memorial in the chancel by Thomas Woolner, and you'll certainly miss the little memorial plaque above the door as you came in, but both are worth a look because they both remember the same person, the great John Stevens Henslow.
Henslow was a remarkable man by anyone's standards. He was Regius Professor of Botany at Cambridge University in the 1830s, and was looked on with enough favour to secure the lucrative Hitcham rectorship. However, rather than send a poorly-paid curate to do his work for him, which would have been the usual early 19th century Trollopeian way, he followed in John Manner's footsteps, and came to Hitcham himself.
It is hard now to imagine what a contrast this remote place must have been with cosmopolitan Cambridge, barely 40 miles away. Henslow wrote in his diary that he had come to "a woefully neglected parish, where the inhabitants, with regard to food and clothing and the means of observing the decencies of life, were far below the average scale of the peasant class in England." It is recorded that his first congregation here in this vast space was insufficient to fill one pew.
Over the course of the next 25 years, he turned his parish upside down, applying his scientific knowledge to the antiquated and conservative farming methods of the local farmers. He increased their prosperity, and that of the poor farm labourers. He started a school, and an institute of adult education. He led outings through the local countryside, and would sometimes take the whole parish on the train to London, including one trip to the great Exhibition of 1851 in Hyde Park. It was said that the entire village emptied on these occasions, travelling by cart and on foot to Stowmarket railway station, and then on to London.
"Everyone is to be in good humour", he told his parishioners, "accommodating to all, and especially attentive to the ladies of the party. If the weather should prove unpropitious, every one is to make the best of it, and not to complain more than he can possibly help."
It is said that, on holiday at Felixstowe, he realised the fertilizing properties of the coprolite nodules in the cliffs there, and interested two local farming brothers so much that they set up a fertiliser processing factory at Ipswich docks. Their name was Fison.
But an even more famous name associated with Henslow is Charles Darwin, one of Henslow's students at Cambridge. Henslow encouraged Darwin to investigate the development of species, finding him a place aboard HMS Beagle, the scientific survey ship. Darwin sent his notes and samples back to Henslow, who circulated them in the scientific community. Darwin came back to England to find himself a celebrity. The basis of The Origin of Species was put together at Hitcham Rectory, although Henslow would later repudiate its conclusions.
Most importantly, however, as far as my children were concerned when they were younger, Henslow was the guiding light behind the opening of Ipswich Museum, which still retains one of the finest 19th century natural history collections in the country. A portrait of him hangs in the entrance hall, and the name of a road in the east of the town remembers him.
He died at the relatively young age of 65. His predecessor had been the jolly John Matters. His successor was the Anglo-catholic enthusiast Alexander Grant, who, as well as rebuilding the chancel, is still remembered in the village for taking the side of the workers during the lock-out strike of 1874, when he allowed them to use the church building for their meetings.
These three extraordinary men between them spanned the entire 19th century here. Trollope himself could not have written a better novel.
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
Steve Martini
A Jove book by The Berkley Publishing -1995 - 462 pages
Cover design: Corsillo/Manzone and Fred George
ISBN 0-515-12072-3
Price: 6,99 $
Mooresville, NC – goo.gl/qbDzFe As it is every year, the SEMA Show's sheer size and influence on the entire universe of aftermarket automotive products delivered in a big way. With the SEMA show running through Friday followed by the SEMA Ignited after show and of course the Optima Ultimate Street Car Invitational, it was a full week of non-stop action at every turn. See all the photos here www.detroitspeed.com/SpeedNews/SEMA-OUSCI-2015-recap/SEMA...
The SEMA show started Tuesday morning with hundreds of companies bringing in some of the best aftermarket builds in the country to show off their parts and hard work. Anything you could imagine is at the SEMA show, from Hot Rods to the latest in modern performance, there was no shortage of things to see. The Detroit Speed booth was packed day in and day out.
The Detroit Speed crew had Moe's 1969 Charger at the HRIA booth and also had Moe’s 1970 Chevelle on hand at SEMA central and immediately received lots of attention. The team from BCIITV were on hand Tuesday with the Chevelle shooting footage for Competition Ready, the new TV show from Velocity that will air early in 2016. The team followed the Chevelle around all week capturing footage of the run to the Top Ten of the Battle of the Builders, being named a finalist for the Mother's shine award as well as capturing a GM Best G-Machine award. Unfortunately the Chevelle didn't make the top 3 but we were all still very proud of the accomplishments and recognition it garnered throughout the week. Detroit Speed also had the CDV (Cool Delivery Vehicle) that was located at the Mother's Polish booth, came in handy, and received a nice plaque from General Motors. Congratulations to Bobby Alloway for winning the competition. Now Moe's Chevelle wasn't the only Detroit Speed built car making some waves, Moe's 1969 Charger was invited to participate in the Optima Ultimate Street Car Invitational following the SEMA show at Las Vegas Motor Speedway. Along with the Charger and the Chevelle, Detroit Speed were well respresented with Detroit Speed "Equipped" cars on the show floor and at OUSCI. We would also like to take a moment to congratulate Tim and Cici Spencer. Tim's Detroit Speed "Equipped" 1969 Mustang won the Mother's Shine award. Tim's Mustang spent some time at DSE early in its life.
With the inclusion of the Charger, Detroit Speed now had three cars in the competition to be named the Ultimate Street Car for 2015. Kyle Tucker drove his trusty Detroit Speed 1970 Camaro while Ryan Mathews drove the Detroit Speed 2012 White Monster Camaro. Test Car foreman, Matt Butts, who was out to oversee the 1970 and 2012 ended up becoming the driver of the Charger and performed rather well driving the newly completed monster of a Charger. Before the competition started Kyle was awarded with his GTV class championship trophy and his overall class champion trophy. The competition was stiff as classes were wiped out for this competition and everyone competed in one big field. Danny Popp came away with the victory for the 2nd time in a row.
Ryan will now turn his focus to the Goodguys Scottsdale Autocross Finals taking place November 20th - 22nd. Kyle already captured the 2015 Goodguys Pro Class points championship and sets his sights on the autocross finals. Unfortunately with the Baja 1000 calling his name, Kyle will not be able to compete in the Scottsdale finals.
SEMA 2015 Highlights
• Moe's Chevelle was named a Top Ten Finalist in SEMA Ignited's Battle of the Builders
• Moe's Chevelle also captured the Chevrolet "Best G-Machine" award at the Chevrolet Design Award Breakfast
• Moe's Charger was invited to the Optima Ultimate Street Car Invitational at Las Vegas Motor Speedway
• Kyle and Ryan performed well but were unable to crack the Top Ten at the OUSCI
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
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Based in the work of popular peruvian artists, this font has three versions that works as layers to simulate the colorful effect of their market signs. Chicha is the name for the mix of cumbia and andean music that started this graphic style in their posters. Each font has 900 glyphs including ornaments, stylistc alternates and ligatures with west european diacritics. It's a great font with rythm and popular flavor for display use.
See the full specimen at issuu.com/diegosanzsalas/docs/chicha_specimen
Buy it at www.cocijotype.com/foundry/chicha/
mirit ben nun woman women feminine female composition artistic artwork strong language influence idea powerful center of art participate gallery exhibition vision work works muse leading art artist gallery museum paint painter painters painting paintings drawing draw drawings israel israeli media acrylic talented timeless dynamic emerging energetic exceptional expressive extreme figurative fresh imaginative abstract aesthetic authentic inspiring the beautiful classic colorful conceptual contemporary creative decorative detailed participates in an exhibition powerful leading model diferent special art world talented virtual gallery stunning symbolic reclyced material unexpected visual intuitive inventive layered like mature moving original personal pure refreshing remarkable looks good magical angle art sales drama positive red easy perfect minded eye fun funny natured someone special the gifted special diferent influent light happy colorful hardworking intellectual intelligent wish wonderful the drawings paintings draw colorful influence israeli reclycled material magnetic angelic accepting bright careful half main curious perfect work works picture pictures working shape leading model first representing the wonders independent woman african american leading talented muse solo exhibition leader subject group exhibition exhibit the subject look vision image outside country artist art sales sale acrylic canvas artworks modern contemporary original visual sculpture collection collector image images figurative exhibit exhibition abstract culture museum figurative decorative dealer
Here is a very informative article by Erin Jordan assessing our chances for a productive 2015 Summer Monsoon Season:
"Monsoon 2015 forecast: More factors working in our favor"
www.tucsonnewsnow.com/story/28968888/monsoon-2015-forecast
I am reproducing this article here because online articles often
disappear:
TUCSON, AZ (Tucson News Now) - Monsoon 2015 is looking like it could be a good one. More environmental factors that favor monsoon downpours are in place this year versus factors that can drop the overall storm chances. Below is a breakdown of the factors that influence the monsoon, plus if they have a good or bad influence this year.
Note: this story will be updated as new data comes into the Tucson News Now weather center.
BAD: El Niño. The one big 'if' in the monsoon forecast this year is El Niño. The connection between El Niño and the monsoon is weak, meaning the data doesn't show a strong relationship between the two. That being said, simply the presence of El Niño could weaken the onshore flow of tropical moisture needed for monsoon storms. El Niño means there is warmer than average water off the west coast of Mexico and towards the equator. This results in a smaller land-sea temperature difference, which is the opposite of what we want for stronger onshore moisture flow. The hot summer land temperatures create a low pressure system over the Mohave Desert. The presence of the low means there is rising air over the desert. That air is then replaced by tropical moisture flowing inland from the East Pacific and Gulf of California. With warmer ocean water temperatures, this onshore flow is weakened.
The El Niño forecast is for stronger conditions into the summer.
www.tucsonnewsnow.com/story/23083232/el-nino-and-la-nina
The below graphic [See my Figure 1] shows the current forecast. The different colored lines are the various computer models used to forecast El Niño, while the thicker yellow line in the middle is an average of all the models. The forecast points on the bottom x-axis show the forecast grouping in three month time frames. For example, JJA equals June, July, and August. As you can see the yellow line goes up through the summer months, which means the current El Niño could become stronger.
GOOD: El Niño's influence on the tropical storm forecast. However, the presence of El Niño is good for the tropical storm forecast for the East Pacific. These storms can send a surge of tropical moisture northward over the Gulf of California and into Arizona, spiking monsoon storm chances for a few days. The warmer than average water temperatures means there is a better chance of tropical storm and hurricane development off the west coast of Mexico this year. This can increase monsoon storm chances, especially in late August and September which is typically the peak of hurricane season. Hurricane season in the East Pacific runs from May 15 through November 30.
Track the tropics by clicking here.
www.tucsonnewsnow.com/category/214462/tropics
GOOD: Wet conditions in Sierra Madres. Then there are the moisture conditions in the northern Mexico mountain ranges. Typically the monsoon starts in Mexico in mid-June with the moisture and storm forecast expanding northward as we head into July. For Tucson the better chances for monsoon storms generally arrive around the July 4th holiday. Starting with dry conditions in Mexico can delay the start of the monsoon in Arizona. But on the flipside, the greener the mountains are at the start of the monsoon, the better chance the monsoon downpours will move into Arizona faster or on time. This process is nicknamed the 'greening of the mountains'. This year the conditions are looking wet in Mexico and that means the mountains are possibly already green. The below image [See my Figure 2] shows the percent of normal precipitation over the last 90 days. The blues and greens show where above average rain came down. This includes northern Mexico.
GOOD: Drought in Plains. While the moisture in Mexico is good for the monsoon in Arizona, we want the opposite in the Plains states to our east. The drought conditions favor the set up of the Bermuda High, which is a broad area high pressure that forms over the the eastern U.S. as the temperatures heat up into summer. This High pressure is generally centered near the eastern U.S. coastline or into the Atlantic near where Bermuda is located. The clockwise circulation around this high pushes moisture inland from the Gulf of Mexico. This provides the upper level moisture that helps to increase clouds and high-based storm chances early in the monsoon. Drought in the Plains states means that land will heat faster, bringing hot summer temperatures to the area quicker than it would if the land were moist. If the moisture were in place, some of the sun's energy would go into evaporating that moisture instead of heating the land.
The below graphic [See my Figure 3] shows the latest U.S. Drought Monitor updated. A severe drought persists in the southern Plains this spring.
GOOD: Dismal spring snowpack in Colorado. Lack of spring snow in the Rocky Mountains of Colorado is also good for the monsoon. This is for the same reason that drought is good in the Plains. If snowpack is still deep in the mountains in Colorado, the sun's energy goes to melting that snow instead of heating the land. We want the hotter temperatures in the Four Corners area to allow the Monsoon High to migrate into that area from Mexico. Early in the summer an area of high pressure moves out of Mexico, over Arizona, and sets up in the Four Corners area for the monsoon. This Monsoon High, as it is nicknamed, is partly what brings the very hot weather to Arizona in June. But as that high moves north, it opens the door for tropical moisture from the south to move into Arizona. The faster it moves north into the Four Corner's area, the faster the monsoon moisture has a chance to get into place over Arizona.
Mountain snowpack across the entire west was dismal during spring. The below graphic [See my Figure 4]shows the snowpack as of April 1, 2015. The red, yellow, and orange dots in indicate below average snowpack.
WAIT AND SEE: MJO.
And finally there is the Madden-Julian Oscillation, known shortly as the MJO. The MJO sends a wave of atmospheric energy that starts thousands of miles away in the Indian Ocean. This travels across the Pacific near the equator and towards the Central and South American coastlines. As this energy approaches the coastline, it generally ramps up tropical activity in the East Pacific. This translates to increased monsoon activity days to about a week later in Arizona. While this influence is only temporary, a more active MJO during the summer can lead to better monsoon storm chances overall.
Click here for the latest MJO forecast.
www.cpc.ncep.noaa.gov/products/precip/CWlink/MJO/mjo.shtm...
But then again, this is the monsoon. We all know it can be finicky. Flooding downpours one day with weeks of heat in between. The downpours will arrive. The big question is how much are we going to get. Check rain totals for your neighborhood by clicking here.
www.tucsonnewsnow.com/story/14996886/how-much-rain-fell-i...
Copyright 2015 Tucson News Now. All rights reserved.
There are those who know us and accept us as we are in our imperfect state. They know of mistakes and bad choices we have made but yet they don't hold it against us. That is a true friend. Friendship is defined by shared experiences with someone, not by money, social standing or materialistic possessions. When you have someone in your life that brings a sense of calmness to you amidst all the chaos you are going through, you have been blessed beyond measure. Sometime it's not what they say or do, but rather what they didn't say or didn't do. It's the small details that may not seem like nothing but really is something. When the storm has passed and they are still there with the same warmth and compassion towards you....you are blessed with a friend {Random Thoughts 8.31.10}
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
Native Influence
17301 Valley Mall Road, Suite 314, Valley Mall, Hagerstown, MD
This store opened in January 2021; it was previously a Limited Too. It became a Justice in 2009, which closed in 2020.
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