View allAll Photos Tagged influence
The evening before the space shuttle Challenger explosion, scientists at NASA caught what they thought was a potentially catastrophic risk with the o-rings considering the unusually cold temperature expected for the morning’s launch. They brought the issue to management attention but failed to influence the final decision enough to stop the launch. Your failure to influence may not cost lives but it could be “catastrophic” for your business.
Influenced by West Coast culture, here racing-influenced performance and appearance matter this track-inspired Torch Red Corvette Stingray Z51 Coupe’s design is purposeful and compelling. The high-performance hue is complemented by a carbon fiber hood and a visible carbon-fiber weave on the removable roof panel, as well as a satin-black front splitter and rocker extensions.
Modernism is not the brainchild of any person, but a convergence of many ideas and thoughts throughout the decades. With the advent of the industrial revolution and the rapid changing of the times, there was a call for a new way of representation.
The spirit of modernity is the embodiment of the technologies of the times. The use of computational based design within this proposal reflects the age of information - the age of our times. This is a graphical representation of the forces of modernity. People dictate the flows and in turn affect others. Names of influential modern designers/architects of the 20th century, such as Gerrit Rietveld, Norman Foster and Alvaro Siza, serve as the poles in which forces (lines) radiate from. This in turn develops into a ripple effect. They act as philosophical and physical forces of influence.
Influences of Cezanne and modern landscape painters such as Georgia O'Keefe, oil on canvas is an example of creating art using bold colors, and dynamic forms to create unity in the artwork. Check out www.charlotterossmann.com for more information
This and the following image are 2 attempts to change the general impact of an image. The hostile but beautiful weather conditions on the day reminded me of those very famous and stunning old prints of waves by a Japanese print maker.
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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.
.
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.
_______________________________________
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.”
.
The architects were greatly influenced by the design of the runner-up in the Chicago Tribune competition of 1922, a work by the acclaimed Finnish architect Eero Saarinen. This was particularly in their handling of the individual setback blocks, as Robert Bruegmann observed in Chicago History (1980):
'Saarinen had solved the problem of composing the skyscraper façade by making a number of small setbacks and unifying them by the continuous deep channels of windows between the wall surfaces and by eliminating all horizontal stops. The eye tended to follow the vertical lines straight up to the top of the building, minimizing the breaks in massing and emphasising the verticality. Holabird and Root used essentially this solution at 333 N. Michigan.'
The architects further refined their treatment of the setback in subsequent buildings, including the Palmolive and the Chicago Board of Trade.
333 N. Michigan is composed of two sections: the main block, which is twenty-four storeys high, and a sleek tower to the north, that rises to a height of thiry-five storeys. The tower is composed of graceful setbacks reminiscent of the Saarinen design. The architects sited the building so that its narrow tower faced north, overlooking the open expanse of the Chicago River, which gave a sentinel quality to the structure. At the fifth floor of the building, a series of seven-foot high carved limestone panels line the façade.
In the year following the building's completion, an article in the Chicago Tribune called it one of the finest examples of modernistic architecture in the city, if not in the country.......”The lines of the building, when observed in perspective, do not present a series of right angles as is often the case in New York structures employing setbacks. The result is softer lines which many admirers of skyscraper architecture find more to their taste”
Extract from "The Sky's the Limit" (1990) edited by Pauline A Saliga.
chuck tolar
says skippy feinstein caseiro was my most favorite influence in the catholic church.
All Saints' Day, also known as All Hallows' Day, Hallowmas,[3][4] Feast of All Saints,[5][6] or Solemnity of All Saints,[7] is a Christian festival celebrated in honour of all the saints, known and unknown. It occurs on different dates in different Christian traditions. Several Western Christian denominations celebrate it on 1 November, including the Roman Catholic Church, the Anglican Communion, the Methodist Church, the Lutheran Church, and other Protestant churches. Meanwhile, the Eastern Orthodox Church and the Eastern Catholic churches celebrate it on the first Sunday after Pentecost as The Sunday of All Saints.[8]
Christians who celebrate All Saints' Day and All Souls' Day do so in the fundamental belief that there is a prayerful spiritual bond between those in heaven (the "Church triumphant"), and the living (the "Church militant"). In Catholic theology, the day commemorates all those who have attained the beatific vision in Heaven. It is a national holiday in many historically Catholic countries. In Methodist theology, All Saints Day revolves around "giving God solemn thanks for the lives and deaths of his saints", including those who are "famous or obscure".[9] As such, individuals throughout the Church Universal are honoured, such as Paul the Apostle, Augustine of Hippo and John Wesley, in addition to individuals who have personally led one to faith in Jesus, such as one's grandmother or friend.[9]
In the Western Christian practice, the liturgical celebration begins at Vespers on the evening of 31 October, All Hallows' Eve (All Saints' Eve), and ends at the close of 1 November. It is thus the day before All Souls' Day, which commemorates the faithful departed. In many traditions, All Saints' Day is part of the triduum of Allhallowtide, which lasts three days from 31 October to 2 November inclusive.[10]
In the British Isles, it is known that churches were already celebrating All Saints on 1 November at the beginning of the 8th century to coincide or replace the Celtic festival of Samhain.[11][12][13] James Frazer suggests that 1 November was chosen because it was the date of the Celtic festival of the dead (Samhain) – the Celts had influenced their English neighbours, and English missionaries had influenced the Germans. However, Ronald Hutton points out that, according to Óengus of Tallaght (d. ca. 824), the 7th/8th century church in Ireland celebrated All Saints on 20 April. He suggests that 1 November date was a Germanic rather than a Celtic idea.[11]
Eggplants - ca. 1929
Artist: Marsden Hartley (American, 1877–1943)
--------------------------------
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.
.
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.
_______________________________________
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.”
.
Permission: You may use these pictures in any relevant promotion of #WeAllGrow Summit. All pictures MUST credit Robson Muzel and #WeAllGrow Summit 2015.
Island Influence
04 June 2013 -- 155/365
Providence, Rhode Island
While driving through Roger Williams Park in search of a photo, I spotted this section of the adjacent Oakland Cemetery. With graves dating back to 1848, the cemetery provides an interesting view into the way the cities demographics have changed. This section of the cemetery contains the graves of Rhode Island's Puerto Rican community. As of 2009, 23.56% of the city was of Puerto Rican heritage. The style of decoration in this section of the cemetery is more typical of what you would find in the Caribbean islands. While the grass could use a bit of a trim, the graves themselves are very well cared for, and almost all have small shrines with candles and flowers.
Post processing started with a brilliant warm filter in Topaz Adjust. I then adjusted adaptive exposure, regions, and contrast. A levels adjustment was added in PSE.
The Waldorf Astoria Hotel with American flags hanging above the marquee entrance on 301 Park Avenue between 50th and 51st Streets in New York City 2014 - NYC 07/05/2014 taxi cab exterior art architecture Midtown Manhattan East side Art Deco landmark designed by architects Schultze and Weaver - built in 1931 Waldorf Towers Aztec Mayan design influence
"The Influence of New US and UN Leadership on International Relations, Economic Development, Innovation, New Markets, & Global Human Rights"
(New York City & Washington DC; January 10th - 14th, 2017)
Photos of my work as photographer at the Institute for Cultural Diplomacy (ICD). Berlin, Germany.
CASTELLANO
Fotos pertenecientes a mi trabajo como fotógrafo en el Institute for Cultural Diplomacy (ICD). Berlin, Alemania.
by Duncan Brown and Nick Hayes, with a case study by moi about blogging at Yahoo, p. 174-176
ZoneTag: Photosphere / About. Owner only: Fix Location / Add Tags / Settings
The influence of both Indian and Indo-Caribbean culture can be seen in The Procession, as in much of Locke’s work to date. It is unclear whether the procession participants are wearing masks or if these are their true faces. Several figures and costumes within The Procession reference specific Caribbean Carnival characters from across the region. These include Mother Sally in her voluminous dress, Midnight Robber, wearing a huge, brimmed hat, Pitchy Patchy, dressed in a suit made of tattered, colourful pieces of cloth, and Sailor Mas, inspired by British, French and American naval staff. Each has its histories, and its portrayal differs across the Caribbean.
[Tate Britain]
Taken in the 2022 Tate Britain Commission:
Hew Locke: The Procession
(March 2022 – January 2023)
A procession is part and parcel of the cycle of life; people gather and move together to celebrate, worship, protest, mourn, escape or even to better themselves. This is the heart of Hew Locke’s ambitious new project, The Procession.
The Procession invites visitors to ‘reflect on the cycles of history, and the ebb and flow of cultures, people and finance and power.’ Tate Britain’s founder was art lover and sugar refining magnate Henry Tate. In the installation Locke says he ‘makes links with the historical after-effects of the sugar business, almost drawing out of the walls of the building,’ also revisiting his artistic journey so far, including for example work with statues, share certificates, cardboard, rising sea levels, Carnival and the military.
Throughout, visitors will see figures who travel through space and time. Here, they carry historical and cultural baggage, from evidence of global financial and violent colonial control embellished on their clothes and banners, alongside powerful images of some of the disappearing colonial architecture of Locke’s childhood in Guyana.
The installation takes inspiration from real events and histories but overall, the figures invite us to walk alongside them, into an enlarged vision of an imagined future.
What I try to do in my work is mix ideas of attraction and ideas of discomfort – colourful and attractive, but strangely, scarily surreal at the same time.
Hew Locke
[Tate Britain]
Permission: You may use these pictures in any relevant promotion of #WeAllGrow Summit. All pictures MUST credit Robson Muzel and #WeAllGrow Summit 2015.
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