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Jhandewala is manufacturers and marketers of Desi Ghee and Dairy Products from past 100 years: ISO 22000:2005, FSSAI & HACCP certified company. The purity and quality of naman's ghee is trusted from past 100 years.
Casa abierta de juguetes lúdicos elaborados con material de reciclaje por parte de promotoras del CNH (Creciendo con Nuestros Hijos)
materiales: 1 troquel/ 2 yardas de cinta de satín estampada café/ 3 yardas de cinta naranja/ 1 yarda de organza café/ 1 diadema/ fómix piel/ plumón/ pintura roja y negra para fómix/ pinceles finos/ pegamento/ pistola de silicón/ 1 crayón pastel al óleo rojo.
Over the years the appearance of the VW Beetle has inspired many artists, photographers and children artists. Examples are countless.
I'll show you here just a few...
This artistic analytic approach of the iconic Beetle is of a very unusual kind. Studio Drift took a 1970s Beetle in parts and separated the different materials used for composing a VW Beetle. Note the surprising different amounts of the various raw materials (see previous images).
Seen on the Studio Drift exposition Stedelijk Museum, Amsterdam, April 25-Aug. 26, 2018.
Collection Studio Drift, Amsterdam.
See also: www.studiodrift.com and: www.stedelijk.nl/en/exhibitions/studio-drift
Amsterdam, April 30, 2018.
© 2018 Studio Drift/Sander Toonen Amsterdam | All Rights Reserved
Material Circulante: CP 1963
Unidade de Negócio: CP CARGA SA
Comboio nº 57130 [Valença - Gaia]
Local: Lousado
Hora: 16:34
flickriver.com/photos/javier1949/popular-interesting/
Proyecto paisaje urbano en Tetuán
Plaza del poeta Leopoldo Luis, calles Matadero con Ángel Puech, Hierbabuena, Lope de Haro, Marqués de Viana, Almortas… Barrio de Tetuán, Madrid
Proyecto Tetuán para la mejora de paisaje urbano de Tetuán tiene como objeto desarrollar una experiencia para explorar las posibilidades de mejora del paisaje urbano mediante intervenciones de carácter artístico durante 2013. Esta acción se encuentra entre las recogidas en el Plan Estratégico de Cultura del Ayuntamiento de Madrid 2012-2015 (PECAM) y se inscribe dentro de las líneas encaminadas al fomento de la creatividad, la participación pública y la difusión en la mejora del paisaje urbano. El proyecto contempla, por tanto, dos ámbitos de trabajo: por un lado el orientado a los artistas y sus intervenciones y, por otro, las tareas de difusión y participación ciudadana.
Tras varias sesiones de trabajo abiertas llevadas a cabo durante este año, se generado un grupo de trabajo para la gestión compartida del proyecto del que forman parte: integrantes de Red de agentes culturales de Tetuán (entre los que se encuentran Moenia, Pkmn, Taller de Casquería, Mood Studio o Bea Burgos, de Aquí Tetuán) colectivos dedicados a la creación, la arquitectura o el paisajismo vinculados o interesados en trabajar en el distrito de Tetuán, como Estudio Montes, Pez Arquitectos, Ahora Arquitectura y La Galería Magdalena, representantes o agentes vecinales del barrio, agentes de la Dirección General de Paisaje Urbano, de la Junta Municipal de Distrito e Intermediae.
Tras desarrollar conjuntamente el proyecto y definir las actuaciones a llevar a cabo, el grupo de trabajo ha invitado a otros colectivos a implicarse en acciones concretas acompañadas por agentes vinculados al distrito de Tetuán que han participado en la definición del proyecto. Entre ellos Germinando, Perricac, La Fresquera, Basurama y Zuloark.
También forman parte del proyecto los artistas implicados en los muros artísticos gestionados por el equipo de la Dirección General de Paisaje Urbano testeando el funcionamiento de la Oficina de Gestión de Muros. Entre ellos se encuentran Suso 33, San, E1000, Spy y Borondo.
La propuesta global del proyecto se concreta en cuatro emplazamientos principales, definidos colectivamente y gracias a la colaboración de la junta municipal de distrito que elaboró el catalogo de solares de propiedad municipal, así como del Área de Urbanismo que facilitó la información sobre la calificación de los terrenos para elegir el lugar del Huerto: la Plaza Leopoldo Luis, el solar situado en la calle Nuestra Señora del Carmen, el solar de la calle López de Haro con Berruguete y el solar de calle Matadero con Ángel Puech. Cada emplazamiento agrupa las distintas intervenciones y colaboradores.
- La Plaza Leopoldo Luis: Intervienen Estudio Montes y Pez Arquitectos, Germinando y Perricac.
- El solar de calle Matadero con Ángel Puech: Intervienen Moenia, La Fresquera, La Galería Magadena y Mood Studio.
- El solar situado en la Calle Hierbabuena: Intervienen Pkmn y Taller de Casquería.
- El solar de la calle Lope de Haro: Intervienen Basurama y Zuloark.
- Además Aquí Tetuán, Bea Burgos, llevará a cabo la intervención “Ventanas a Tetuán” basado participación vecinal y la recuperación de la memoria del distrito. A través de las ventanas, metáforas de la memoria de los ciudadanos, el proyecto trata de recuperar el paisaje urbano que no está presente físicamente, o que tan solo se intuye a partir de ciertos elementos - una fuente, un ladrillo, una acera, un adoquín -pero sigue existiendo en la mente de los vecinos. Mood Studio y La Galería Magdalena llevarán a cabo la documentación del proyecto a través de fotografías, retratos de los vecinos e interacciones a pie de calle que generarán un material fotográfico que será expuesto a posteriori. Miguel Díaz de Ahora Arquitectura propone un programa de paseos donde encontramos de lugares desconocidos y un itinerario guiado desde un punto de vista urbano para mostrar las intervenciones realizadas, su desarrollo y su entorno.
Proyecto paisaje urbano en Tetuán
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www.mataderomadrid.org/ficha/3019/proyecto-paisaje-tetuan...
madridstreetartproject.com/%E2%86%92-paisaje-tetuan/
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www.principiafilms.es/Paisaje-Tetuan
Suso Suso33
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San
www.velvetliga.com/2009/12/entrevista-san.html
E 1000 e1000 ink
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Borondo
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madridstreetartproject.com/%E2%86%92-borondo-figuras-en-e...
SPY
www.urbanario.es/articulos/articulo/art/spy-no-es-un-arti...
www.cookingideas.es/que-vigilan-150-camaras-de-seguridad-...
El-Nikkor 85/5,6 reversed @ 1,5:1, 25% crop from full frame.
Focus stacked from 8 images with Zerene Stacker.
Orvieto è un comune italiano di 21.053 abitanti della provincia di Terni in Umbria.
La città di Orvieto si trova nella parte sud-occidentale dell'Umbria, in provincia di Terni, al confine con la provincia di Viterbo nel Lazio. Orvieto è insediata su una rupe di tufo, a 325 m s.l.m., che domina la valle sottostante dove scorrono i fiumi Paglia e Chiani poco prima di confluire nel Tevere. Questa enorme piattaforma in tufo vulcanico brunastro, che si solleva dai venti ai cinquanta metri dal piano della campagna, fu creata dall'azione eruttiva di alcuni vulcani, che depositarono un'enorme quantità di materiali.
Con 281 km² di superficie, è uno dei cinquanta comuni più estesi d'Italia. Il punto più alto è il monte Peglia (837 m s.l.m.), al confine con il comune di San Venanzo. Il territorio di Orvieto è parte della Comunità Montana Monte Peglia e Selva di Meana e parte di esso insiste nel Parco fluviale del Tevere, parco regionale dell'Umbria nato come area protetta del WWF nel 1990.
Periodo etrusco
Le testimonianza archeologiche di epoca etrusca, fornite da campagne di scavo e studi condotti negli ultimi anni, offrono un quadro abbastanza attendibile, anche se ancora incompleto, della città antica, identificata dopo molte incertezze e polemiche tra etruscologi, nella città di Velzna. Denominata, probabilmente, Volsinii Veteres (la disputa sul nome di questa città etrusca non si è ancora conclusa, ma questo sembra il più attendibile) sorgeva nei pressi di un famoso santuario etrusco, Fanum Voltumnae, meta ogni anno degli abitanti dell'Etruria che vi confluivano per celebrare riti religiosi, giochi e manifestazioni. La città ebbe, dall'VIII al VI secolo a.C., un notevole sviluppo economico, di cui beneficiavano principalmente ricche famiglie in un regime fortemente oligarchico, e un incremento demografico che, nella composizione della popolazione, mostra l'apertura ad una città multietnica; di tutto ciò si ha riscontro dai resti della città sulla rupe e principalmente dalle vicine necropoli. La città raggiunse il massimo splendore tra il VI e il IV secolo a.C., diventando un fiorente centro commerciale e artistico, con una supremazia militare garantita dalla sua posizione strategica che le dava l'aspetto di una fortezza naturale.
Periodo romano
Tra la fine del IV e l'inizio del III secolo a.C. l'equilibrio sociale che aveva permesso la crescita della città, si incrinò. I ceti subalterni conquistarono il governo della cosa pubblica, il dissidio tra le classi divenne violento, finché i nobili non chiesero aiuto ai Romani. Questi, nel 264 a.C., colsero l'occasione per inviare l'esercito a Volsinii e, invece di sottometterla, la distrussero e deportarono gli abitanti scampati all'eccidio sulle rive del vicino lago di Bolsena, dove sorse Volsinii Novi. Non si conosce il motivo di tale accanimento dei Romani nei confronti della città che, secondo le notizie letterarie, trasportarono a Roma oltre duemila statue razziate dai santuari orvietani, ed evocarono nell'Urbe il dio Vertumnus, la principale divinità degli Etruschi. La traslazione della città fisica della Orvieto antica da un sito all'altro si ripeterà in senso inverso provocata ancora da altre invasioni. Fu rifondata allora sulla rupe orvietana la cittadella altomedievale di Ourbibentos che, nell'arco di qualche secolo, diverrà una nuova città con il nome di Urbs Vetus (città vecchia).
Libero Comune
Dopo il crollo dell'Impero Romano d'Occidente, Orvieto divenne dominio dei Goti fino al 553 quando, dopo una cruenta battaglia e un assedio, fu conquistata dai Bizantini di Belisario. Successivamente, dopo l'istituzione del Ducato di Spoleto, divenne longobarda. Poco prima dell'anno Mille la città, posta sulla linea di confine dell'Italia bizantina, di cui costituiva un importante nodo strategico, tornò a rifiorire, espandendo il suo tessuto urbanistico con la costruzione di fortificazioni, palazzi, torri e chiese. Si costituì in Comune, ma anche se non faceva parte ufficialmente del patrimonio di San Pietro, si trovava sotto il suo controllo; per essere riconosciuto governo comunale ebbe bisogno di una dichiarazione di consenso da parte di papa Adriano IV nel 1157. Nel XII secolo Orvieto, forte di un agguerrito esercito, iniziò ad ampliare i propri confini che, dopo vittoriose battaglie contro Siena, Viterbo, Perugia e Todi, la videro dominare su un vasto territorio che andava dalla Val di Chiana fino alle terre di Orbetello e di Talamone sul mar Tirreno. In questa sua espansione, Orvieto si era fatto un potente alleato: Firenze (rivale di Siena) che ne aveva appoggiato l'ascesa. I secoli XIII e XIV furono il periodo di massimo splendore per Orvieto che, con una popolazione di circa trentamila abitanti (superiore perfino a quella di Roma), divenne una potenza militare indiscussa, e vide nascere nel suo territorio urbano splendidi palazzi e monumenti.
Le lotte interne
Ma paradossalmente questa epoca vide anche il nascere di furibonde lotte interne nella città. Due famiglie patrizie, la guelfa Monaldeschi e la ghibellina Filippeschi, straziarono la città con cruenti battaglie che, insieme alle lotte religiose tra i Malcorini, filoimperiali, ed i Muffatti, papalini, indebolirono il potere comunale favorendo, nel 1364, la conquista da parte del cardinale Egidio Albornoz. In questo lasso di tempo altri avvenimenti, degni di nota, si erano registrati ad Orvieto:Papa Innocenzo III, dai pulpiti della chiesa di Sant'Andrea, aveva proclamato la IV crociata; nel 1281, nella stessa chiesa, alla presenza di Carlo I d'Angiò, veniva elevato al pontificato Papa Martino IV e, nel 1297, nella chiesa di San Francesco, avveniva la canonizzazione di Luigi IX di Francia, presente papa Bonifacio VIII. Dopo il cardinale Albornoz, Orvieto venne assoggettata a varie signorie: Rinaldo Orsini, Biordo Michelotti, Giovanni Tomacello e Braccio Fortebraccio per ritornare poi, nel 1450, definitivamente a far parte dello Stato della Chiesa, divenendone una delle province più importanti e costituendo l'alternativa a Roma per molti pontefici, vescovi e cardinali che vi venivano a soggiornare. I secoli XVII e XVIII furono periodi di tranquillità per la città. Sotto l'Impero Napoleonico assurse a cantone e più tardi, nel 1831, sotto la Chiesa, venne elevata a delegazione apostolica. Nel 1860, liberata dai Cacciatori del Tevere, fu annessa al Regno d'Italia.
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Orvieto é uma comuna italiana da região da Umbria, província de Terni, com cerca de 20.692 habitantes. Estende-se por uma área de 281 km2, tendo uma densidade populacional de 74 hab/km2. Faz fronteira com Allerona, Bagnoregio (VT), Baschi, Bolsena (VT), Castel Giorgio, Castel Viscardo, Castiglione in Teverina (VT), Civitella d'Agliano (VT), Ficulle, Lubriano (VT), Montecchio, Porano, San Venanzo, Todi (PG).
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Orvieto is a city and comune in southwestern Umbria, Italy situated on the flat summit of a large butte of volcanic tuff. The site of the city is among the most dramatic in Europe, rising above the almost-vertical faces of tuff cliffs that are completed by defensive walls built of the same stone.
Etruscan era
The ancient city (urbs vetus in Latin, whence "Orvieto"), populated since Etruscan times, has usually been associated with Etruscan Velzna, but some modern scholars differ. Orvieto was certainly a major centre of Etruscan civilization; the Archaeological Museum (Museo Claudio Faina e Museo Civico) houses some of the Etruscan artifacts that have been recovered in the immediate neighbourhood. An interesting survival that might show the complexity of ethnic relations in ancient Italy and how such relations could be peaceful, is the inscription on a tomb in the Orvieto Cannicella necropolis: mi aviles katacinas, "I am of Avile Katacina", with an Etruscan-Latin first name (Aulus) and a family name that is believed to be of Celtic ("Catacos") origin.
[edit] Roman and post-Roman eras
Orvieto was annexed by Rome in the third century BC. After the collapse of the Roman Empire its defensible site gained new importance: the episcopal see was transferred from Bolsena, and the city was held by Goths and by Lombards before its self-governing commune was established in the 10th century, in which consuls governed under a feudal oath of fealty to the bishop. Orvieto's relationship to the papacy has been a close one; in the tenth century Pope Benedict VII visited the city of Orvieto with his nephew, Filippo Alberici, who later settled there and became Consul of the city-state in 1016.
[edit] Middle Ages
Orvieto, sitting on its impregnable rock controlling the road between Florence and Rome where it crossed the Chiana, was a large town: its population numbered about 30,000 at the end of the 13th century.[1] Its municipal institutions already recognized in a papal bull of 1157,[2] from 1201 Orvieto governed itself through a podestà, who was as often as not the bishop, however, acting in concert with a military governor, the "captain of the people". In the 13th century bitter feuds divided the city, which was at the apogee of its wealth but found itself often at odds with the Papacy, even under interdict. Pope Urban IV stayed at Orvieto in 1262-1264.
Some of the families traditionally associated with major roles in Orvieto’s history are: Monaldeschi, Filippeschi, Alberici and Gualterio, of whom only the Alberici and the Gualterio have survived to the present day. The city became one of the major cultural attractions of its time when Thomas Aquinas taught at the Studium. A small university (now part of the University of Perugia), had its origins in a studium generale that was granted to the city by Pope Gregory XI in 1736.
[edit] Papal rule
The territory of Orvieto was under papal control long before it was officially added to the Papal States (various dates are quoted); it remained a papal possession until 1860, when it was annexed to newly unified Italy.
. Materials: oil on canvas. Dimensions: 66 x 75 cm. Nr.: A875. Inscriptions: Signed in monogram: JvR. Prov: Danoot; Hennessy; Buchanan (?); Edward Loyd and by descent to Edward N.F. Loyd. Presented by The Art Fund from the collection of Ernest E. Cook, 1955; WA1955.66. Sursa: www.ashmolean.org...
In this artist rendering, tiny magnetic vortices form on nanodisks, with each disk having a diameter of about 100 nanometers. Each vortex is directed either upwards or downwards. The Argonne study looked at the interaction between pairs of these nanodisks.
Image courtesy Helmholtz-Zentrum Dresden-Rossendorf / Sander Münster 3DKosmos.
14th century tower and spire, the rest rebuilt in new forms by Wilson & Willcox of Bath, 1866-8.
Materials: Local limestone tower. 19th century work of Bisley Common stone with Bath stone dressings. Roofs of Broseley tiles in blue and red bands.
Plan: Unusual cruciform plan with equal aisles and generously deep transepts; north and south chapels almost as long as the chancel. South porch, west tower, small SE vestry.
Exterior: The three-stage west tower is 14th century, with diagonal buttresses and fairly small two-light bell openings, part hidden by clock faces. All the openings are unmoulded, with plain chamfers. The stone spire is tall and slim, with a splayed foot; the upper part of the original spire is now in the churchyard. The rest of the church is in a rich if slightly mechanical Geometric Decorated style. The windows have bar tracery and are framed by slim nook shafts with a ring moulding. The south doorway has heavy arch mouldings and triple shafts of contrasting grey stone. From the east, the three windows of the chancel and its chapels, with rich tracery of foiled circles, make a striking contribution to the streetscape.
Interior: The interior is `the best of any High Victorian town church on the Cotswolds' (Verey and Brooks). Five-bay nave with heavily moulded arcades on circular piers of blue Pennant sandstone. The nave has a clerestorey and an open wagon roof. A ribbed panelled roof over the chancel has painted Gothic decoration in green and red on a cream ground.
The foliate capitals are richly treated, with crockets and beading, almost Byzantine in their effect. The carver for all the sculptural work was Joshua Wall, who also designed the roundels in the chancel.
Principal Fixtures: St Laurence has lavish Victorian and early 20th century fittings. By George Gilbert Scott Junior, a reredos of 1872, carved by Morris Geflowski, with high relief panels (Gethsemane, Crucifixion and Deposition) by Edward Geflowski. It was coloured and gilded in 1970. The font and pulpit, both contemporary with the church, are of coloured marbles and alabaster. Chancel floor tiles by Godwin of Lugwardine. Rood screen by W.S. Weatherley, 1910-14; quite light and open, with elaborate cusping in the head of each main light. It has a rib-vaulted cove with brattished cresting, and a built-in tester to the pulpit. Very big rood group. Filling the tower arch, an Arts and Crafts oak screen by Thomas Falconer, 1927, maker Peter Waals, with painting of St George by E.R. Payne, 1929. There is much good stained glass. The good east window is by Heaton, Butler & Bayne, 1866; their windows in the transepts and south aisle south-west have faded badly. Also theirs; the north chapel east, c. 1885 and one in the north aisle, 1914. The south chapel east is by Lavers & Barraud, 1868. The south aisle and tower windows are by Ward & Hughes, 1873-7. An unusual gold and blue window at the west end of the north aisle is by J. Bewsey, 1922. The best monument is that in the south transept to Thomas Stephens, d. 1613. Attributed to Samuel Baldwin of Stroud, Pevsner describes it as a `good provincial imitation of Southwark work': alabaster kneeling effigy at a prayer desk, beneath an arch with Composite columns. Obelisks, strapwork etc. in the surround, with colour and gilding. Around the tower arch, high up, a group of fine Baroque and later tablets. Attached to the outside walls (north side), c. 80 good quality brass inscription plates from 18th century tombstones, many with good lettering, Rococo ornament, etc.
History: The medieval parish church of St Laurence was founded as a chapel-of-ease to Bisley before 1279. A photograph of 1865 just before demolition shows a rather plain aisleless structure with early 19th century alterations. Only the tower and spire survived rebuilding in 1866-8, to a plan which seems to have taken little account of the old building. The new church was consecrated on August 4, 1868. Wilson & Willcox provided a quite urban-looking church in Geometrical Gothic with a slightly French flavour, a recipe they favoured for many of their Bath churches and chapels. A fire in 2005 required the altar to be renewed.
ABERDEEN PROVING GROUND, Md. -- Dale Ormond, director of the U.S. Army Research, Development and Engineering Command, and RDECOM Deputy Commanding General Brig. Gen. Daniel Hughes toured the Army Research Laboratory Nov. 7.
ARL scientists and engineers briefed the RDECOM leaders on research and development topics, including materials sciences, ballistics/aeromechanics sciences, manufacturing science, Soldier head protection, and aeromechanics.
Tras el primer izado de en la Base Gabriel de Castilla, la XXXIV #CampanaAntártica del @EjercitoTierra inicia su aventura en tierras antárticas.
Primeras Misiones: Descarga de material, apertura de la Base e inicio de actividades para poner todo operativo.
#SomostuEjército
Materials: oil on canvas. Dimensions: 90 x 128 cm. Inscriptions: signatuur en datum: PRKleyn 1810. Nr.: SK-A-647. Source: www.rijksmuseum.nl/collectie/SK-A-647/de-aqua-cetosa-bij-...
Father Pat Conroy, chaplain of the House, delivers the closing prayer at the Rosa Parks statue unveiling ceremony in National Statuary Hall of the U.S. Capitol. February 27, 2013. (Official Photo by Heather Reed)
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This official Speaker of the House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the Speaker of the House or any Member of Congress.
Title: John Hancock
Artist/Maker: Edward Savage (American, 1761-1817), after John Singleton Copley (American, 1738-1815)
Place Made: Unknown
Date Made: 1785
Medium: oil on canvas
Measurements: Overall: 49 in x 40 in; 124.46 cm x 101.6 cm
Credit Line: Gift of Funds by Mrs. Orme Wilson in memory of The Honorable Orme Wilson (1885-1966), Diplomatic Officer 1920-1924, Foreign Service Officer 1924-1946
Collection: The Diplomatic Reception Rooms, U.S. Department of State, Washington, D.C.
Accession No: RR-1964.0033
very impressive use of bamboo as supportive structural material. Biodegradable and edible scaffolding. It has slowly started to get the attention of Western architects / designers.
Loud Flash is an exhibition of posters from the collection of artist and designer Toby Mott, who began collecting punk-related artifacts as a teenager during the 1970s and has amassed more than 1,000 items. The show includes iconic work by Jamie Reid for the Sex Pistols and Linder Sterling for the Buzzcocks, as well as a huge range of material by anonymous artists of the era who used the art of the poster to give bands, most of which were excluded from TV and daytime radio and struggled for exposure in the mainstream press, a means of reaching the public.
Baile de Carnaval . Madridejos 2023.
Autor: José-María Moreno García. Fotógrafo humanista y documentalista. Cronista Oficial de la Villa de Madridejos.
Una de las mejores formas de conocer la historia de un pueblo es a través de sus imágenes; en ellas se conserva no sólo su realidad tangible, calles, plazas, monumentos, sino también sus costumbres, fiestas, tradiciones, lenguaje, indumentaria, gestos y miradas, que nos dicen sin palabras como se vivía, cuales eran sus esperanzas y temores, qué había en su pasado, qué esperaban del futuro. Uno de los objetivos más ambiciosos es recuperar y catalogar todo el material gráfico existente en nuestra familia desde 1.915, para después ponerlo a disposición de vosotros, que la historia volviera a sus protagonistas, y los que aún siguen con nosotros pudieran disfrutar con ello. VISITA La colección "CIEN AÑOS DE FOTOGRAFÍA FAMILIA MORENO (1915-2015)" en www.josemariamorenogarcia.es
SI ALGUIEN NO DESEA APARECER EN EL ÁLBUM POR FAVOR COMUNÍCALO A josemariamorenogarcia@gmail.com u otro servicio de mensajería
StarTek, Inc. is trade show ready! We produced these materials to give them a professional look while promoting their services. Included: Expand International of America, Inc. banner stands with vinyl, dye sublimation Ultra Suede table cover, and LTE brochures!
Check us out on FB for more projects & company info: www.facebook.com/C2Imaging
Département de chimie de l'Ecole polytechnique
© Ecole polytechnique / Institut Polytechnique de Paris / J.Barande
Day 139
Group Material (began 1979 – 1995)
The AIDS Timeline, 1989
Group Material was a group of New York artists, linked by their frustration with the art market at the beginning of the 1980’s. They worked with different members over a period of 16 years,’ dedicated to social communication and political change’. The AIDS Timeline, a mixed-media installation within the museum, reconstructs the history of AIDS as seen within a web of cultural and political relations. According to Group Material, the timeline, “indicts the government’s inaction (on AIDS) and society’s complicity in that inaction.”
Saman Moniri, ChE PhD Student, prepares a sample material with a spiral structure in the MC2 Lab in the North Campus Research Center on North Campus of the University of Michigan in Ann Arbor, MI on January 22, 2020.
MSE Assistant Professor Ashwin Shahani’s group is working to map out the process of creating spiral structures in materials. This could lead to a wide range of new applications in optical and mechanical applications.
Photo: Joseph Xu/Michigan Engineering, Communications & Marketing
Tennis trophy, racquet, ophthalmology loupe used by Renee Richards, MD, 1950s-2010. Dr. Richards won All-Navy tennis tournaments and the New York State Men’s competition in the early 1960s. She transitioned from male to female in the 1970s and advanced transgender rights by suing and winning her case to be able to play in the U.S. Women’s Open without being required to take a DNA test.
My drawing table is currently a mess of plant parts, photos, draft sketches and one of the final illustrations for a project on the roots of prairie plants. The large root is from Dotted Blazing Star. I managed to dig part of it up before the ground froze.
For Studio 26's assignment on indoor photography. Natural light from a south-facing window on an overcast day.
Materials- recycled rubber gloves, thread.
From the set of (Ring a Day 337, 338, 339, 340, 341, 342)
Gloves in 2 different shades of blue. Use the glove tips and a twisty shape at the end. I swear, this one is better in person- te bunchs are more 'distinct' live.
DSC_6167
So precious! I adore the delicate pattern and darling floral print on this dress, especially the colors! Baby blue, green, and peach- such an uplifting and just unabashedly pretty combination.
The material is a light cotton with tiny eyelet holes throughout- definitely need a slip!
Keyhole slit at top with a tie.
The waist is elastic, with a decorative bow.
Zips up back.
In excellent vintage condition.
Label: Mister Robert
Title: Butterfly
Artist/Maker: Albert Bierstadt (German, American, 1830-1902)
Place Made: Unknown
Date Made: 04/16/1896
Medium: oil and gouache on paper
Measurements: Overall: 13 in x 15 1/2 in; 33.02 cm x 39.37 cm
Credit Line: Gift of Mrs. Deen Day Sanders
Collection: The Diplomatic Reception Rooms, U.S. Department of State, Washington, D.C.
Accession No: RR-2008.0005
Ashwin Shahani, MSE Assistant Professor, and Saman Moniri, ChE PhD Student, discuss an image of a spiral structure in a sample material in the MC2 Lab in the North Campus Research Center on North Campus of the University of Michigan in Ann Arbor, MI on January 22, 2020.
Shahani’s group is working to map out the process of creating spiral structures in materials. This could lead to a wide range of new applications in optical and mechanical applications.
Photo: Joseph Xu/Michigan Engineering, Communications & Marketing
Through the EMACK methodology, four teachers are trained in language, mathematics and material development. Marion Awilo, 5yrs, who is a student in Linet's pre unit class was able to read off from the chart because of the picture. Linet however identified that the challenge in the training process is that " its a short process, so we have to go to the drawing board and see where we don't understand."
Photo Credit: Daka Maureen/ USAID Kenya
A new Tennessee material I have found and as of yet have not named. This is a seam replacement of a layer of fossils that has been agatised, as I say for as lack of a more geologicaly correct term. Ranges from opaque to very translucent and contains lots of coral and bivalves. Variable material that quite often has pinholes in it when polished. There seems to be pockets of some sort of soft material, especially in some of the coral, that disolves as you polish and cut. When you do get a solid piece the detail of the fossil remnants is quite striking and it makes am interesting but not beautifull cutting material. I have never seen anything like it before and it is another stone I will be marketing in the near future. If you are a staff member at a university and desire a piece, send me an email and we will talk about it. I just want to make sure you really are what you say you are is all.
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