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Selema
Industria & Diseño
Córdoba 2698 / Paraguay 851
Rosario
Santa Fe - Argentina
t. (+54 0341) 435-6545
m. contacto@selemaweb.com
Imperial College Materials Department Alumni Dinner 2015 6th March 2015 at the Armourers and Brasiers Hall in the City of London
About the Artist: Beth Lipman
Beth Lipman’s family is obsessed with food. When she was a girl, her mother would drive her from their home in Lancaster, Pennsylvania, to New York City. A day there might include a stop at Zabar’s, then Bruno Ravioli, and then across the street to Key Avenue for lunch, then later that same day to H&H Bagels. Lipman came to see contemporary food culture as a metaphor for consumption.
Because of where they lived, Lipman’s family was surrounded by Pennsylvania Dutch folk art. Her mother created it herself using how-to and still life painting books. Her mother’s collection and the family’s fascination with food fed Lipman’s own interest in traditional still life as a way to explore ideas like consumerism and mortality.
Lipman earned her bachelor of fine arts degree in both glassworking and fiber arts from Temple University in Philadelphia. Both disciplines inform the meticulous work she makes. The glass elements of her still lifes are blown, solid sculpted, kiln fired, and flameworked. She credits the balance of her complex yet highly organized arrangements to her fiber arts background and her work with patterns.
The Details
•Title: Material Culture
•Maker(s): Beth Lipman
•Accession Number: 2010.4.43
•Place Made: United States, WI, Sheboygan; and United States, NY, Brooklyn
•Dimensions:
oOverall Dimensions:
Height: 175.3 cm
Width: 114.3 cm
Depth: 106.7 cm
•Date: 2008
•Technique: blown glass, assembling
•Materials: silicone, wood table
•Credit Line: 20th Rakow Commission
Interpretive Text
Material Culture was made using vessels of different shapes and sizes, some broken or fragmentary. Beth Lipman did not try to alter her traditional forms or bypass their function. Instead, she created new meanings and contexts for them. The vessels were glued together to form a tower of glass that overwhelms a too-small table. By assembling such an abundance of objects, Lipman comments on cultures of excess. The sculpture also refers to the amassing of vast collections housed in museums like this one.
The Studio at 20
The Studio has been a starting point for emerging artists and an incubator for new work by established artists since 1996. To celebrate 20 years, we’re highlighting works in the Museum’s permanent collection created by artists who have taught or who have been artists in residence at The Studio. Pieces by this artistic community can be found in the Glass Collection Galleries, where they are identified by the Studio at 20 symbol.
HISTORY
It was founded in 1740 as an orphanage by evangelist George Whitefield, in the 18th century on his 500-acre (1,600 m²) land grant about 10 miles (16 km) south of Savannah, in the newly founded colony of Georgia. Whitefield called the orphanage Bethesda, which means "House of Mercy," for he hoped many acts of mercy would take place there. On March 25, 1740, construction began on the orphanage buildings. The main house was two stories high with twenty rooms. Two smaller buildings were built behind the orphanage; one was designed to be an infirmary and the other a workhouse.
Whitefield wanted the orphanage to be a place of strong Calvinist influence with a wholesome atmosphere and strong discipline. Boys were taught trades so that they could earn a living as adults. Younger children learned spinning and carding, and all boys were taught mechanics and agriculture. Whitefield hoped that the orphanage would become the foundation of a university.
While the children grew most of the orphanage food, the enterprise was more expensive than anticipated, and Whitefield went into debt. Benjamin Franklin suggested that due to the scarcity of workmen and materials in Georgia, it might be better to move the orphanage and its children to Philadelphia. Whitefield refused to move the orphanage because his contributors donated money specifically for the Georgia project.
At his death, Whitefield bequeathed the orphanage and his slaves to the Selina Hastings, Countess of Huntingdon, a charitable sponsor in England. He asked her to maintain the orphanage under its existing principles and establish a college. However, she was not able to provide the oversight from 3,000 miles (4,800 km) away, and the orphanage almost closed.
In 1773, fire destroyed the home. Three years later, the American Revolution stymied plans to add a college. After several administrative changes, a new building and society, the Bethesda Home for Boys was established on the same site.
BETHESDA AND SLAVERY
In the early 18th century, slavery had been outlawed in Georgia. In 1749, Whitefield campaigned for its legalization, arguing that the territory would never be prosperous unless farms were able to use slave labor. He began his fourth visit to America in 1751 advocating slavery, viewing its re-legalization in Georgia as necessary to make his plantation profitable. Partially through his campaigns and written pleas to the Georgia Trustees, it was re-legalized in 1751. Whitefield then purchased slaves to work at Bethesda Orphanage. To help raise money for the orphanage, he also employed slaves at his Providence Plantation. When Whitefield died, he bequeathed his slaves to the Countess of Huntingdon
.
MODERN TIMES
Bethesda has not been an orphanage for many years but continues to focus on youth in the greater Savannah area. Bethesda is a private boarding and day school for boys in grades 6-12 and, in April 2011, the Bethesda Home for Boys was renamed Bethesda Academy to better reflect their mission and commitment to the education of young men. In 2015, Bethesda kicked off its 275th Anniversary year.
#Klinker #Brick #Salmon/Salmão Ribatejo (EN) » goo.gl/5aI7l
#Tijolo Face à Vista Salmão #Ribatejo (PT) » goo.gl/Lr1pU
#Ladrillo Caravista Salmão Ribatejo (ES) » goo.gl/TNcSE
#Klinker Face #Brique Salmão Ribatejo (FR) » goo.gl/CaisT
Built, finished and installed the tables for a new local brewery in Buffalo NY (Thin man Brewery thinmanbrewery.com). Made of reclaimed hemlock joists from local area barns we salvaged (reuseaction.com). Lightly skip planned hemlock made up the tables for the bar and banquet room. They were varnished with satin, water-based polyurethane and fitted for reclaimed, round bases from old restaurant tables. These were cleaned up and painted flat black.
The counters and pizza oven areas were made of old rough sawn tongue and groove oak planks. THis material, we believe was purchased to be used in truck beds or rail box cars but was never used. It is a rough grade of oak with lots of knots and would not traditionally have been a fine wood for furniture. it is probably 75 years old and has lots of character.
We can make these to any size or spec if interested see reuseaction,com
REDES DE PROTEÇÃO ANTONI0
Qualidade e Segurança Máxima
Material EQUIPLEX
Somos especializados em janelas, sacadas, área de serviço, piscinas, escadas, varandas, executamos estruturas para cobertura e sacadas em ferro ou alumínio.
EVITE ACIDENTES - PROTEJA SEUS FILHOS
Protege: crianças, idosos, gatos, cães e para pombos e morcego etc. . . .
Nas cores: Cristal, Branca, Preta, Marrom e Areia.
Polietileno de alta densidade, contra raios ultravioletas, durabilidade de 08 a 10 anos.
resistência de 500 kg/m²
Testada e aprovada pelo ISO 9002 / Falcão Bauer / FEI e SENAI.
Central de atendimento: (011) 5524-7412 Antonio
Fones: (011) 5541-8283 / 98391-0505 tim - Whatsapp
(Oferecemos como garantia, duas décadas de bons serviços)
Fique sempre muito atento
a segurança dos seus filhos,
não os deixe sozinhos
próximos às janelas e
sacadas sem proteção.
Estrutura para cobertura ,
Estruturas para redes de proteção,
Redes para fechamento de áreas,
Redes de Proteção para varandas,
Redes de Proteção para escadas,
Redes de Proteção para apartamentos,
Redes de Proteção para casas,
Redes de Proteção para cobertura ,
Redes de Proteção para crianças,
Redes de Proteção para estruturas,
Redes de Proteção para gatos ,
Redes de Proteção para gradil,
Redes de Proteção para idosos,
Redes de Proteção para janelas,
Redes de Proteção para pombos,
Redes de Proteção para sacadas,
Redes de Proteção para terraço,
Redes de Proteção para mezaninos,
Redes de Proteção para pássaros,
Redes de Proteção para animais,
Telas de Proteção para gatos
Somos especializados em GATOS,
Redes para segurança de criança,
Safety nets for cats,
Redes de Proteção no Bosque da Saude,
Redes de Proteção no Brás,
Redes de Proteção no Brazil,
Redes de Proteção no Bresser, Mooca,
Redes de Proteção no Brooklin Novo,
Redes de Proteção no Brooklin Paulista,
Redes de Proteção no Brooklin,
Redes de Proteção no Butantã,
Redes de Proteção no Cambuci,
Redes de Proteção no Campo Belo,
Redes de Proteção no Campo Grande,
Redes de Proteção no Campo Limpo,
Redes de Proteção no Campos Elisios,
Redes de Proteção no Capão Redondo,
Redes de Proteção no Caxingui,
Redes de Proteção no Centro ,
Redes de Proteção no Cond. Residencial Vida Bela,
Redes de Proteção no Dominio Marajoara,
Redes de Proteção no Ecos Natureza Clube,
Redes de Proteção no Embu,
Redes de Proteção no Glicério,
Redes de Proteção no Grajaú ,
Redes de Proteção no Guarapiranga,
Redes de Proteção no Guaruja,
Redes de Proteção no Horto do Ipê,
Redes de Proteção no Ibirapuera,
Redes de Proteção no Ipiranga,
Redes de Proteção no Itaim Bibi,
Redes de Proteção no Jabaquara,
Redes de Proteção no Jaguaré,
Redes de Proteção no Jaraguá,
Redes de Proteção no Jardim Aeroporto,
Redes de Proteção no Jardim Prudencia,
Redes de Proteção no Jardim Aie,
Redes de Proteção no Jardim America,
Redes de Proteção no Jardim Ampliação,
Redes de Proteção no Jardim Ana Maria,
Redes de Proteção no Jardim Angela,Jd. Angela ,
Redes de Proteção no Jardim Anhanguera,
Redes de Proteção no Jardim Avenida,
All Rights Reserved !!!!!
No parts of this material can be published, copied, downloaded or sold without a permission from me. PLEASE ask me before you post this material in a blog or on your page ! Please respect these rules !!!!
Materials: Wall insulation foam + Gesso
The concept is a combining a cylinder with a cube in different and abstract ways.
About the Artist: Beth Lipman
Beth Lipman’s family is obsessed with food. When she was a girl, her mother would drive her from their home in Lancaster, Pennsylvania, to New York City. A day there might include a stop at Zabar’s, then Bruno Ravioli, and then across the street to Key Avenue for lunch, then later that same day to H&H Bagels. Lipman came to see contemporary food culture as a metaphor for consumption.
Because of where they lived, Lipman’s family was surrounded by Pennsylvania Dutch folk art. Her mother created it herself using how-to and still life painting books. Her mother’s collection and the family’s fascination with food fed Lipman’s own interest in traditional still life as a way to explore ideas like consumerism and mortality.
Lipman earned her bachelor of fine arts degree in both glassworking and fiber arts from Temple University in Philadelphia. Both disciplines inform the meticulous work she makes. The glass elements of her still lifes are blown, solid sculpted, kiln fired, and flameworked. She credits the balance of her complex yet highly organized arrangements to her fiber arts background and her work with patterns.
The Details
•Title: Material Culture
•Maker(s): Beth Lipman
•Accession Number: 2010.4.43
•Place Made: United States, WI, Sheboygan; and United States, NY, Brooklyn
•Dimensions:
oOverall Dimensions:
Height: 175.3 cm
Width: 114.3 cm
Depth: 106.7 cm
•Date: 2008
•Technique: blown glass, assembling
•Materials: silicone, wood table
•Credit Line: 20th Rakow Commission
Interpretive Text
Material Culture was made using vessels of different shapes and sizes, some broken or fragmentary. Beth Lipman did not try to alter her traditional forms or bypass their function. Instead, she created new meanings and contexts for them. The vessels were glued together to form a tower of glass that overwhelms a too-small table. By assembling such an abundance of objects, Lipman comments on cultures of excess. The sculpture also refers to the amassing of vast collections housed in museums like this one.
The Studio at 20
The Studio has been a starting point for emerging artists and an incubator for new work by established artists since 1996. To celebrate 20 years, we’re highlighting works in the Museum’s permanent collection created by artists who have taught or who have been artists in residence at The Studio. Pieces by this artistic community can be found in the Glass Collection Galleries, where they are identified by the Studio at 20 symbol.
NCPTT held the Southeast Cemetery Monument Conservation Workshop at St. Michaels Cemetery, Pensacola, Fla., on Oct. 23-25, 2007. The topics covered included condition assessments, conservation ethics, cleaning and consolidation techniques, adhesive repairs, patch and loss filling, and resetting. The year’s special topic was the location of buried features and unmarked graves. Hands-on sessions were offered on the use of Ground Penetrating Radar, magnetometer, resistivity, and conductivity. For more information, visit www.ncptt.nps.gov/2007-cemetery-monument-conservation-pho....
The National Park Service’s National Center for Preservation Technology and Training protects America’s historic legacy by equipping professionals in the field of preservation with progressive technology-based research and training. Since its founding in 1994, NCPTT has awarded over $7 million in grants for research that fulfills its mission of advancing the use of science and technology in the field of historic preservation. Working in the fields of archeology, architecture, landscape architecture and materials conservation, the Center accomplishes its mission through training, education, research, technology transfer and partnerships.
Wenn man mal Langeweile hat, dann bastelt man sich einfach ein eigenes Aquarium, bestehend aus oben genannten Materialien.
Pen and ink drawing by Dabls of Goldweights of the Akan people of Ghana and the Ivory Coast, equal measure for kings and commoners this ingenious system of weighting gold through the use of geometric and figurative metal weights.
They were also were used to reinforce traditional systems of thought and philosophy. By using storytelling, proverbs about morays, taboos etc. Simply speaking the weights service two purpose to measurement and to teaching traditions values.
The objects were small parts of our cosmology, Nyama, rituals, everyday activities, etc. They are also interwoven with our relationship to “ourkind” and place in the community The weights were used like the spoken language to commemorate social or historical events or entities , to express philosophical or Nyama feeling, aspirations, dreams or simply to ask questions or to express displeasure. African material culture speaks. Originals are in the collections of MBAD/ABA African Bead Museum.
decoração casamento, decoração campestre, casamento no campo, fotos,contato,gravataí,porto alegre, região metropolitana, decoração provençal, decoração festa casamento, caminho da noiva, casamento campo, mesa de doces, mesa de bolo, noivinhos, bouquet, alianças, vestidos de noiva, roupa da madrinhas, sitios, fazendas, casas na praia, casamento no sitio, casamento na fazenda, casamento no campo, casamento no jardim, casamento ao ar livre, locação de material para festa, decoradores, locação de toalhas, arranjos de flores
locação, aluguel, material festa, gravataí, porto alegre, região metropolitana, contato telefone, toalhas, capa de cadeira, guardanapos, mesa
locação, aluguel, material festa, gravataí, porto alegre, região metropolitana, contato telefone, toalhas, capa de cadeira, guardanapos, mesa
Fotografías tomadas el día 25-2-2011, último día que estuvo abierto al público el salón de billares de La Catedral. El único lugar donde aficionados y principiantes podían intentar hacer carambolas.
Yo estoy deseando ya poder jubilarme para poder ir a los centros de mayores y si el párkinson me lo permite entonces intentar recordar en qué consistía este juego.
DFS Galeria ( Facades Studies) - Kowloon, Waikiki & Singapore
HDA : Facades Designer
Client : DFS
Date : 2014
See more at : www.hda-paris.com/
Condition: Excellent
Materials: Ash Splints, Braided Sweet Grass, Dye
Color: Green
Opening: Ash-Wrapped Circular Opening
Handles: Two Very Large Ash-Wrapped Sweet Grass Rings Dimensions: 9 1/2" H / 6 1/2" D