View allAll Photos Tagged objective
Handle objectives and recreate very hero moments with the DC Super Hero Girls Character Cars!Each Premium 1:64 scale automobile includes special decos and information genuine to the super powers, characters and icons they represent These Character Cars make certain to be instantaneous collectibles!Collect them all!Perfect present for Hot Wheels fans!%% %Hot Wheels fans and DC Super Hero Girls enthusiasts will love recreating very hero minutes with these premium Character Cars! Influenced by the powerful trainees of DC Super Hero High, these DC Super Hero Girls Character Cars are all set for any call to action! Each Character Automobile includes distinct
enjoylifeplay.com/product/hot-wheels-dc-comics-superhero-...
This is my step brother, Cameron. Anytime I come home, he always sits with me when we're all together in the living room. He also loves my dog as much as I do. So, as I ask him for Lulu, I have my back towards the TV, and he is ignoring me, watching the NFL Draft. This shot is objective, and establishes his index vector.
Objective 3: Composition Techniques – Use the guide on the website
Rule of Thirds: i focused on the plant on the right rule of thirds line.
Fill the Frame: i filled the entire frame with the background being sticks and leaves so the focal point is clear to see that it is the plant.
Backgrounds: the background consists of sticks and leaves that are not in focus
Texture: You are able to see the rough brown texture of the plant.
Objective 4 Lighting: There is side lighting that comes from the right side, the lighting is hard lighting.
Objective 5: Post Production
Corrections/adjustments made: i resized, contrasted, sharpened, and brightened the image.
Objective 6: Critique: The photo is a good photo in general but the plant could be more sharp and less noisy. The lighting could be a little more soft so it didnt cause such a harsh shadow. The focal point is on the right rule of thirds and thats a good place for it.
Strength:The focal point on the right rule of thirds.
Area for growth: Take at a different time of day when the lighting isn't so hard.
The objectives of these activities
1.Lobbying Government to ratify the convention 189 and domesticate
2.To promote decent work for the domestic workers through the media
3.To raise awareness and organized domestics workers to join membership in trade union CHODAWU "Z"
4.Domestic work to be recognized as decent job.
Read the full report: j.mp/1Jz74tt
Source & Photos: lulu omar
Max Beckmann - German, 1884 - 1950
Bathing Scene (The Green Cloak), 1934
East Building, Mezzanine — Gallery 217-A
After enduring a "great injury to his soul" during World War I, Max Beckmann channeled his experience of modern life into expressive images that haunt the viewer with their intensity of emotion and symbolism. Despite his early leanings toward academicism and Expressionism, he became one of the main artists associated with the Neue Sachlichkeit (New Objectivity) movement and created scathing visual critiques of the tumultuous interwar period. In later works, Beckmann strove toward open-ended stories that juxtaposed scenes from reality, dreams, myths, and fables. Throughout his career, he firmly opposed the turn toward abstract art and maintained his desire to "get hold of the magic of reality and to transfer this reality into painting." Beckmann's prowess at subtly layering figures and signs, as well as color and shadow, allowed him to successfully translate his reality into mesmerizing narrative paintings throughout his prolific career.
www.theartstory.org/artist/beckmann-max/
“Max Beckmann: The Formative Years, 1915-1925” focuses on the shift that occurred in Beckmann’s work during a crucial decade. Presented at Neue Galerie New York, this exhibition features approximately 100 works by the artist, comprising major paintings, drawings, and significant print portfolios, many on loan from museums and private collections in Europe and the United States. It offers an unprecedented focus on this ten-year period, when the artist’s style moved away from his Impressionistic origins to the verist style of the Neue Sachlichkeit (New Objectivity) that defined his later work, although he later distanced himself from this term and favored “transcendent objectivity” instead.
The dramatic shift in his approach can be traced back to his involvement in World War I. With the outbreak of hostilities, Beckmann spent time in East Prussia as a volunteer nurse in 1914. He was profoundly affected by his experience in the combat, even though his involvement was short-lived. In October 1914, in a letter to his wife Minna Beckmann-Tube, he wrote: “…my will to live is for the moment stronger than ever, even though I have already experienced dreadful things and died myself with them several times. Yet the more one dies, the more intensely one lives. I have been drawing, that protects one from death and danger.” The following year, he served as a medical orderly in Belgium. In July 1915, he suffered a nervous breakdown and was discharged from service in 1917.
Max Beckmann moved to Frankfurt to recover and his work changed as a result of the war. The painterly and romantic compositions of the pre-war years were replaced with more angular forms. His palette became darker and his use of paint more subdued. His subject matter evolved from history painting to embrace more contemporary subjects, sometimes viewed through a biblical lens. In September 1918, he wrote a short text entitled “Creative Credo,” where he defined his position in the current difficult times and indicated his intention to “be a part of all the misery that is coming.” But he also expressed a love for humanity, for “its meanness, its banality, its dullness, its cheap contentment, and its oh-so-very-rare heroism.” Beckmann’s post-war subjects were often more violent as he confronted political intolerance and exposed poverty and social injustice. He developed a new approach to art, and one that helped him to process painful memories and that acknowledged recent artistic developments that he had previously criticized.
The exhibition covers key topics: Portraiture and the Self-Portrait, Religious Paintings, Allegory, Still-Lifes, Landscapes, and Social Life in early Weimar Germany. Between 1917 and 1925, he became one of the most admired practitioners of representational painting. This status is confirmed by the prominent representation of Beckmann’s work in the 1925 “Neue Sachlichkeit” exhibition in Mannheim, which serves as the endpoint of this presentation and underscores the focus on the years 1915 to 1925. Our exhibition offers a unique opportunity to experience and understand the evolution of Beckmann’s mature art through a close reading.
www.neuegalerie.org/exhibitions/max-beckmann-the-formativ...
___________________________________________
www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
Job Resume Objective Examples #526
Job Resume Objective Examples #526
topresume.info/2014/11/17/job-resume-objective-examples-526/
2013 Exodus Place Exodus Place is a transitional housing facility for men facing homelessness, including military veterans, men who have been in prison and men who are coming out of any hopeless situation. Our objective is to get them back on their feet by providing housing, counseling, employment assistance, 3 meals a day, mentoring and much more. We believe that with the right tools at their disposal, they can get their lives back on track. Exodus Place promotes "A Hand Up, Not a Hand Out".
+ I really like this filter on this image because you can see all the details of the wood floor and the glowing light on "love" looks even brighter.
- It makes it look kind of like a cartoon which doesn't really matter but it might take away the meaning.
20/20
Steps I Took:
1. Doubled clicked the background layer and hit "ok"
2. Went to the Filter tab
3. Went to Filter Gallery...
4. Selected "Fresco" as a filter
Viewing part of the wall and an experiment with variouss masks including watercolour maskng fluid and PVA
April 2011
Objective Non Narrative
DEC 08
First edition of 50 copies.
24 pages blk/wht.
For Information www.wholewheattoast.com/onn/onn.html
To subscribe send me your mailing address.
Career Objective For Resume Sample we provide as reference to make correct and good quality Resume. Also will give ideas and strategies to develop your own resume. Do you need a strategic resume to get your next leadership role or even a more challenging position? There are so many kinds of Free ...
allresumetemplates.net/980/career-objective-for-resume-sa...