View allAll Photos Tagged objectivity
Tunnel Rat has his mission objectives, here he's not quite at home out of the sewer but with a job to do he sets on his way.
A visit to the Musical Monkeys!
When we last visited years ago, Ed wanted to get video of them....but they were out of order. A friend told us they were back up and running, which prompted this trip.
For a dime, the monkey band will rock out for a couple minutes to some amazing big band/Dixieland music. I have no idea how old the machine is, or where it came from....but it's awesome.
The Anxiety task input sheet has been expanded to allow you to specify the due date and priority of your new tasks when you add them. By default, everything under the "More options" disclosure triangle is hidden, meaning that users who would prefer not to utilize the priority and due date properties need not be burdened with extra buttons. However, for those that would like to add such a property to one of their tasks, clicking the disclosure triangle will slide the sheet downwards to reveal the extended input fields.
This functionality will become available in the next update of Anxiety, which you can check for using the Check For Updates menu item under the application menu. Otherwise, Anxiety will automatically check for updates upon launching.
Copyright 2013 Bert Van den Wyngaert
All rights reserved.
No unauthorized use, reproduction or distribution without prior permission.
Resume Objective Sample For Teacher we provide as reference to make correct and good quality Resume. Also will give ideas and strategies to develop your own resume.
Resume Objective Sample For Teacher
topresume.info/2015/02/06/resume-objective-sample-for-tea...
The objective of this event is to stimulate the spiritual and intellectual development of the youth, by providing an incentive for gaining knowledge on Islam and Muslim history. The event has been successfully organized by ICNA-NJ, every year since 1999, and is a favorite among Muslim families in New Jersey.
Photo #1 Glasses
Objective 3: Elements and Principles of Design
The principles of design I used are emphasis, balance and contrast.
Emphasis: The emphasis in my photo is created by using the rule of third lines and having them line up in key spots on the glasses and I kept the background as clutter free and blurred as I could.
Unity: I also have unity in my photo because there is nothing in my photo distracting me from the glasses and I have kept the glasses tac sharp while keeping the background blurred.
Contrast: Finally my photo has contrast do to the fact that the background much darker than the foreground brings attention to the glasses.
The elements of design used in my photo are form, tone, and space.
Form: My photo has form because 1 half of the glasses are closer blur and the other half is farther away creating a felling of 3 dimension that adds more depth to the photo.
Tone: The photo also has tone created by the soft side lighting made from the change of colour from light gray to black causing depth and 3 dimensional feeling to be created.
Space: Lastly the photo has space because the black background outlines the lighter colours on the glasses giving the glasses a more positive and defined look.
Objective 4: Lighting
I used a soft back lighting to give the glasses a more defined and 3 dimensional look giving the photo a more dramatic look.
Objective 5: Post Production
In post-production I increased the clarity and sharpened the photo to make it look crisper. I also made the photo black and white to make it look more dramatic.
Objective 6: Critique
I like the angle that I took the photo at and the fact that I kept the background clutter free and blurred. I do wish I could get rid of the reflection on the lens of the glasses.
Objective 3: Elements and Principles of Design
2. Perspective and depth: The contrast between the bright and dark lighting gives depth to the photo. The different hints of lighting throughout the image give a sort of 3D look. The ISO and aperture were adjusted so that the photo was evenly focused.
3. Fill the Frame: This portrait photo takes up the frame of the photo, I feel like the photo shows more emotion when taking up the whole frame because it allows you to focus on their expression closer, making it a personal photo.
4. Backgrounds: The background is simple; white. this simple background allows you to not be distracted and to focus on the portrait. Also it helps the colours in the photo really stand out and the overall image look more crisp.
7. Texture: The contrast between the smooth texture of the skin and the rough, more detailed, texture in the hair give more interest to the photo. Different texture is also shown in the eyes and lips. All the different textures are bold in the photo making in interesting to look at.
8. Space/Space to Move: the use of space in this photo is well done because there isn't much space to move. the subject is placed in the centre, with a good ratio of positive and negative space.
9. Colour: the colours in the photo are very subtle yet give so much interest to the photo as well as draw your eyes to different parts of the photo. The colours of the teal blue in the eyes, the bold pink of the lips, and the different tones of browns in the hair all tie together very nicely. also the brightness lights up the colours to their full potential which contrasts nicely with the opposite side of the face where the colours darkened.
11. Framing: Although i don't have an obvious frame, i feel that the silhouette of the subject and the full frame acts like a frame.
12. Balance: the hard lighting is harsh yet the overall feeling to the photo is balanced. the amount of light on the left of the face is balanced out with the white background and the hair on the right being brightened in spots. how the lighting disperses in the photo gives a very crisp yet relaxing overall feel.
Objective 4: Lighting
Types of lighting and how they contribute to the image: Hard lighting causes the photo to be more dramatic and eye catching. The hard lighting also shows the emotion of the photo better.
Objective 5: Post-Production
Corrections and adjustments made: brightness turned down, added contrast, increased vibrancy, decreased saturation, sharpened, blemish tool used on face and straggling hairs.
Objective 6: Critiquing
Strengths: I like how the hair is very defined along with the eye on the left. The hard lighting is very interesting to look at and the different exposures and tones allow your eyes to wonder throughout the photo. I also like how the photo doesn't have full saturation so it gives it a pastel feel.
Area for growth: The hair could have been staged better, meaning smoothed and tamed. Aswell as the lips could have been abit more focused.
The Objective was to use lights to create mood/tone.
The subjects are Rachel, Imani, Samantha, Yasmine.
There was not a specific color us, but the models were ushered into different positions to portray varied moods such as empowerment, and suspense.
The objective of the shoot was to showcase Gateaulogie’s awesome selection of sweets, our Signature fascinators, dresses & lingerie – all of which will be available for sale on eFashionista soon!
Watch our video here -
Join our official fanpage: www.facebook.com/efashionista.ca
Photo credits: Badger Photography
Objective Resume Examples Nursing #833
Objective Resume Examples Nursing #833
topresume.info/2014/12/10/objective-resume-examples-nursi...
I had a map in my side pocket and planned the trip to Coogee with objectives markers along the way like: Cross This Bridge, reach next zone before 11am. It was so much fun racing myself
The workshop objective is to get more people to understand and using Webmaker for their web making purposes. The project intended to educating young (15-25 years old) internet users on using Webmaker through a series of workshop scheduled during weekends in Jakarta. This workshop series will be a pilot project, in bringing more people to use Webmaker in Indonesia. Platform of this workshop series, can be duplicated in other cities, should the pilot series garnered enough participants.
1st Regiment, Advanced Camp Cadets carry their rucks to the Objective Rally Point in preparation to conduct an ambush against simulated oppositional forces for the Wolverine-phase Field Training Exercise during Cadet Summer Training, Ft. Knox, Ky., June 20, 2025. The FTX takes the Cadets into the woods, where they take many of the skills they have learned during CST and implement them in a simulated combat environment. (U.S. Army photo by Nathan Abbott)
Objectives of the Plenary Session on Communications:
• Provide clear understanding on the need for effective communication for forests in the context of climate change, with special emphasis on the Mediterranean region;
• Showcase successful and compelling case studies on how to communicate with stakeholders, local communities and the general public;
The Ministry of Agriculture, in collaboration with the Food and Agriculture Organization of the United Nations (FAO), is hosting the Sixth edition of the Mediterranean Forest Week (VIth MWF) at the Grand Hills Hotel, Broumana, on 1–5 April 2019. The weeklong event brings together policy and decision makers, forest administrators, researchers, practitioners, donors, civil society organizations, and social and environmental based non–governmental organizations to share and promote the use of forest–based solutions to assist Mediterranean countries in the implementation of their Nationally Determined Contributions (NDCs) under the Paris Agreement.
2 April 2019
Broumana (Lebanon)
Photos by (c) Pilar Valbuena for the Forest Communicators Network for the Mediterranean and Near East
Thompson, Bob (1937–1966)
Judgement of Paris
Oil and graphite on canvas
10 1/8 x 8 inches
1963
In his brief but prolific career, Robert Louis Thompson rejected traditional expectations of the African American artist to create narrative genre scenes descriptive of Black life in the United States. He was equally uninterested in pure abstraction as a means of expressing universal experiences, a common objective of modern artists. Instead, Thompson followed the examples of Romare Bearden and Sam Gilliam in his exploration of aesthetic, rather than sociopolitical issues. Often described as a figurative abstractionist, Thompson’s simplification of forms and manipulation of color to convey emotional intensity has inspired comparisons with Gauguin’s Fauvist style.
Thompson developed an interest in the arts as a teenager growing up in a middle-class family in Louisville, Kentucky. When Thompson’s father was killed in a car accident in 1950, the thirteen-year-old was sent to live with his sister and her husband, Robert Holmes. A painter, Holmes cultivated young Thompson’s artistic inclinations, offering guidance and encouragement. Following graduation from an academically rigorous all-Black high school in 1955, Thompson enrolled as a pre-medicine student at Boston University. He quickly realized, however, that painting—not science—was his true passion and transferred to an art program at the University of Louisville. During these years, Thompson’s early abstractionist style gave way to a more figural approach, a shift the artist credited to a summer spent in Provincetown, Massachusetts in 1958. There, Thompson met a group of emerging artists—including Red Grooms, Emilio Cruz, and Gandy Brodie—who, in contradiction to prevailing New York trends, embraced the figural in their work. Deeply influenced by these artistic rebels, Thompson likewise modified his own style.
Thompson relocated to New York City in 1959, where he encountered an artistic atmosphere that matched his own boundless energy and appetites. He settled in a dilapidated tenement building on the Lower East Side near Benny Andrews's residence and became a regular at the Five Spot, a local jazz café frequented by artists and writers. These creative forces helped Thompson refine his signature mature style. By appropriating and adapting the compositions of European masters, Thompson transformed familiar scenes—now modernized by faceless forms rendered in deep, vibrant colors—into exuberant contemporary allegories. The colorful and symbolic intensity of his paintings captivated viewers when they were exhibited in 1960, first at the Delancey Museum and later at Zabriskie Gallery.
On the heels of these exhibitions, Thompson won a series of notable awards which financed travels through Europe from 1961 to 1963, including extended studies in Paris and Spain. Upon his return to New York in 1963, Thompson was welcomed with a series of solo exhibitions at various galleries in both New York and Chicago, attracting the patronage of influential private collectors such as Walter P. Chrysler Jr. and Joseph H. Hirshhorn. Public collections have since followed suit, and the artist’s works are today represented at the Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, Art Institute in Chicago, and Detroit Institute of Art. Tragically, Thompson died shortly before his twenty-ninth birthday and so did not live to see the impact of his career on the American art scene. His oeuvre continues to command attention and, in 1998, was the focus of a Whitney Museum traveling exhibition of over one hundred works.
___________________________________
All the Small Things
TJC Gallery, Spartanburg SC
February 19, 2025 – April 4, 2025
thejohnsoncollection.org/all-the-small-things/
Size matters in art. The scale of a work when seen in person can be an essential ingredient in its visual impact. And the received canon of fine art in the West has a clear bias for BIG things—from the monumental statuary of antiquity to the massive canvases in the contemporary art scene. Indeed, for the past four hundred years, artists have been highly incentivized to “go big,” as larger works commanded more prestige. Within the hierarchy of art genres inherited from the seventeenth century and the standardized measurements that evolved in the art industries of the nineteenth century, the largest canvases and commissions have traditionally been reserved for imposing landscapes and full-length portraits. Against this grain, the present exhibition celebrates the wondrous world of small art—in this case, paintings of no more than twenty inches.
Why might an artist work on a small scale? For some the motivation may be economic. Larger paintings mean more material costs, from more paint to bigger frames and heftier shipping prices. Thus, the size of an artwork potentially reveals unequal financial challenges faced by, for instance, women artists, self-taught artists, or artists of color. At the same time, the cheaper costs of smaller works make them well-suited for preliminary studies (as with Aaron Douglas’s The Toiler) or for trial efforts with new styles and techniques (such as Theodoros Stamos’s experiments with abstraction in Flow). Smaller art is more portable, making it ideal for artists working in the plein-air tradition or those working rapidly for tourist markets. Finally, although petite paintings have historically been relegated to subjects considered mundane or insignificant, these small works can instead confer an intimacy and humanity for the artist and viewer alike.
_______________________________________
See also: www.flickr.com/photos/ugardener/albums/72177720322921517/
THE JOHNSON COLLECTION - A Private Collection for Public Good
thejohnsoncollection.org/the-collection/
Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.
What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.
Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.
.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.
Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.
Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.
Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.
In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."
"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer.'
__________________________________________
"If you’re looking for a vibe, this is where you’ll find it. Spartanburg is one of South Carolina’s most established, respected, progressive, and diverse art communities with everything from the fine arts—ballet, symphonies, and opera—to the cutting edge—street performers, graffiti, and dance mobs.
Experience the Cultural District
Downtown Spartanburg has even been designated as a cultural district by the South Carolina Arts Commission. Within the cultural district, you can walk to and enjoy world-class art galleries, studios, music venues, breweries, culinary arts, local literature publishers, coffee shops, libraries, museums, and more. Regardless of when you visit, you’re likely to encounter live music in the streets, featuring jazz, rock ‘n’ roll, or beach music.
Come experience how we put the art in SpARTanburg."
Den of Imagination - Your Miniature Painting Service
We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!
We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.
------------------------------------------------------------------------------------------
WEBSITE: denofimagination.com/
YOUTUBE: www.youtube.com/user/denofimagination
SHOP: shop.denofimagination.com/
TWITTER: Twitter.com/doiStudio
FLICKER: www.flickr.com/photos/97996892@N07/
PINTEREST: www.pinterest.com/denstudio/
INSTAGRAM: instagram.com/doiphoto/