My work desk is a pretty stock standard one in muted grey melamine with slightly darker edges, It has 3 drawers on the right, with silver handles. This shot is taken with my camera just overhanging the top edge of the desk, peeping down through the 3 drawer handles.

Day 182 of 365 Days in Colour - Day 3 of May, Grey.

May 2012 Scavenger Challenge #17. Ordinary objects may be hard to recognize when the PoV is looking straight down.

Taken with iPhone 4S.

You know you are seeing such a photograph if you say to yourself, "I could have taken that picture. I've seen such a scene before, but never like that." It is the kind of photography that relies for its strengths not on special equipment or effects but on the intensity of the photographer's seeing. It is the kind of photography in which the raw materials--light, space, and shape--are arranged in a meaningful and even universal way that gives grace to ordinary objects. - Sam Abell, Seeing and Shooting Straight by Sam Abell

Finally I submit to you the photos of the work with José Rosero; please forgive my delay.

The whole batch is about the work that we did in one day.

The theme was customisation; and I choosed very ordinary objects as you may notice.

Finalmente estas son las imágenes del proyecto residencia artística por un dia que realicé con José Rosero.

La serie es de objetos customizados.

Y particularmente yo me enfoqué en objetos cotidianos y ordinarios con quizá algún tipo de contenido humorístico local.

Global inequality is growing, with half the world’s wealth now in the hands of just 1% of the population, according to a new report.Each of the remaining 383m adults – 8% of the population – has wealth of more than $100,000. This number includes about 34m US dollar millionaires. About 123,800 individuals of these have more than $50m, and nearly 45,000 have more than $100m. There is overwhelming agreement among economists that the Second World War was responsible for decisively ending the Great Depression. When asked why the wars in Iraq and Afghanistan are failing to make the same impact today, they often claim that the current conflicts are simply too small to be economically significant.

There is, of course, much irony here. No one argues that World War II, with its genocide, tens of millions of combatant casualties, and wholesale destruction of cities and regions, was good for humanity. But the improved American economy of the late 1940s seems to illustrate the benefits of large-scale government stimulus. This conundrum may be causing some to wonder how we could capture the good without the bad.

If one believes that government spending can create economic growth, then the answer should be simple: let's have a huge pretend war that rivals the Second World War in size. However, this time, let's not kill anyone.

Most economists believe that massive federal government spending on tanks, uniforms, bullets, and battleships used in World War II, as well the jobs created to actually wage the War, finally put to an end the paralyzing "deflationary trap" that had existed since the Crash of 1929. Many further argue that war spending succeeded where the much smaller New Deal programs of the 1930s had fallen short.

The numbers were indeed staggering. From 1940 to 1944, federal spending shot up more than six times from just $9.5 billion to $72 billion. This increase led to a corresponding $75 billion expansion of US nominal GDP, from $101 billion in 1940 to $175 billion by 1944. In other words, the war effort caused US GDP to increase close to 75% in just four years!

The War also wiped out the country's chronic unemployment problems. In 1940, eleven years after the Crash, unemployment was still at a stubbornly high 8.1%. By 1944, the figure had dropped to less than 1%. The fresh influx of government spending and deployment of working-age men overseas drew women into the workforce in unprecedented numbers, thereby greatly expanding economic output. In addition, government spending on wartime technology produced a great many breakthroughs that impacted consumer goods production for decades.

So, why not have the United States declare a fake war on Russia (a grudge match that is, after all, long overdue)? Both countries could immediately order full employment and revitalize their respective manufacturing sectors. Instead of live munitions, we could build all varieties of paint guns, water balloons, and stink bombs.

Once new armies have been drafted and properly outfitted with harmless weaponry, our two countries could stage exciting war games. Perhaps the US could mount an amphibious invasion of Kamchatka (just like in Risk!). As far as the destruction goes, let's just bring in Pixar and James Cameron. With limitless funds from Washington, these Hollywood magicians could surely produce simulated mayhem more spectacular than Pearl Harbor or D-Day. The spectacle could be televised- with advertising revenue going straight to the government.

The competition could be extended so that the winner of the pseudo-conflict could challenge another country to an all-out fake war. I'm sure France or Italy wouldn't mind putting a few notches in the 'win' column. The stimulus could be never-ending.

If the US can't find any willing international partners, we could always re-create the Civil War. Missed the Monitor vs. the Merrimack the first time? No worries, we'll do it again!

But to repeat the impact of World War II today would require a truly massive effort. Replicating the six-fold increase in the federal budget that was seen in the early 1940s would result in a nearly $20 trillion budget today. That equates to $67,000 for every man, woman, and child in the country. Surely, the tremendous GDP growth created by such spending would make short work of the so-called Great Recession. The big question is how to pay for it. To a degree that will surprise many, the US funded its World War II effort largely by raising taxes and tapping into Americans' personal savings. Both of those avenues are nowhere near as promising today as they were in 1941. Current tax burdens are now much higher than they were before the War, so raising taxes today would be much more difficult. The "Victory Tax" of 1942 sharply raised income tax rates and allowed, for the first time in our nation's history, taxes to be withheld directly from paychecks. The hikes were originally intended to be temporary but have, of course, far outlasted their purpose. It would be unlikely that Americans would accept higher taxes today to fund a real war, let alone a pretend one. That leaves savings, which was the War's primary source of funding. During the War, Americans purchased approximately $186 billion worth of war bonds, accounting for nearly three quarters of total federal spending from 1941-1945. Today, we don't have the savings to pay for our current spending, let alone any significant expansions. Even if we could convince the Chinese to loan us a large chunk of the $20 trillion (on top of the $1 trillion we already owe them), how could we ever pay them back? If all of this seems absurd, that's because it is. War is a great way to destroy things, but it's a terrible way to grow an economy. What is often overlooked is that war creates hardship, and not just for those who endure the violence. Yes, US production increased during the Second World War, but very little of that was of use to anyone but soldiers. Consumers can't use a bomber to take a family vacation. The goal of an economy is to raise living standards. During the War, as productive output was diverted to the front, consumer goods were rationed back home and living standards fell. While it's easy to see the numerical results of wartime spending, it is much harder to see the civilian cutbacks that enabled it. The truth is that we cannot spend our way out of our current crisis, no matter how great a spectacle we create. Even if we spent on infrastructure rather than war, we would still have no means to fund it, and there would still be no guarantee that the economy would grow as a result. What we need is more savings, more free enterprise, more production, and a return of American competitiveness in the global economy. Yes, we need Rosie the Riveter - but this time she has to work in the private sector making things that don't explode. To do this, we need less government spending, not more.

The existing literature identifies natural resource wealth as a major determinant of civil war. The dominant causal link is that resources provide finance and motive (the “looting rebels” model). Others see natural resources as causing “political Dutch disease,” which in turn weakens state capacity (the “state capacity” model). In the looting rebels model, resource wealth first increases, but then decreases the risk for civil war as very large wealth enables governments to constrain rebels, whereas in the state capacity model, large resource wealth is unambiguously related to higher risk of war. This research note uses a new dataset on natural resource rents that are disaggregated as mineral and energy rents for addressing the resources-conflict relationship. We find that neither a dummy variable for major oil exporters nor our resource rents variables predict civil war onset with a 1000-battle-death threshold coded by Fearon and Laitin (2003) Fearon, J. D. and Laitin, D. D. 2003. Ethnicity, insurgency, and civil war. American Political Science Review, 97(1): 1–16.

[Crossref], in the period after 1970 for which rents data are available. However, using a lower threshold of 25 battle deaths, we find that energy wealth, but not mineral wealth, increases the risk for civil war onset. We find no evidence for a nonlinear relationship between either type of resources and civil war onset. The results tentatively support theories built around state capacity models and provide evidence against the looting rebels model of civil war onset.

www.businessinsider.com/lets-pretend-to-have-another-seco...

A considerable body of poetical work has been attributed to Saint Kabir. And while two of his disciples, Bhāgodās and Dharmadās, did write much of it down, "...there is also much that must have passed, with expected changes and distortions, from mouth to mouth, as part of a well-established oral tradition."

In that Place There Is No Happiness or Unhappiness,

No Truth or Untruth

Neither Sin Nor Virtue.

There Is No Day or Night, No Moon or Sun,

There Is Radiance Without Light.

There Is No Knowledge or Meditation

No Repetition of Mantra or Austerities,

Neither Speech Coming From Vedas or Books.

Doing, Not-Doing, Holding, Leaving

All These Are All Lost Too In This Place.

No Home, No Homeless, Neither Outside or Inside,

Micro and Macrocosm Are Non-Existent.

Five Elemental Constituents and the Trinity Are Both Not There

Witnessing Un-struck Shabad Sound is Also Not There.

No Root or Flower, Neither Branch or Seed,

Without a Tree Fruits are Adorning,

Primordial Om Sound, Breath-Synchronized Soham,

This and That - All Are Absent, The Breath Too Unknown

Where the Beloved Is There is Utterly Nothing

Says Kabir I Have Come To Realize.

Whoever Sees My Indicative Sign

Will Accomplish the Goal of Liberation.

Kabir

What is seen is not the Truth

What is cannot be said

Trust comes not without seeing

Nor understanding without words

The wise comprehends with knowledge

To the ignorant it is but a wonder

Some worship the formless God

Some worship His various forms

In what way He is beyond these attributes

Only the Knower knows

That music cannot be written

How can then be the notes

Says Kabir, awareness alone will overcome illusion

Kabir

There is a common trunk that carries energy from the EARTH TO COSMOS? a kind of Milky Way, fruit of the mammary tits of a sacred cow. The link between the body of light and the physical body is a silver rope invisible from mortals. It would be necessary to die first to be reborn in a spiritual World. The attachment to material values divides us and the World War is the result of an oversized human ego. Thus, we must digest our reptilian impulses to live detached from the roots of evil and once again become a sacred fruit of the Tree of Life.In this early spring, he seems happy to be in Paris. It was there that, in 2006, his career took a truly international turn. For the Nuit blanche, Subodh Gupta had been invited to produce a work: "Very Hungry God". This monumental skull of gleaming kitchen utensils was shown at Saint-Bernard church in the Goutte-d'Or district, where the battle of the undocumented had taken place ten years earlier. Struck by this paradoxical image of prosperity and death, François Pinault immediately bought the sculpture, then installed it in front of his Venetian foundation, at the Palazzo Grassi. This skull became one of the most famous vanities of contemporary art with the one Damien Hirst made in diamonds a year later.Born in a village in northern India, marked in his childhood by the presence of a theatre company and by film screenings where his mother took him, Subodh Gupta experienced a meteoric rise. First trained in figurative painting, he put this technique aside to make videos and assemblages of objects, often kitchen utensils, which have been his signature for about ten years. This is the case of "People Tree", a giant tree created especially to be presented in one of the Mint's courses. Subodh Gupta has a sense of sharing and loves to cook. It is for him an essential reference: he compares willingly the kneading of a bread dough and the artistic gesture. His works also tell the story of travel and exile, like his boat overflowing with metal amphorae and evoking the fate of migrants.

He is interested in the cosmos and the philosopher's stone, a mysterious substance known to turn lead into gold.

Faced with success, we had to produce a lot. The size of his workshops kept increasing every year to accommodate more assistants - he said he sometimes made less good pieces. So, for some time now, his work has taken a more meditative turn. He is interested in the cosmos and the philosopher's stone, a mysterious substance reputed to turn lead into gold, cure diseases, prolong human life... He also returned to painting. Through works, often colossal, installed in 18th century salons, the exhibition shows how far we have come.

Subodh Gupta spent a week working in the Mint's workshops to make a medal himself. The exchanges seem to have been spontaneous with the engravers, in this place which is one of the oldest factories in Paris. It was as an alchemist that he thought about his project: the idea came to him to associate the preciousness of spices with that of metal by placing the key ingredients of a good curry, garam masala, on modelling clay. The assembly will be scanned and pressed onto a metal disc. A reminder that in Vasco da Gama's time.

fr.pressfrom.com/actualite/culture/-95491-subodh-gupta-un...

While often Gupta, an artist based in New Delhi, uses form and content emanating from an Indian milieu as initial points of reference, these works are far from nostalgic, nativist or even culturally specific. They serve instead as universally relatable ruminations on the physical, the metaphysical, and their interconnections.

, In This Vessel Lies the Philosopher’s Stone, is a citation from the writings of the Indian poet Kabīr, from the 15th century, who is one of India’s most celebrated mystics and venerated by Hindus and Muslims alike.

Kabīr identifies a humble vessel, a trope for the human body, to be the carrier of everything – the earth, the universe, and the divine. Subodh Gupta’s most recent works are a meditative exploration of both the literal and metaphorical implications of these verses. The quotidian pantry has long been Gupta’s artistic realm where he finds material and meaning. But rather than expressing earthly horrors and delights, he has moved into capturing the cosmic in the everyday, resulting in a body of work that is simultaneously minimalist and exaggerated. For Gupta, the steam that escapes a boiling kettle suggests a new galaxy emerging, the sparks that scatter out of a wood stove appear to represent the birth of new stars, and the metallic banging of a hammer crushing aluminum suggests the celestial big bang. As the domestic is superimposed on the cosmic, astrophysical wonders are minimized to the mundane, and mundane earthly objects out into inter-stellar awe.

he phrase paaras or paarasmani, mentioned in the verses by Kabir, refers to an oddly universal mythological object that is able to transmute ordinary materials into precious metals or imbue them with extraordinary powers. The western equivalent to this mystical gem is known as the philosopher’s stone. The power of the philosopher’s stone is uncannily similar to an artist’s power to elevate an ordinary object into a prized possession, simply by rendering it in an artwork. Subodh Gupta’s work is particularly analogous to this alchemical act of transmutation and this is evident throughout his works, most literally perhaps in the work titled Only One Gold, which shows a humble potato seemingly transformed into a lump of gold.

www.itsliquid.com/subodh-gupta-in-this-vessel-lies-the-ph...

I passed by the neighbourhood grocery store. I saw the pears in the shaded fruit sales stand. They smiled at me. The grin was almost like a hurting mark on their faces.

A pair of pears were hugging each other. They said to me, "We are all different in shapes. How is it possible for us to be getting together in such a harmony?".

I could not answer his question right away. I was thinking about this all day and I found his question is such an inspiring one!

Next time when you go to a grocery store, make sure you talk to the wise pair, oh I mean the wise pears!

Have a great Tuesday!

Fuji X-T1 camera

Fuji XF 23mm F1.4 lens

In-camera B&W processing with yellow filter

I have a short Flickr survery question today:

I find less and less Flickr friends are posting pictures everyday. Is it very difficult to be posting one picture everyday? I mean posting one everyday and not taking one everyday. You can always post pictures selected from your archive!

Ordinary Egg by Sony200boy .....

Ordinary Object. "E" is for Egg This is the fifth image in the flickrfriend challenge we call Odd Wednesday, where we will work our selves through the alphabet photographing an object for each letter that we normally would not think of photographing if it weren't for the challenge.

Another bit of experimentation, here. The shot is as it came out of the camera - I have only knocked up the saturation a couple of ticks.

I am well behind on this challenge so my aim is to catch up. Next one - "F".

© All rights reserved

Hortusplantsoen 30/12/2015 18h46

This project is visible both from the Illuminade walk tour as well as from the boat cruise Water Colors. One of the few projection installations this year. Point of view is Jonas Daniël Meijerplein.

Amsterdam Light Festival

The fourth edition for this Winter event in the city of Amsterdam. No longer do we have to dread the dark winter months in Amsterdam. Thanks to Amsterdam Light Festival, Amsterdam is transformed every year into a true city of lights with the help of contemporary (inter)national light artists. During this annual festival for young and old, both the residents of Amsterdam and the city’s many visitors are treated to a spectacle of light. At the same time, the festival offers talented (young) light artists a platform to present their latest work.

This year, the 55-day festival is dedicated to theme 'Friendship' and can be visited from 28 November 2015 to 17 January 2016. Water Colors will take place from 28 November 2015 to 17 January 2016 and the walking route Illuminade will take place from 10 December 2015 to 3 January 2016. Let's celebrate the winter together with art, light and water!

www.amsterdamlightfestival.com

Canal House

Artist: Irma de Vries [ artist ]

Location: Hortusplantsoen

It is the third time that multidisciplinary artist Irma de Vries participates in the Amsterdam Light Festival, which is quite exceptional. Last year she was represented with the project The Gatekeepers. Her new, spectacular video mapping project is called Canal House. She herself characterizes this work as ‘a large, 18 meters high painting, which at nightfall comes alive throught light projection.’ A living painting, consisting of symbols from Europe’s history. ‘In my work I examine Europe’s identity by coupling elements and events from history to current or future events. Not only does our individual identity become visible that way, but I hope it will also enable us to visualize our cultural identity.’ According to the artist a new outlook on Europe is sorely needed. ‘I think it is very important to really put the spotlight on our mutual and personal identities.’ Canal House is a work to get engrossed in and be amazed by.

Irma de Vries is interested in the different aspects of light and shadow within the technical realm. Light and shadow alter the way we see things around us, and can even make an ordinary object appear completely different; this is something De Vries experiments within her work. The central theme of her work is identity. The Dutch artist has exhibited her work in Amsterdam as well as in New York and Milan.

I was at Iona Beach. Could not find any big scene for photographs as the sky was dull and featureless.

Instead I got this driftwood details.

View On White

Day 175 of 365

Also my Week 23, Assignment 2 for Take A Class With Dave and Dave.

Surreal. We've played on the abstract jungle gym, now it's time to take a dip in the surreal swimming pool: From Wikipedia"Surrealism as a visual movement had found a method: to expose psychological truth by stripping ordinary objects of their normal significance, in order to create a compelling image that was beyond ordinary formal organization, in order to evoke empathy from the viewer." If you incorporate the elements of collage, all the elements do not need to be shot this week, though the main should.

I had thought about doing another art recreation shot of a surreal painting, but I hadn't done a droste effect picture in awhile and I thought this would be the perfect time to do another. A BIG shout out to Pisco Bandito for help with learning the Droste Effect and for his inspirational and artistic images.

I am kind of starving of colour after all the black & white processing.

So I cilpped one tulip from my backyard and did a few still life.

This is the bowing tulip. I also want to bow my thanks to all my contacts on your valuable comments.

View On Black

Raining continues in the weekend.

We are not in shortage of rain drops everywhere. Water drops are always my favorite. So I took a shot of them again on my car trunk.

My car is in the boring silver. So I twisted the color a bit to red.

Close up in the rainny day.

View On Black

κοίτα να δείς που ακόμα και το χαρτί υγείας μπορεί να σου δώσει ιδέες για φωτογραφία...

(www.janimaki.net)

The May challenge was "Ordinary Objects". Take a look at the other shots here : www.flickr.com/groups/ajac/pool/

I enjoy photographing ordinary objects and trying to make them something more than ordinary. I also like close-up and macro shots, and I especially like the way showing part of an object can be far more exciting and interesting than showing the whole thing.

I used all of those aspects of my photographic voice when I shot this old rotary phone at an antique store. I wanted to emphasize the dial, and of course that 60's mustard yellow color that you probably couldn't get today if you tried.

One of my favorite artists is Tracey Fletcher King as she makes ordinary objects look extraordinary. I love her use of bright colors and dark, sketchy ink lines. She posted her first demo video recently and I took the opportunity to work through it myself to get a taste of her style. What makes her style the most different than mine is her use of the nice dark scribbly ink lines, drawn in as the finale of the sketch. I tried to apply the same principle to my Clif Bar sketch, but it was kinda scary, thinking I might "ruin" the sketch by applying the ink lines so loosely, but it did feel liberating too! I think I might try it more often!

Her 2-part carrot demo videos can be viewed from her blog: www.traceyfletcherking.com/2015/04/carrot-painting-demons...

circa 1995

Howard Finster's Paradise Garden - typical hot, humid day in north Georgia-

Ektachrome - Finster was still alive and would let visitors wander around the expansive yard of his former house at no charge; he would sell his art pieces to those interested. While his mix of folk art and religion did not appeal to everyone, he acquired a following over the years (thanks in part to R.E.M. and Talking Heads using his art for their album covers). Still, Finster’s garden wasn’t what you would find on Georgia tourist brochures at that time. But I was intrigued by this #outsiderart.

I was given handwritten directions to his place. I stopped at a downtown Summerhill store to double check directions. There were no signs to his place. The entrance was a modest house and front porch. Inside Finster’s “garden” was a sprawling yard (likely several backyards) where Howard Finster worked on and displayed his art with spiritual quotes, religious advice and ordinary objects. Some I talked with loved their visit; others thought it was an overground junk yard. In addition to documenting the grounds, I also took a few self-portraits.

Howard Finster held court in the house as I left, evangelizing to the visitors. Some stayed and listened to his words. I didn’t stay as I was drenched in Georgia humidity and had a 2 hour drive home, but I purchased one of his art pieces (which I still have) on my exit. Elizabeth bought a second Finster piece for me for our first Christmas gift exchange in 1998. I visited Paradise Garden a couple more times, but things do change.

Sadly, the innocence of Howard Finster’s garden wouldn’t last as pieces were sold off to museums and collectors. The garden entrance changed and charged admission to tour the place. Perhaps something growing organically might spiral itself into mismanagement. I don’t know. If those moves kept his art and livelihood going that’s fine but it’s an example of something organic which grew by word of mouth, only later to become more regulated.

From my 2007 archive pictures.

Another test shot of my Sigma lens.

View On Black

A jug band is a band employing a jug player and a mix of conventional and homemade instruments. These homemade instruments are ordinary objects adapted to or modified for making sound, like the washtub bass, washboard, spoons, bones, stovepipe, jew's harp, and comb and tissue paper. The term jug band is loosely used in referring to ensembles that also incorporate homemade instruments but that are more accurately called skiffle bands, spasm bands, or juke (or jook) bands (see juke joint) because they do not include a jug player.

Jug bands from the Memphis area were more firmly rooted in country blues, hokum, and earlier African-American music traditions. Will Shade's Memphis Jug Band and Gus Cannon's Jug Stompers recorded for Ralph Peer, starting in 1927, many great songs that became the basis for the later jug band revival, including "Stealin'," "Jug Band Music," "On the Road Again," "Whoa, Mule," "Minglewood Blues," and "Walk Right In". Many songs had “blues” in the title, including “Coal Oil Blues” and “Lumpy Man Blues,” but were not traditional 12-bar blues. The Memphis Jug Band and Gus Cannon's Jug Stompers featured harmonica played by Will Slade and Noah Lewis, respectively. Other bands from the Memphis area were Jack Kelly and His South Memphis Jug Band, Jed Davenport and Dewey Corley's Beale Street Jug Band, and Noah Lewis's Jug Band. Ma Rainey's tub-jug band featured the first recordings of the slide guitarist Tampa Red, who later formed his own Hokum Jug Band. Big Bill Broonzy and Memphis Minnie cut a few sides each backed up by their own jug bands; Memphis Minnie also sang and played with the Memphis Jug Band. Memphis jug band music is closely associated with Memphis blues.

This is part of an ongoing project. I thought it would be interesting to look around me and see what could be interpreted as faces in every day ordinary objects. My intention is to make people look twice and to see if they can figure out what these objects are :-) Please let me know if you have any suggestions or guesses! Feel free to check out my sets so you can see the photos as a collective.

The true test of photographic skill is to be able to make the extraordinary from the ordinary. Read more about my thoughts on this here.

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willmoneymaker.libsyn.com

Ruth Bernhard was a photographer who lived from 1905 to 2006, and over the course of her photographic career, she made a name for herself by photographing simple things in extraordinary ways. There is a quote from her that comes to mind: “I look at ordinary objects, and I see things that other people don’t see. That’s why I’m a photographer.”

That really sums it up, doesn’t it? I’ve talked before about trophy photographs—these images that we take not only to highlight the subjects but also to show off and share unusual opportunities that we’ve been afforded. To my mind, these photographs are not the important ones in our portfolios. Sure, we may be proud of them, and I won’t deny that they hold beauty and meaning in their own right.

But I think that the true test of skill is to be immersed in mundane surroundings and to still be able to create photographs that are unique. In order to do this? It’s exactly like Ruth once said. You must see things that others don’t see. You have to work hard to make it special.

There are two reasons why this is so important. First and most obvious is that for most of us, these rare opportunities to photograph the unusual just don’t come along all that often. We can’t all be National Geographic photographers traveling the world to exotic places so that we can see things few other people have ever gotten the chance to see, even in photographs. For most of us, our sphere within the day to day world is relatively small, consisting of our homes, our neighborhoods, and our workplaces. The chances to go on vacation and find unusual things may only come once per year if even that often.

Can we wait for these once every so often vacations to photograph the unusual? No, we can’t. That would mean photography is only reserved for rare and special occasions—but we need to keep photographing all the time in order to stay practiced. So that means we have to take what is immediately around us and we have to make it special.

And the other reason why it is so important to create extraordinary photographs from ordinary subjects? Because that is what makes us creative. That is the thing that hones our thought processes so that we are better able to notice unusual aspects of the ordinary things around us. It’s exactly as Ruth said. We must see what others don’t see, and that is what makes us photographers. What better way to sharpen this skill than to do it by observing our own backyards in ways that others may never have thought to look?

Most of the time, we just won’t have anything special or unique to photograph. And that’s a good thing, I think. If we want to keep creating anyway, then we have to make the extra effort to make it special.

The first sculpture installed for Vancouver Biennale 2010 is The STOP by Chinese-American artist Michael Zheng. Zheng's works often include ordinary objects taken out of their usual context.

Installed simultaneously in two locations (Charleson Park and Vanier Park), these shots are from the Charleson Park location.

Herengracht 02/01/2019 19h01

Love the colorful lights of this installation. Rederij 't Smidtje is floating under these lights here.

Amsterdam Light Festival

Amsterdam Light Festival is an annual light art festival in Amsterdam. Artists, architects and (light) designers from all over the world bring their light artworks and installations alive during the festival every winter.

For our seventh edition, artists from home and abroad take you on a journey along 30 light artworks specially created for Amsterdam. The 53-day exhibition revolves around the theme ‘The Medium is the Message’, the famous statement by the Canadian scientist Marshall McLuhan. The role of light in conveying a message and the city of Amsterdam as a medium for telling stories are central to this edition.

www.amsterdamlightfestival.com

MIDNIGHT SUMMER DREAM

Artist: Teatro Metaphora (Portugal)

Who could have thought that discarded washing machines could form the basis of an artwork? The Portuguese artists’ collective Teatro Metaphora did: they used dozens of washing machine drums for their hanging installation 'Midnight Summer Dream' and illuminated them in 5 different colours.

The drums originate from discarded washing machines collected by the group members over the period of several months on the island of Madeira, where they live and work. Some machines were found in the garbage, while other unwanted ones were given to them by fellow islanders.

The artists enjoy demonstrating that you can create something very meaningful when you recycle ordinary objects. For their project 'Yes, Less Can! '(2017) they collected an enormous amount of empty soda cans during a half year, which they then turned into colourful posters and decorations for the streets of Câmara de Lobos on Madeira. ‘Upcycling’, as it’s called, is something contemporary designers are doing more and more these days. Think, for instance, of Piet Hein Eek’s famous furniture pieces made of reclaimed wood.

Teatro Metaphora doesn’t only work on art projects but regularly writes and organises theatre performances as well. It’s no coincidence then that the title of this artwork reminds you of William Shakespeare’s famous 16th century play, 'A Midsummer Night’s Dream'. In this piece, which takes place on a warm summer’s night in a forest illuminated by the moon, four young lovers, a group of actors and even fairies encounter a whole host of adventures. You’re now seeing this installation in slightly less sultry conditions, but hopefully you can imagine being in a similar environment, in the company of others and in the intimacy of the dark night.

Magritte was a Belgian surrealist artist. He became well known for often witty and thought-provoking images. His goal for his was to challenge observers' preconditioned perceptions of reality and force viewers to become hypersensitive to their surroundings. Magritte's earliest paintings were Impressionistic in style. From 1916 to 1918 he studied at the Académie in Brussels, but found the instruction uninspiring. The paintings he produced during the years 1918–1924 were influenced by Futurism and by the offshoot of Cubism practiced by Metzinger. Most of his works of this period are female nudes. In 1926, Magritte produced his first surreal painting, The Lost Jockey, and held his first exhibition in Brussels in 1927. Critics heaped abuse on the exhibition. Depressed, he moved to Paris where he became friends with André Breton, and became involved in the surrealist group.

He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir Period". In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight. During 1947–48 he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques and Chiricos. At the end of 1948, he returned to the style and themes of his prewar surrealistic art. His work was exhibited in the United States in New York in 1936 and again in that city in two retrospective exhibitions, one at the Museum of Modern Art in 1965, and the other at the Metropolitan Museum of Art in 1992.

Magritte's style of surrealism is more representational than the "automatic" style of artists such as Joan Miró. His use of ordinary objects in unfamiliar spaces is joined to his desire to create poetic imagery. He described the act of painting as "the art of putting colors side by side in such a way that their real aspect is effaced, so that familiar objects—the sky, people, trees, mountains, furniture, the stars, solid structures, graffiti—become united in a single poetically disciplined image. The poetry of this image dispenses with any symbolic significance, old or new.” Magritte's use of simple graphic and everyday imagery has been compared to that of the Pop artists although Magritte himself discounted the connection. He considered the Pop artists' representation of "the world as it is" as "their error", and contrasted their attention to the transitory with his concern for "the feeling for the real, insofar as it is permanent."

Silkscreen; 50 x 75 cm.

(b niterói, 1915; d rio de janeiro, 1988). brazilian painter. he entered the escola nacional de belas artes, rio de janeiro, in 1930 and in 1931 was one of the founders of the núcleo bernardelli, whose aim was to build on the initial successes of modernism. after at first being influenced by cézanne he painted cyclists, bathers and children playing, in compositions of carefully linked rectangles, cubes, cylinders, spheres and pyramids (at the swimming-pool , 1942; rio de janeiro, roberto marinho priv. col.). in later works he was briefly influenced by pittura metafisica and surrealism, surrounding ordinary objects with a schematic architecture and mysterious trompe l’oeil mannequins and faces. from 1944 to 1946 he lived in the usa and europe. in the mid-1950s, in constructions such as on a brown background (1955; u. são paulo, mus. a. contemp.) and on a red background (1955; rio de janeiro, mus. manchete), he began to produce austere works close to concrete art. he established his compositions on strict mathematical principles, generally using only two or three colours and precise lines intersected at right angles. in 1963, though retaining the formal economy of his earlier work, he returned to the figure in the series venus, angels and pageantry , treated in a manner at once sensual and ascetic (venus and the bird , 1976; rio de janeiro, gal. acervo).

Grove Art excerpts - Electronic ©2003, Oxford Art Online

What to do when the eagle I saw earlier had left the area? Try getting something different from an ordinary object.

This is part of an ongoing project. I thought it would be interesting to look around me and see what could be interpreted as faces in every day ordinary objects. My intention is to make people look twice and to see if they can figure out what these objects are :-) Please let me know if you have any suggestions or guesses! Feel free to check out my sets so you can see the photos as a collective.

Having some fun playing around with ordinary objects at the church preschool, looking for pictures I could use for the web site.

René François Ghislain Magritte, 21 November 1898 – 15 August 1967) was a Belgian surrealist artist, who became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop art, minimalist art, and conceptual art.

Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. During 1916–1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. He also took classes at the Académie Royale from the painter and poster designer Gisbert Combaz. The paintings he produced during 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.

From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913. Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's The Song of Love (painted in 1914). The work brought Magritte to tears; he described this as "one of the most moving moments of my life: my eyes saw thought for the first time." The paintings of the Belgian symbolist painter William Degouve de Nuncques have also been noted as an influence on Magritte, specifically the former's painting The Blind House (1892) and Magritte's variations or series on The Empire of Lights.

In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first solo exhibition in Brussels in 1927. Critics heaped abuse on the exhibition.

Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years. In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.

On 15 December 1929 he participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of Images.

Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[10] He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years. In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.

During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced.

During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium.

In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight. During 1947–48, Magritte's "Vache period," he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.

In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the Centre Georges Pompidou (2016–2017). In the United States his work has been featured in three retrospective exhibitions: at the Museum of Modern Art in 1965, at the Metropolitan Museum of Art in 1992, and again at the Metropolitan Museum of Art in 2013. An exhibition entitled "The Fifth Season" at the San Francisco Museum of Modern Art in 2018 focused on the work of his later years.

Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art. Spiritually, Magritte was an agnostic.

Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he was 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.

What's better than driving a go-kart? Flying a go-kart of course! Behold Olivia's latest invention, the flying go-kart! This wacky contraption was built using a modified go-kart and ordinary objects that Olivia found around the house such as cutlery, a hairdryer, a parasol, skis, party balloons, and horse stable doors. You can see her here soaring high above Heartlake City. What a view!

This is my entry for the Customize Your Go-Kart contest on Rebrick.

Another busy day with little time for serious photography so a quick shot of an ordinary object but taken for the Treasure Hunt Theme “What is it?”

(Treasure Hunt Theme No 71 – What is it?)

I like lightpainting so that ordinary objects have an altered appearance. these are yellow and red tulips I bought from a steet vendor.

Canon EOS 6D - f/3.2 - 1/16sec - 100 mm - ISO 200

These are not five pipes...

after Magritte

www.wikiart.org/en/rene-magritte

René François Ghislain Magritte (21 November 1898 – 15 August 1967) was a Belgian surrealist artist. He became well known for a number of witty and thought-provoking images that fall under the umbrella of surrealism. His work is known for challenging observers' preconditioned perceptions of reality.

Magritte's work frequently displays a collection of ordinary objects in an unusual context, giving new meanings to familiar things. The use of objects as other than what they seem is typified in his painting, 'The Treachery of Images' (La trahison des images), which shows a pipe that looks as though it is a model for a tobacco store advertisement. Magritte painted below the pipe "Ceci n'est pas une pipe" ("This is not a pipe"), which seems a contradiction, but is actually true: the painting is not a pipe, it is an image of a pipe. When Magritte was once asked about this image, he replied that of course it was not a pipe, just try to fill it with tobacco.

Personal Values (1952) depicts a bedroom framed by cloud-filled walls, with an oversized comb and shaving brush dwarfing the furniture on which they rest. This alteration of scale by enlarging daily objects was often used by Belgian surrealist artist, Rene Magritte (1898-1967). The method, based on the “disturbing objects” theory extolled by surrealist Paul Nougé (1895-1967), was one of the ways to unhinge the spectator, causing a poetic shock and uneasiness in front of intentional surreality. Magritte became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers preconditioned perceptions of reality. His imagery has influenced pop, minimalist and conceptual art.

This original Magritte painting was seen and photographed at San Francisco's Museum of Modern Art in an exhibit entitled 'Rene Magritte: The Fifth Season'.

I'm seeing a duck head in this weathered, exposed tree root, but then I'm inclined to seeing such things in ordinary objects.

Rene Francois Ghislain Magritte (1898-1967) was a Belgian surrealist artist. He became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop, minimalist and conceptual art.

The 'bowler hat' first appeared in Magritte's work in the 1920's. In the 1950's the bowler-hatted man became synonymous and was associated with many of his paintings. Normally centering the torso on a vertical canvas, in this painting (1951) he placed the figure in its natural habitat: a modern European city suggestive of his native Brussels. According to Magritte, the presence of the white rose signified that "wherever man's destiny leads him, he is always protected by an element of beauty."

This original Magritte painting was seen and photographed at San Francisco's Museum of Modern Art in an exhibit entitled 'Rene Magritte: The Fifth Season'.

© Diana Yakowitz all rights reserved.

Late with my odd Wednesday post of

F ordinary object, F is for Fig.

Taken with strong afternoon sunlight from a west window.

See my Ordinary Object Set for more images in this project with a couple of flickrfriends.

What's better than driving a go-kart? Flying a go-kart of course! Behold Olivia's latest invention, the flying go-kart! This wacky contraption was built using a modified go-kart and ordinary objects that Olivia found around the house such as cutlery, a hairdryer, a parasol, skis, party balloons, and horse stable doors. You can see her here soaring high above Heartlake City. What a view!

This is my entry for the Customize Your Go-Kart contest on Rebrick.

Rene Francois Ghislain Magritte (1898-1967) was a Belgian surrealist artist. He became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging his viewers' preconditioned perceptions of reality. His imagery has influenced pop, minimalist and conceptual art.

Though the title of this painting draws attention to the central green structure, the more captivating element is the large oversized violin. Casually nestled between two townhouses, the instrument is accompanied by the cloth used to pad a musician's shoulders, suggesting that a sizeable street scene with a fading effect Magritte described as "shading off the image towards the edges," using arcing lines to produce a memory-like haze.

This Magritte original was seen and photographed on display at San Francisco's Museum of Modern Art (SFMOMA). The painting was recently auctioned at Christie's for 725,000 British Pounds (GBP).

circa 1995

Howard Finster's Paradise Garden - typical hot, humid day in north Georgia-

Ektachrome - Finster was still alive and would let visitors wander around the expansive yard of his former house at no charge; he would sell his art pieces to those interested. While his mix of folk art and religion did not appeal to everyone, he acquired a following over the years (thanks in part to R.E.M. and Talking Heads using his art for their album covers). Still, Finster’s garden wasn’t what you would find on Georgia tourist brochures at that time. But I was intrigued by this #outsiderart.

I was given handwritten directions to his place. I stopped at a downtown Summerhill store to double check directions. There were no signs to his place. The entrance was a modest house and front porch. Inside Finster’s “garden” was a sprawling yard (likely several backyards) where Howard Finster worked on and displayed his art with spiritual quotes, religious advice and ordinary objects. Some I talked with loved their visit; others thought it was an overground junk yard. In addition to documenting the grounds, I also took a few self-portraits.

Howard Finster held court in the house as I left, evangelizing to the visitors. Some stayed and listened to his words. I didn’t stay as I was drenched in Georgia humidity and had a 2 hour drive home, but I purchased one of his art pieces (which I still have) on my exit. Elizabeth bought a second Finster piece for me for our first Christmas gift exchange in 1998. I visited Paradise Garden a couple more times, but things do change.

Sadly, the innocence of Howard Finster’s garden wouldn’t last as pieces were sold off to museums and collectors. The garden entrance changed and charged admission to tour the place. Perhaps something growing organically might spiral itself into mismanagement. I don’t know. If those moves kept his art and livelihood going that’s fine but it’s an example of something organic which grew by word of mouth, only later to become more regulated.

© Diana Yakowitz all rights reserved.

Ordinary Object. "C" is for Cinema.

I wanted this image to look graphic and grainy like the slide that was being projected on the screen before the show.

© Diana Yakowitz all rights reserved.

"T" Ordinary Object, T is for "Tripod in the Spotlight." This is the latest image in a flickrfriend challenge called Odd Wednesday where I am working my way through the alphabet photographing an ordinary object for each letter. Preferably something I wouldn't normally think to photograph. I know I already had a T object in the set, in fact it was the first photograph I made for this challenge when we were not going in alphabetical order, but I couldn't resist doing another. This one is inspired by Intrepid Tripod's self portraits ! and check out his beautiful stream too.

Sometime I will photograph the not so ordinary camera that is mounted on this vintage tripod.

The Explore # finally showed up in Scout for this image. Took days and days even though it hit on the posting day. So EXPLORE bp #177 June 9, 2010. Still amazes me that with relatively few comments it hits. My algorithmic mathematics background finds trying to figure out what the criteria are interesting, not that it means anything artistically or photographically.

© Ben Heine || Facebook || Twitter || www.benheine.com

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This is a watercolor painting on paper I made in 2008.

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For more information about my art: info@benheine.com

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Life

Magritte was born in Lessines, in the province of Hainaut, in 1898, the eldest son of Léopold Magritte, a tailor, and Adeline, a milliner. He began drawing lessons in 1910. In 1912, his mother committed suicide by drowning herself in the River Sambre. Magritte was present when her body was retrieved from the water. The image of his mother floating, her dress obscuring her face, may have influenced a 1927-1928 series of paintings of people with cloth obscuring their faces, including Les Amants, but Magritte disliked this explanation. He studied at the Académie Royale des Beaux-Arts in Brussels for two years until 1918. In 1922 he married Georgette Berger, whom he had met in 1913.

Magritte worked in a wallpaper factory, and was a poster and advertisement designer until 1926 when a contract with Galerie la Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first exhibition in Brussels in 1927. Critics heaped abuse on the exhibition. Depressed by the failure, he moved to Paris where he became friends with André Breton, and became involved in the surrealist group.

When Galerie la Centaure closed and the contract income ended, he returned to Brussels and worked in advertising. Then, with his brother, he formed an agency, which earned him a living wage.

During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. At the time he renounced the violence and pessimism of his earlier work, though he returned to the themes later.

His work showed in the United States in New York in 1936 and again in that city in two retrospective exhibitions, one at the Museum of Modern Art in 1965, and the other at the Metropolitan Museum of Art in 1992. Magritte died of pancreatic cancer on August 15, 1967 and was interred in Schaarbeek Cemetery, Brussels.

Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he came ninth in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.

Philosophical and artistic gestures

A consummate technician, his work frequently displays a juxtaposition of ordinary objects in an unusual context, giving new meanings to familiar things. The representational use of objects as other than what they seem is typified in his painting, The Treachery of Images (La trahison des images), which shows a pipe that looks as though it is a model for a tobacco store advertisement. Magritte painted below the pipe, This is not a pipe (Ceci n'est pas une pipe), which seems a contradiction, but is actually true: the painting is not a pipe, it is an image of a pipe. (In his book, This Is Not a Pipe, French philosopher and critic Michel Foucault discusses the painting and its paradox.)

Magritte pulled the same stunt in a painting of an apple: he painted the fruit realistically and then used an internal caption or framing device to deny that the item was an apple. In these Ceci n'est pas works, Magritte points out that no matter how closely, through realism-art, we come to depicting an item accurately, we never do catch the item itself: we cannot smoke tobacco with a picture of a pipe.

His art shows a more representational style of surrealism compared to the "automatic" style seen in works by artists like Joan Miró. In addition to fantastic elements, his work is often witty and amusing. He also created a number of surrealist versions of other famous paintings.

René Magritte described his paintings by saying,

My painting is visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, 'What does that mean?'. It does not mean anything, because mystery means nothing either, it is unknowable.

In popular culture

The 1960s brought a great increase in public awareness of Magritte's work. One of the means by which his imagery became familiar to a wider public was through reproduction on rock album covers; early examples include the 1969 album Beck-Ola by the Jeff Beck group (reproducing Magritte's The Listening Room), and Jackson Browne's 1974 album, Late for the Sky, with artwork inspired by Magritte's L'Empire des Lumieres. Alan Hull of UK folk-rock band Lindisfarne used Magritte's paintings on two solo albums in 1973 and 1979. Styx adapted Magritte's Carte Blanche for the cover of their 1977 album The Grand Illusion, while the cover of Gary Numan's 1979 album The Pleasure Principle, like John Foxx's 2001 The Pleasures of Electricity, was based on Magritte's painting Le Principe du Plaisir.

Jethro Tull mention Magritte in a 1976 lyric, and Paul Simon's song "Rene And Georgette Margritte With Their Dog After The War" appears on the 1983 album Hearts and Bones. Paul McCartney, a life-long fan of Magritte, owns many of his paintings, and claims that a Magritte painting inspired him to use the name Apple for the Beatles' media corporation. Magritte is also the subject and title of a John Cale song on the 2003 album HoboSapiens.

Numerous films have included imagery inspired by Magritte. The Son of Man, in which a man's face is obscured by an apple, is referenced in the 1992 film Toys, the 1999 film The Thomas Crown Affair and in the 2004 short film Ryan. In the 2004 film I Heart Huckabees, Magritte is alluded to by Bernard Jaffe (Dustin Hoffman) as he holds a bowler hat.

According to Ellen Burstyn, in the 1998 documentary The Fear of God: 25 Years of "The Exorcist", the iconic poster shot for the film The Exorcist was inspired by Magritte's L'Empire des Lumieres.

In Spain, an award-winning children´s TV show, "El Planeta Imaginario" (The Imaginary Planet) (1983-1986), dedicated two episodes to René Magritte: "M, el extraño viajero" (M, the strange traveller) and "La Quimera" (The Chimera).

Magritte's painting The Treachery of Images is referred to in The Forbidden Game: The Chase, a book by L. J. Smith, in which the difference between image and reality becomes key to solving the entire conflict. The same painting (and its caption, "This is not a pipe") inspired a graphic in the video game Rayman Raving Rabbids. The online game Kingdom of Loathing refers to this painting, as well as to The Son of Man.

See also

•Foundation Magritte : www.magritte.be/

•René Magritte Museum : www.magrittemuseum.be/

•René Magritte at Gallery of Art : www.galleryofart.us/Rene_Magritte/

•Magritte at Artcyclopedia : www.artcyclopedia.com/artists/magritte_rene.html

•Patricia Allmer, 'La Reproduction Interdite: www.surrealismcentre.ac.uk/publications/papers/journal5/i...

•René Magritte Paintings at Picasa : picasaweb.google.com/arte4fun/ReneMagritte

In winter I do more still life when it is not very welcome in terms of weather at the outdoor.

I played with a fork and the backlit sun in my dinning room.

View On Black

Abstract + Experimental Drawing, Summer 2019

Medium: Conte and charcoal

Size: 32x38 in

This abstract drawing was a melding of tracings found using ordinary objects or surfaces combined with the artists creative drawing and incorporation of pictures taped to the drawing which were incorporated.

© Diana Yakowitz all rights reserved.

"K" Ordinary Object, K is for Key. This is the latest image in the flickrfriend challenge we call Odd Wednesday. Where a couple of us are working our way through the alphabet photographing an ordinary object for each letter. Preferably something we wouldn't normally think to photograph.