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Permanent Makeup plays the Hold Tight House, Tampa, FLA on December 2, 2012.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR
www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
Somewhere in the Central Park, NYC, in December 2009. The view was exactly the same as what I saw during my previous visit in December 2008. Those ducks were still hanging around. Don' t know if they immigrate from somewhere during this time of year or if they live here permanently.
Joaquín Maza, Ambassador, Permanent Representative of El Salvador to the OAS
Date: February 25, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
From left to right:
Denis Moncada, Chair of the OAS Permanent Council and Permanent Representative of Nicaragua to the OAS
Albert R. Ramdin, OAS Assistant Secretary General
Date: March 13, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Presidente da Subcomissão Permanente em Defesa do Emprego e da Previdência Social, senador Paulo Paim (PT-RS) conduz audiência pública que discute a reintegração dos ex-funcionários do Banco do Brasil que aderiram ao Programa de Demissão Voluntária (PDV) e dos ex-soldados especializados da Força Aérea Brasileira
Fotógrafo: José Cruz/Agência Senado
Saturday 3 May 2008, 6pm - 9pm
Permanent Gallery launches the new 'Bootleg' edition of the architectural production Sexymachinery compiled by St. Pierre & Miquelon.
See permanentbookshop.com/ for more details.
Images from the Committee of Permanent Representatives meeting. 16th February 2023
CREDIT: UNEP/Josphat Kariuki
Feuerwehrtore Besprayung am Lendplatz durch Permanent Unit
03.05.2010
copyright by: sabine.hoffmann@hotmail.coms
Brasília 09 06 2021 - 1ª Reunião - Fórum de Discussão Permanente de Gestão da Carreira dos Servidores do Poder Judiciário da União(Cons. Luis Fernando Bandeira de Melo).
Fotos:G.Dettmar/Ag.CNJ
Madrid - Cerro de los Ángeles – Ermita de Nuestra Señora de los Ángeles
www.cerrodelosangeles.es/ermita/index.html
Al ser conquistada la villa de Madrid por Alfonso VI a principios del siglo XI parece que fue edificada, sobre una atalaya que ya los árabes consideraban el Centro geométrico de España, una ermita humilde y modesta consagrada a Nuestra Señora de los Ángeles.
Esta ermita fue destruida a finales del siglo XIV, levantándose posteriormente sobre el mismo lugar la que hoy admiramos.
Forma la ermita una nave que no carece de grandiosidad: mide 36 metros de largo por 11 de altura, su construcción es de piedra caliza, ladrillo al descubierto, cubierta de teja árabe y chapiteles empizarrados.
En ella se venera a la Santísima Virgen en su advocación de Nuestra Señora de los Ángeles, patrona de la Diócesis y del pueblo de Getafe, cuyos vecinos la tienen una singular devoción. La imagen es una talla de madera de 1610.
La Santísima Virgen desde su secular ermita acompaña permanentemente a Cristo, acogiendo en Su Corazón el misterio de la redención que tuvo lugar en el Calvario.
H.E. Mr Neilas Tankevicius, Permanent Representative of the Republic of Lithuania to the OPCW, and Ambassador Fernando Arias, OPCW Director-General, formalise Lithuania’s voluntary contribution to support the OPCW's assistance activities.
A Tradicional Feira Permanente Arte e Cultura MOEMA foi fundada 1991, com artesanatos, bijouterias, artes plásticas e comidas tipicas (Crepes, Tapiocas, Carne Louca, bolos, salgados, pasteis,etc.).
Atualmente funciona todas QUARTA. SEXTA E DOMINGOS das 9h as 16h,
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AO REDOR IGREJA DE MOEMA NA PRAÇA NOSSA SENHORA APARECIDA COM AV: IBIRAPUERA / AV: MOEMA/ AV: IRAÊ s/n - Indianopolis - Largo de Moema - São Paulo - SP
Faz parte Google Mapas !!!
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Permanent Makeup plays the Hold Tight House, Tampa, FLA on December 2, 2012.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
19/10/2021 - Abertura do Fórum Permanente de Auditoria do Poder Judiciário - Edição 2021
Foto: Rômulo Serpa/Ag.CNJ
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza reunião semipresencial.
Após ser adiada no último dia 31 de agosto, o Congresso promove, nesta terça-feira (14), a instalação e eleição do seu presidente e vice-presidente.
À mesa, vice-presidente da CMMIR, deputada Bruna Furlan (PSDB-SP).
Foto: Roque de Sá/Agência Senado
Global-Migrate deals in permanent residency Australia and other kind of visas for their clients that include, skilled migration Australia, Australia pr visa, permanent residency Australia.
For more info:
From left to right:
Takehiro Shimada, Ambassador, Permanent Observer of Japan to the OAS
Céline Giusti, Ambassador, Permanent Observer of France to the OAS
Susana Sumelzo Jordán, State Secretary for Ibero-America and the Caribbean and Spanish around the World, Ministry for Foreign Affairs, European Union and Cooperation of Spain
Lynn Raymond Young, Chair of the Permanent Council and Permanent Representative of Belize to the OAS
Date: December 5, 2024
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Tuan Andrew Nguyen,
The Island, 2017, single-channel video, color, 5.1 surround sound; 42:00 minutes,
Artist Tuan Andrew Nguyen creates multimedia installations that blend fact, memory, myth, and mysticism and use lush imagery to draw out these entanglements. By digging deep into archives and collaborating with communities, his projects weave together many voices to reveal other truths about — and strategies of repair from — colonial violence. In this Washington, DC debut, his video work The Island (2017) is shown for the first time with Bidong Spirit I, a sculpted headdress Nguyen created for the film. The titles of both artworks refer to the tiny Malaysian island of Pulau Bidong, a primary destination for Vietnamese escaping by boat after the collapse of South Vietnam in 1975.
While this history is ever present in Nguyen’s video, he sets his story in an imagined future. The main character has lived his entire life on the island. From the late 1970s through the early 1990s, Pulau Bidong was the largest, longest running refugee camp and, at peak population, the densest place on earth. Born to parents who hid when the camp was cleared in 1991, he has been entirely alone for many decades, tending to the spirits that remain. One day, a United Nations scientist washes ashore. She informs him that they are the only survivors of nuclear conflicts that made “refugees out of the entire world.” As they explore the island, they debate their responsibility to learn from the island's past, and whether its teachings can save the future. As viewers, we too are invited to ponder these questions. Press characterizations of refugees, found in the archival news reports and first-person testimonies woven throughout, suggest striking parallels to the forced global migrations happening today.
This focused exhibition features the video recently added to SAAM’s collection as part of a longstanding time-based media art initiative. It is presented in a dedicated gallery for immersive media art installations that opened in 2023. This forty-two minute film runs continuously and can be entered at any time.
The presentation is organized by Saisha Grayson, curator of time-based media at the Smithsonian American Art Museum.
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"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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Véronèse (Paolo Caliari)
Verona 1528 – Venice 1588
Christ Crowned with Thorns
About 1584-1585
Oil on canvas
75.5 x 57.3 cm
Purchase, the Museum Campaigns 1988-1993 and 1998-2002 Funds, gift in memory of Dr Alicja Lipecka Czernick and her husband, Dr Stanislas Czernick, the Montreal Museum of Fine Arts' Volunteer Association Fund, and Horsley and Annie Townsend Bequest, inv. 2010.23
Veronese was one of a triumvirate of competing yet mutually influencing, transcendently great artists who dominated painting in Venice in the second half of the sixteenth century, the other two being Titian and Tintoretto. Titian defined the comprehensive terms of the Venetian variant of the High Renaissance, with its rich colourism, grand and idealized forms emerging within a palpable atmosphere. Veronese, born a generation and a half later than the great master, appreciated the appeal to the tactile sumptuousness of rich surfaces, and the visual stimulation of the juxtaposition of colours. In his late works his previously resplendent colours became increasingly denser and darker and a new emotional resonance, even poignance enters, his work, as in this painting executed in the last years of his life.
In the 1580s, Veronese executed some of his most moving and personal compositions, often simplified to single figures, featuring a dark, introspective tonalism. In the period of the Counter-Reformation, immediately following the Council of Trent, a tense political climate existed in Venice, resulting from a series of serious defeats from and battles with the Ottoman Turks. Venice, already a city of profound religious faith and many public religious activities, became even more intensely pious. This piety was enhanced by a series of plagues, including a particularly virulent one in 1576. It is in this ambience that the Christ Crowned with Thorns was created.
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Ecuador, 07 de Diciembre del 2021.- Conocer y resolver sobre el informe aprobado por la Comisión Especializada Permanente de Garantías Constitucionales, Derechos Humanos, Derechos Colectivos y la Interculturalidad respecto de la investigación del caso denominado Pandora Papers, Interviene asambleísta Victoria Desintonio.
Fotos: Christian Medina/ Asamblea Nacional
Margaret Gilmore, Chair of United Public Workers of America (UPWA) Local 3 (CIO), writes to her members circa 1949 giving an update on the struggle at the Bureau of Engraving for permanent status for all temporary workers.
The letter seeks individual petitions for permanent status, reports on a meeting with the Rep. William Dawson, the only Black elected representative in Congress, and informs members of a planned visit to the White House.
During World War II hundreds of temporary employees were hired at the Bureau of Engraving, including many temporary White printers, without competitive exams or consideration of tenure at the Bureau and often had to be trained by Black assistant printers and helpers.
By an agreement with the all-White printers union, the White temporary printers were given permanent status. At the same time, the Bureau began eliminating the positions of temporary Black workers that held printer assistant and printer helper positions.
UPWA Local 3 led a multi-year campaign against discrimination at the agency resulting in a resounding victory when the government opened the ranks of skilled plate printers to Black Americans. Other positions were also opened up to Black Bureau of Engraving workers.
Gilmore, led a broad coalition against Jim Crow at agency that included the Federation of Civil Associations, the Cafeteria Workers Union, the DC Coordinating Committee to End Discrimination, the NAACP, the civil liberties committee of the Elks, and luminaries such as Howard University President Mordecai Johnson, long time civil rights activist Rev. William H. Jernagin and civil rights attorney Charles Hamilton Houston.
The plate printer positions had traditionally been filled by the American Federation of Labor all-white printers union. The UPW, a Congress of Industrial Unions (CIO) organization railed against the fact that not a single African American was employed as a plate printer anywhere in the United States.
Charles Hamilton Houston wrote in February 1949:
“The Bureau maintains Jim Crow locker and rest rooms. Colored women can be printers’ helpers and colored men can be printers’ assistants but that is their limit regardless of education, aptitude, intelligence and experience.
“During World War II the labor demands on the Bureau were so heavy the Bureau hired hundreds and hundreds of workers (including printers, printers assistants and printers helpers) without competitive civil service examinations.
“The printers were all white; the printers assistants, in large number, colored males; and the printers helpers, predominantly colored women.
“After the War, the printers were “blanketed in” as permanent employees merely by fill out forms showing they met the civil service requirements. They did not have to take any competitive examinations.
“But to thin out the predominantly colored printers helpers, the women were notified that before they could be made permanent they would have to take a competitive examination open not only to Bureau employees but to the women in the whole United States.
“On the other hand, colored men have never been promoted to the journeyman class either as printer, electrician or any other mechanic or tradesman. The Bureau has always conducted apprentice training programs especially for its printers.
“Before World War II colored people had never been admitted to the apprentice training programs. Then under UPW pressure the Bureau opened the plate printers apprentice training program to us [African Americans]; and, July 11, 1948 announced an examination for apprentice plate printers would be held.
“About 30 colored, including many World War II veterans, applied and qualified to take the examination. For a moment it looked as if at last we [Black Americans] would get our chance to start on the long road to become journeyman printers.
“Then suddenly the Bureau announced the examination was indefinitely postponed.
“This did not mean that the Bureau does not need printers. It is still recruiting white printers through the AFL white printers union which has a strangle hold on the Bureau.
“These new white printers have to be trained in the specialized Bureau work, and the colored printers assistants in many cases do most of the practical training.
“But the white printers get the money and the grade and the white AFL printers union keeps a closed shop against colored on U.S. government property.
“The UPW has now carried the fight director to the White House to see whether Executive Order 9080 establishing Fair Employment Practice policies in government service is the law, or whether the AFL white printers union is a force stronger than the Executive order as far as the Bureau of Engraving and Printing is concerned.
“The next time you handle a dollar bill take a good look at it. It was printed by “white only.”
In February 1950 after three years of internal organizing and public pickets, rallies and speeches, the Bureau of Engraving opened the ranks of plate printers to Black Americans.
The UPW was effectively destroyed during the second Red Scare. Its leaders first resisted signing affidavits that they were not members of the Communist Party and the Congress of Industrial Organizations later expelled the union along with eight others in February 1950.
In Washington, D.C., the UPWA had led fights against discrimination at the Library of Congress, at the Bureau of Engraving, through the Cafeteria Workers Union had uplifted several thousand workers from poverty, had established a school to train its members and opened a union canteen.
The union embraced the fight for hiring Black bus and trolley operators, for establishment of a permanent Fair Employment Practices Commission, against the poll tax and many other fights for justice by Black Americans.
But it couldn’t withstand the onslaught led by many of the same opponents of racial equality who this time hid behind the fig leaf of anti-communism. The UPWA quickly lost affiliates during the second Red Scare and dissolved in 1953.
The only remnants of the UPWA in the city are the restaurant workers union that traces its roots back to the UPWA formation in 1937. Outside the city, the Hawaii Public Workers Union and the union for workers in the Panama Canal Zone can trace their roots back to the UPWA.
For a PDF of this 8 ½ x 14, one-sided letter, see washingtonareaspark.com/wp-content/uploads/2024/03/1949-c...
For more information and related images, see flic.kr/s/aHskCeLLQ5
Original held in the Smithsonian Institution, Anacostia Community Museum, Henry Preston Whitehead Collection.
Guillermo Cochez, Ambassador, Permanent Representative of Panama to the OAS
Date: September 30, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
museumPASSmusees 2022 - CENTRALE for contemporary art - Photo Brut Bxl
PHOTO - BRUT BXL est un projet d'expositions et d'evenements pluridisciplinaires coordonne par le Centre d'Art Brut et Contemporain La ' S ' Grand Atelier (Vielsalm) en collaboration avec Bruno Decharme, collectionneur et fondateur de abcd-art brut a Paris, et 4 organisations partenaires basees a Bruxelles :?la CENTRALE for contemporary art, le?Botanique, le Art et marges musee et la TinyGallery.
En 2019, les Rencontres de la photographie d'Arles presentaient l'exposition PHOTO - BRUT collection Bruno Decharme & compagnie, reprise en 2021 par l'American Folk Art Museum de New York. En 2022, Bruno Decharme et Anne-Francoise Rouche (La '?S?' Grand Atelier) ont souhaite montrer d'autres facettes de la ' photographie brute ' a travers les recentes decouvertes d'oeuvres d'une centaine d'artistes.
PHOTO - BRUT BXL comporte des expositions, des installations, des workshops, des performances, deux journees d'etude ainsi que des publications inedites. Le programme s'articule autour du theme de la ' photo brute '. Par le biais de photographies, de photomontages ou de photocollages, des createurs et creatrices, generalement autodidactes, devoilent leurs univers personnels a travers des oeuvres produites en dehors des circuits artistiques conventionnels. Ce champ peu explore dans les recherches sur l'art brut ouvre la voie a des pratiques novatrices dans le domaine de la photographie, contribuant ainsi a renouveler le regard porte sur ce medium. Ce projet questionne ainsi autant le role du collectionneur, son pouvoir sur la categorisation des artistes, que la photographie.
Dans le cadre de PHOTO - BRUT BXL, la CENTRALE presente pres de 200 photographies issues du corpus PHOTO - BRUT collection Bruno Decharme & compagnie expose a Arles. Fidele a ses axes de programmation, le centre d'art contemporain de la Ville de Bruxelles a egalement invite l'artiste bruxellois Angel Vergara pour un echange avec le collectionneur. Son travail se nourrit d'une recherche continue sur le pouvoir de l'image a travers des performances, videos, installations, peintures et dessins. Il teste les limites de l'art, de la realite et de sa perception. Sa recherche sur la maniere dont l'image contemporaine faconne les spheres publiques et privees entremelees entre parfaitement en resonance avec les photographies ' brutes '. Chaque oeuvre de Vergara est une tentative de briser l'image et d'avoir un impact sur le plan esthetique, mais aussi socioculturel, voire politique. Pour ce projet, il s'est inspire de portraits filmes que Bruno Decharme, egalement realisateur, a dedies a des createurs et creatrices de sa collection.
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