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Olympus XA2, Fuji Superia 400, Epson V700
I had my haircut after the guy in the chair... Had never been there before, was so glad I had the XA2 with me
A couple of good precision cutting photos I discovered:
Precision
Image by country_boy_shane
Enjoy my art? Visit the Shane Gorski Photography Shop and appreciate it in print!
View On Black Take flight and view it big!
My favored orientation of the track… the knife edge. This is performed...
Read more about Precision
(Posted by a Precision Machining China Manufacturer)
Canada Goose ((Branta canadensis) landing in a small stretch of open water in the reeds. Honking all the way, of course.
This image is the exclusive property of its author, Roger P. Kirchen, and is protected by Canadian and international copyright laws. The use of this image, in whole or in part, for any purpose other than the private online viewing, including, but not limited to copying, reproduction, publication (including web sites and blogs), "hotlinking", storage in a retrieval system (other than an internet browser as part of its normal operation), manipulation and alteration (digital or otherwise), transmission in any form or by any means (such as, but not limited to: electronic, mechanical, photocopying, photographing, recording) is expressly prohibited without the prior written permission by Roger P. Kirchen.
All artistic and moral rights of the author are hereby asserted. Copyright © by Roger P. Kirchen. All Rights Reserved.
IMG88068-Edit-Edit
We service the North Shore and nearby areas, helping to solve all of your gas fitting and plumbing jobs. www.precisionplumbing.co.nz/roof-repairs-north
Collett & Sons Haulage Transporting Wind Turbine Blades through Braehead, the taffic lights have been folded down to avoid being damaged by the blades
...two qualities I love to give to my work.
...I'd love to manage to be fast and effective but I will under no circumstances do reductions in quality.
...friends and family call me Mrs Slow and I guess I feel a little guilty for needing too much time sometimes to complete some things, but at least - even if to the last minute - my work is done in schedule and I can be happy and proud of it at the end, while having enjoyed each and every second of the process.
...and now if you'll excuse me, there is - more - work to be done ( and I don't only mean the shop)
so, I'll engage into commenting and chatting later :)
Hope you are spending all lovely days!
P.S:....you guessed right, a deadline is running today and I need to submit some work.
... drawing the eye is the most important part of a dance make up - wrongly done you spoil the whole look and may have to redo the whole make up which usually takes 40 to 1 and a half hours
My portraiture gift to my cousin who will be doing her bharathanatyam arangetram in May. The suit she is wearing is older than her about 20 years to be precise as it was my first bharathanatyam suit ;p
thanks to kerv for joining us as well. we had a super amazing weekend, i'm just too tired.
@ images are copyrighted - NO STEALING OR REPRODUCTION WITHOUT MY WRITTEN PERMISSION
A dull, wet and misty day at Duxford. Not ideal for spectators nor photographers!
The Red Arrows were amazing and the poor light allowed a lot of contrast boost to bring out the exhaust trails.
If you recognise any of these planes please feel free to let me know what they are. Thanks
September 2018
Seemingly brand new LL74 RGZ from Ainscough Crane Hire being used to lift sections of a temporary works bridge into place over the East Coast Main Line at Biggleswade.
Though the F-4B Phantom II had satisfied the US Navy’s requirement for a fleet defense interceptor aircraft, the Navy realized that, like the USAF, it needed a more multirole aircraft; this was especially true of the Marine Corps, which were engaged in close air support efforts over South Vietnam. The F-4B could carry bombs, but not the more specialized precision weapons then entering service, and its accuracy was not as good as it could be. Other operational problems had cropped up with the F-4B, so the Navy ordered McDonnell Douglas to work on an upgrade, which would become the F-4J.
Externally, the F-4J could be recognized by three features: the lack of an undernose infrared sensor, larger main landing gear tires, and longer afterburner “cans.” The infrared sensor had been removed from the F-4B because it was no longer needed, and the extra room could be used for the F-4J’s more advanced radar, the APG-59. The uprated engines allowed the F-4J to carry more weaponry, which in turn meant a higher operational weight, which in turn meant that the aircraft would have a higher sink rate when coming aboard a carrier. Since this would also mean that the aircraft would be hitting the deck even harder, larger mainwheels were needed to absorb the shock. Finally, the larger wheels required a redesign of the wheelwells, but this was simplified by McDonnell Douglas adopting the wings of the USAF F-4C for the F-4J.
The Navy considered a slatted wing, which the USAF was considering for the F-4E at the time, but instead went for a less drag-inducing slotted stabiliator, which gave much of the same performance characteristics of a slatted wing (though it is worth noting that in the subsequent F-4S, the slatted wing was adopted). Despite being heavier, other minor improvements to the design actually reduced the F-4J’s landing speed over the F-4B’s by ten mph.
Unlike the USAF’s F-4D, which was a F-4C reworked for better ground attack capability, the F-4J also had significant upgrades to its air-to-air capability. The APG-59 radar, which was better at picking out targets in a look-down, shoot-down situation, was slaved to an AWG-10 fire control system. The J would also have better Sidewinder capability—it could carry both infrared and radar-guided models of the AIM-9—and improved electronic warfare equipment.
The first F-4J flew in June 1965 and entered the fleet in October 1966. This allowed the F-4J to see some service during Operation Rolling Thunder, which proved its worth as a fighter and fighter-bomber. The new radar was especially valuable in finding the smaller MiG-17s and MiG-21s of the North Vietnamese, which had become adept at using the mountainous terrain of their nation for concealment. Though the USMC would use the F-4J mainly in the close air support role, with the Navy it was most often used as a fighter, and it excelled in this role. F-4Js would not entirely replace the F-4B during the Vietnam War, but would soon after it ended. Most F-4Js were in turn upgraded to F-4S variants, allowing them to serve until the late 1980s, having been first replaced by the F-14 Tomcat in fleet defense roles and then the F/A-18 Hornet in all others.
The last Navy F-4 left active service in 1987, after which most were converted to QF-4 drones and expended. The F-4J was exported to only one customer, the British Royal Air Force, which bought 15 refurbished F-4Js to replace Phantom FGR.2s sent to defend the Falkland Islands after the Falklands War of 1982. These F-4J(UK)s served until 1990, and were upgraded with British electronics; they were the last F-4Js to see service. Today, of 522 F-4Js produced, about 12 survive, all in museums; only three are unmodified F-4Js.
Bureau Number 157267 is one of the most famous F-4s in American aviation history, and one of the few double MiG-killing aircraft left. It was delivered to the US Navy in 1971, assigned to VF-96 ("Fighting Falcons") aboard USS Constellation (CVA-64). It was assigned to Lieutenant Randy Cunningham and Lieutenant (jg) William Driscoll--fated to become the only US Navy aces of the Vietnam War.
On 19 January 1972, Cunningham and Driscoll were flying 157267, covering a strike into North Vietnam. Evading SAM fire, they found themselves behind the strike force--and behind two VPAF MiG-21MFs that were stalking the strike. Cunningham fired a Sidewinder and the MiGs split up; using his Top Gun training, he rolled the F-4 to keep from getting caught between the MiGs, only for one MiG to abandon his wingman. The latter was soon shot down with a second AIM-9. The two returned to the Constellation as the first Navy aviators to score an aerial victory in two years.
A few months later, on 8 May 1972, Cunningham and Driscoll were once more flying their 157267, covering another strike. They were ambushed by MiG-17s; Cunningham was able to pull one MiG off his wingman, only to find that two more were behind him. He speedily dispatched the first MiG-17 with a Sidewinder, then threw the F-4 into such a tight turn that it overstressed the airframe, breaking the flaps and ripping off inspection panels. It got him and Driscoll away from the MiGs, and they once more returned to the Constellation--but despite the damage and despite it not being designed for it, Cunningham blew up a truck with a Sidewinder for no other reason than amusement.
After they landed on the carrier, 157267 was found to be so damaged by the desperate maneuver that it would not fly again for the rest of the cruise. As a result, Cunningham and Driscoll would be flying 155800, the F-4J assigned to VF-96's commanding officer. They would score three more kills in this aircraft to make ace, but were shot down by a SAM on the way back to the carrier. Luckily, both men survived.
As for 157267, it was repaired and would fly with VF-114 ("Aardvarks") aboard the USS Kitty Hawk (CV-63) and with VF-21 ("Freelancers") aboard USS Coral Sea (CV-43) between 1973 and 1984; it was upgraded to a F-4S in 1977. 157267 would finish its career with the Marines, flying with VMFA-122 at MCAS Beaufort, South Carolina. It was retired in 1990 and donated to the San Diego Air and Space Museum, where it was restored back to the colors it wore over Vietnam, and the correct weapons load (four AIM-9 Sidewinders, four AIM-7 Sparrows).
This was one of the highlights for my June 2023 trip, seeing an actual "ace" aircraft. 157267 could use a dusting, but as operational F-4s weren't exactly clean, this is realistic...
I have been lost in Photoshop. I was having ideas in Lightroom and they led to edits and on to Photoshop CS and from there they are stretching out towards some notion of motion pictures. I have not used this Film Temperature Control System. I have been calling a film cooker. It looks superb and it comes with a three pin U.K. Plug fitted ready for accurate simmering film into tender toner and sharpish shadows and might fine highlights.
I have used two fonts to give °CineStill a look as it has in the packaging.
I forget to mention the soundtrack. Two tracks from those provided by my editing service with no composers and players listed. I have edited tracks individually and together. All errors on me and all praise to unknown originators of music. I wish that I had some names to praise.
© PHH Sykes 2023
phhsykes@gmail.com
CineStill TCS-1000 - Temperature Control System - UK Plug
analoguewonderland.co.uk/products/cinestill-tcs-1000-temp...
°CS "TEMPERATURE CONTROL SYSTEM", TCS-1000 IMMERSION CIRCULATOR THERMOSTAT FOR MIXING CHEMISTRY AND PRECISION FILM PROCESSING, 120V ONLY
cinestillfilm.com/products/tcs-temperature-control-system...
If either of them sneezes the guy having his nose trimmed will end up with a pair of scissors sticking out the back of his head.
Dropping slowly onto the prey before the final dive.
Black-shouldered Kite, Jerrabomberra Wetlands, A.C.T.
MAK muestra "SHUNGA. Arte erótico de Japón"
Viena (OTS) - Con su aparente enfoque indiferente de la desnudez y la sexualidad, se dan Shunga del Asia Oriental (imágenes de Primavera) una moral sexual más libre que nos fue inculcado en Europa. La exposición MAK "SHUNGA. Arte erótico de Japón" demuestra la calidad artística de los grabados en madera explícitamente eróticas, a pesar de la prohibición de larga duración por el gobierno Japonés celebrando un fenómeno de masas. Hojas sueltas, álbumes y libros de maestros reconocidos como Suzuki Harunobu, Katsushika Hokusai o Kitagawa Utamaro, en gran parte en préstamo de la colección privada de Leopold dan en el MAK una visión representativa en esta faceta a menudo tabú de la historia del arte japonés. Fotografías de desnudos contemporáneas de Nobuyoshi Araki tienden un arco hasta el presente.
La colección MAK grabados en madera de color japoneses con alrededor de 4 200 hojas es una de las más importantes colecciones de ukiyo-e en Europa. Ukiyo-e (pinturas del mundo flotante), a las que se atribuye la Shunga, ilustran placeres urbanos y así como los fenómenos cotidianos burgueses alrededor del teatro y de ocio de Edo, la actual Tokio. El contenido sexual explícito en la shunga bloqueó los grabados mucho tiempo la entrada en las colecciones europeas. La colección MAK también alberga sólamente un rodillo de imagen de un maestro anónimo de la segunda mitad del siglo 17 - el objeto más antiguo de la exposición mostrado en el MAK.
El manejo formal de los cuerpos desnudos y en ocasiones complejos arreglos de pliegues del kimono se diferencian Shunga significativamente de representaciones naturalistas de hacer el amor. Características son el grado de precisión anatómico, a veces posturas extremas y los genitales presentados de gran tamaño. A menudo Shunga también muestran escenas de humor, como una niña mirando a través de ojo de cerradura de una pareja de amantes y llamando:
"Le diré a mamá".
Un laberinto de paneles lleva a los visitantes (hombres y mujeres!) a través de la exposición cronológicamente estructurado en el MAK Design Lab. El preludio del curso forman series de Shunga tempranas desde el siglo 17, siguiendo el ciclo de los doce meses y - con una página de título - dan trece estampados que constituyen un conjunto. Suzuki Harunobu (ca. 1725-1770), uno de los principales diseñadores de Shunga, profundizó los grabados en madera, inicialmente monocromáticos, en estampados multi-colores y sedujo, por ejemplo, con sus parábolas entre la poesía china y la erótica japonesa entre otros los ricos y educados capas de ciudadanos (hombres y mujeres) de Edo.
Casi todos los conocidos artistas de ukiyo-e también diseñan grabados en madera eróticos, por lo que la calidad artística de Shunga se explicó. Kitagawa Utamaro (1753-1806) transformó las escenas eróticas originalmente soñadores de Harunobus en imágenes más claras. Él da el género más naturalidad y también demuestra escenas domésticas semi-eróticos como la belleza (bijin) con la higiene personal. Los álbumes de Utamaro hoy día en el mercado del arte casi no más disponible son algunos de los trabajos más codiciados del arte japonés. Su serie "Negai sin itoguchi [despertar del deseo]" (1799) es completamente visible en el MAK.
Fantasías eróticas y el mundo de la mitología y fantasmas vincula el no sólo por su serie "36 vistas del monte Fuji" famoso Katsushika Hokusai (1760-1849). Durante la era Meiji (1868-1912) varía la calidad de la Shunga. El enfoque ya no es la belleza (bijin), pero se trata de motivos eróticos, como la joven estudiante o la mujer segura. Debido a las nuevas posibilidades técnicas de la fotografía, la xilografía de color como un medio de masas a partir del último cuarto del siglo 19 perdió en importancia. El artista Hashiguchi Goyo (1880-1921) hizo revivir la tradición de Ukiyo-e como uno de los primeros en "estampados nuevos" (Shin Hanga) y creó una imagen de la mujer moderna, segura de sí misma que recuerda las hojas de Utamaro.
La exposición MAK concluye con fotografías seleccionadas del artista japonés Nobuyoshi Araki (nacido en 1940), que en varios series de fotografía de desnudos hace referencia a la Shunga de la era Edo.
La mayoría de las obras demostradas en "SHUNGA Arte Erótica de Japón" proviene de la colección excepcional de Ukiyo-e de Rudolf Leopold (1925-2010), que ahora es propiedad de su hijo Diethard Leopold, que amplía la colección de manera constante. La representación desinhibida del sexo en los grabados en madera impresionó en Europa y sólo ha sido desarrollado por Schiele Egon en semejante forma directa metódicamente en enteras series de hojas. Los grabados en madera son una parte constitutiva de la colección de Rudolf Leopold, que amasó una visión global de Viena en 1900 alredero del núcleo de Schiele. Parte de la colección completa de Shunga se pudo ver en el Museo Leopold en 2012/2013 coordinada por Diethard Leopold en la exposición de Japón "fragilidad de la existencia".
Mientras Shunga probablemente en el momento de su creación fueron consideradas con pornografía, hoy la importanica historia del arte es en el punto de mira. En la operación de la exposición, hasta ahora, unos grabados en madera eróticos casi nunca aparecían ya que los límites entre el arte erótico y la pornografía a menudo estan difíciles de discernir. El Museo Británico se encontraba con su exposición a gran escala "Shunga: el sexo y el placer en el arte japonés" en 2013 en posición pionera en la presentación en Europa. En el propio Japón en 2015 el fue seguida por la primera gran exposición en el Museo Shunga Eisei Bunko en Tokio.
Con motivo de la exposición se ha publicado un catálogo epónimo, divulgado por el MA, con textos de Susanne Klien, Diethard Leopold y Sepp Linhart, cerca de 200 páginas, 80 ilustraciones. Disponible en el MAK Design Shop.
Esta exposición contiene imágenes eróticas explícitas que pueden ofender los sentimientos morales de las personas menores de 16 años.
MAK zeigt "SHUNGA. Erotische Kunst aus Japan"
Wien (OTS) - Mit ihrem scheinbar unbekümmerten Umgang mit Nacktheit und Sexualität vermitteln ostasiatische Shunga (Frühlingsbilder) eine freiere Sexualmoral, als sie uns in Europa anerzogen wurde. Die MAK-Ausstellung "SHUNGA. Erotische Kunst aus Japan" zeigt die künstlerische Qualität der explizit erotischen Farbholzschnitte auf, die trotz langen Verbots durch die japanische Regierung zum Massenphänomen avancierten. Einzelblätter, Alben und Bücher von namhaften Meistern wie Suzuki Harunobu, Katsushika Hokusai oder Kitagawa Utamaro, großteils Leihgaben aus der Leopold Privatsammlung, geben im MAK einen repräsentativen Einblick in diese oft tabuisierte Facette der japanischen Kunstgeschichte. Zeitgenössische Aktfotografien von Nobuyoshi Araki spannen den Bogen bis in die Gegenwart.
Die MAK-Sammlung japanischer Farbholzschnitte zählt mit rund 4 200 Blättern zu den bedeutenden Ukiyo-e-Sammlungen in Europa. Ukiyo-e (Bilder der fließenden Welt), denen die Shunga zuzuordnen sind, illustrieren urbane Vergnügungen sowie bürgerliche Alltagsphänomene rund um die Theater- und Vergnügungsviertel von Edo, dem heutigen Tokio. Die explizite Darstellung von Sexualität in den Shunga versperrte den erotischen Drucken lange Zeit den Eingang in europäische Sammlungen. Auch die MAK-Sammlung beherbergt nur eine Bildrolle eines anonymen Meisters aus der 2. Hälfte des 17. Jahrhundert – das älteste in der MAK-Ausstellung gezeigte Objekt.
Der formale Umgang mit nackten Körpern und die zum Teil vielschichtigen Anordnungen von Kimonofaltungen heben Shunga deutlich von naturalistischen Darstellungen des Liebesspiels ab. Charakteristisch sind die anatomische Detailgenauigkeit, manchmal extreme Körperstellungen und übergroß dargestellte Genitalien. Oft zeigen Shunga auch humorvolle Szenen, wie beispielsweise ein kleines Mädchen, das durchs Schlüsselloch ein Liebespaar beobachtet und ruft:
„Ich sag’s der Mama“.
Ein Labyrinth aus Panelen leitet die BesucherInnen durch die chronologisch gegliederte Ausstellung im MAK DESIGN LABOR. Den Auftakt zum Parcours bilden frühe Shunga-Serien aus dem 17. Jahrhundert, die dem Zyklus der zwölf Monate folgen und – mit einem Titelblatt – dreizehn zusammengehörige Drucke ergeben. Suzuki Harunobu (ca. 1725–1770), einer der wichtigsten Entwerfer von Shunga, entwickelte die anfangs in schwarz-weiß umgesetzten Holzschnitte zu Vielfarbendrucken weiter und sprach zum Beispiel mit seinen Parabeln zwischen chinesischer Dichtkunst und japanischer Erotik unter anderem die reiche und gebildete BürgerInnenschicht Edos an.
Fast alle bekannten Ukiyo-e-Künstler entwarfen auch erotische Farbholzschnitte, wodurch sich die künstlerische Qualität von Shunga erklärt. Kitagawa Utamaro (1753–1806) wandelte die ursprünglich verträumten erotischen Szenen Harunobus zu eindeutigeren Darstellungen. Er verleiht dem Genre mehr Selbstverständlichkeit und zeigt auch halberotische häusliche Szenen wie die Schönheit (Bijin) bei der Körperpflege. Die heute am Kunstmarkt kaum noch erhältlichen Alben Utamaros zählen zu den begehrtesten Werken der japanischen Kunst. Seine Serie "Negai no itoguchi [Erwachen der Begierde]" (1799) ist im MAK vollständig zu sehen.
Erotische Phantasien und die Welt der Mythologie und der Geister verknüpft der – nicht nur durch seine Serie "36 Ansichten des Berges Fuji" weltberühmte – Katsushika Hokusai (1760–1849). Während der Meiji-Ära (1868–1912) variiert die Qualität der Shunga. Im Zentrum steht nicht länger die Schönheit (Bijin), vielmehr geht es um erotische Motive wie die junge Studentin oder die selbstbewusste Frau. Durch die neuen technischen Möglichkeiten der Fotografie verlor der Farbholzschnitt als Massenmedium ab dem letzten Viertel des 19. Jahrhunderts an Bedeutung. Der Künstler Hashiguchi Goyō (1880–1921) ließ die Tradition der Ukiyo-e als einer der ersten in "neuen Drucken" (Shin hanga) wieder aufleben und schuf ein modernes, selbstbewusstes Frauenbild, das an die Blätter Utamaros erinnert.
Die MAK-Ausstellung schließt mit ausgewählten Fotografien des japanischen Künstlers Nobuyoshi Araki (geb. 1940), der in mehreren Aktfotografie-Serien auf Shunga aus der Edo-Periode Bezug nimmt.
Der Großteil der in "SHUNGA. Erotische Kunst aus Japan" gezeigten Werke stammt aus der herausragenden Ukiyo-e Sammlung Rudolf Leopolds (1925–2010), die sich heute im Eigentum seines Sohnes Diethard Leopold befindet, der die Sammlung stetig erweitert. Die tabulose Darstellung des Geschlechts in den Farbholzschnitten beeindruckte in Europa und wurde erst durch Egon Schiele in ähnlich direkter Form methodisch in ganzen Serien von Blättern umgesetzt. Die Holzschnitte sind ein konstitutiver Bestandteil der Sammlung Rudolf Leopolds, der um den Schiele-Kern eine Gesamtschau von Wien um 1900 zusammentrug. Ein Teil der umfassenden Shunga-Sammlung war in der von Diethard Leopold kuratierten Japan-Ausstellung "Fragilität des Daseins" im Leopold Museum im Jahr 2012/2013 zu sehen.
Während Shunga zur Zeit ihrer Entstehung wahrscheinlich als Pornografie galten, steht heute die kunstgeschichtliche Bedeutung im Fokus. Im Ausstellungsbetrieb kamen erotische Farbholzschnitte bisher kaum vor, da die Grenzen zwischen erotischer Kunst und Pornografie oft verschwimmen. Das British Museum war mit seiner großangelegten Ausstellung "Shunga: sex and pleasure in Japanese art" im Jahr 2013 ein Vorreiter der Präsentation in Europa. In Japan selbst folgte 2015 die erste große Shunga-Ausstellung im Museum Eisei Bunko in Tokio.
Zur Ausstellung erscheint ein gleichnamiger Katalog, herausgegeben vom MAK, mit Textbeiträgen von Susanne Klien, Diethard Leopold und Sepp Linhart, ca.200 Seiten, 80 Abbildungen. Erhältlich im MAK Design Shop.
Diese Ausstellung enthält explizit erotische Darstellungen, die das moralische Empfinden von Personen unter 16 Jahren verletzen könnten.
www.ots.at/presseaussendung/OTS_20160830_OTS0075/mak-zeig...
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
This man selects, cuts and prepares cheese with the level of care and precision that most use for Gold!
WIth GPS and auto-steering, the last strip in the field is the exact width of the combine header! Harvesting canola near Nezperce, Idaho.
Here is a prime example of a PSR train. This train appears to be an intermodal train, however, after the container well cars that go into the distance, there was just as much train still to come that was all manifest / mixed freight cars. The MSASP-19 train is led by UP 6745 and UP 8878.
I believe this train will take the intermodal portion of the train to either Englewood or Settegast Yard, then the remainder of the train will go out to Lloyd Yard in Spring, Texas.