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Martedì 6 e mercoledì 7 luglio 2021 fa tappa al Carroponte di Sesto San Giovanni (Milano) il Nostralgia Tour dei Coma_Cose con una doppia data.
Dopo la partecipazione al Festival di Sanremo 2021 con Fiamme negli occhi e la pubblicazione dell'album Nostralgia, per i Coma_Cose è tempo di concerti dal vivo: la band porta in scena uno spettacolo potente ed emotivamente coinvolgente, presentando le canzoni del nuovo disco e i brani che hanno segnato la loro storia d’amore e rivalsa: un viaggio che li ha portati in soli tre anni a imporsi come riferimento cardine del nuovo panorama cantautorale italiano.
I Coma_Cose nascono a Milano dall'incontro di Fausto Lama (Fausto Zanardelli) e California (Francesca Mesiano). Un duo nato nel 2016, una coppia prima nella vita e poi nella musica, che mischia vissuto e gusto sonoro urbano a una poetica cantautorale.
Tra Febbraio e Giugno del 2017 i Coma_Cose pubblicano i primi quattro brani con relativi video e nell’autunno dello stesso anno lanciano con Asian Fake “Inverno Ticinese”, il loro primo EP-manifesto: il risultato di pubblico e critica è esplosivo. In soli 12 mesi i Coma_Cose allargano il proprio pubblico, cominciano a passare in radio e chiudono il 2018 con un centinaio di concerti all’attivo.
Nel 2019 danno vita al loro primo disco “HYPE AURA” cui segue un anno fitto di soddisfazioni e riconoscimenti. Varcano i confini della Penisola: suonano a Parigi in apertura ai Phoenix e allo Sziget Festival di Budapest. Questo è l’anno dei tutto esaurito nei club, tra cui quello all’Alcatraz di Milano che segna un patto d’affetto tra gli artisti e la città d’azione. E l’anno del Primo Maggio a Roma e del Capodanno a Milano in piazza Duomo.
Ottenute le prime certificazioni FIMI (“Post Concerto” e “Mancarsi” sono dischi d’oro) i Coma_Cose cominciano il 2020 all’insegna delle collaborazioni, duettano con i Subsonica e Francesca Michielin e insieme al produttore Stabber danno vita ad un nuovo EP: “DUE”. Nel 2021 partecipano alla settantunesima edizione del Festival di Sanremo incantando con il brano Fiamme negli occhi, certificato disco di platino. Il brano è contenuto nel nuovo album “Nostralgia”, pubblicato il 16 aprile per Asian Fake/Sony Music, di cui i Coma_Cose hanno dato un assaggio live sul palco del Primo Maggio Roma 2021 in attesa del Nostralgia Tour.
Quello che nasce come gioco fra Fausto e Francesca, in soli 3 anni si afferma come un progetto di riferimento della musica nazionale.
Bunion cartoons created by George Martin were published in my local newspaper The Leicester Mercury.
Fall colors of Eastern Sierra. Silver Lake (June Lake Loop), California.
#junelakeloop #fall #fallphotography #california #californiaphotography #easternsierra #fallcolors #autumn #silverlake
© sergione infuso - all rights reserved
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this page without written permission and consent.
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Il “Non fa paura tour”, la serie di live in tutta Italia che sta vedendo per la prima volta insieme in un progetto dal vivo Bandabardò e Cisco arriva il 1° settembre 2022 al Carroponte di Milano con una grande festa, nel giorno del compleanno di Erriquez, che vede sul palco anche amici e colleghi di una delle band più longeve del panorama musicale italiano, con oltre 1500 concerti e più di 25 anni di attività, e la storica voce dei Modena City Ramblers.
Il concerto si inserisce all’interno degli appuntamenti di All you need is live – il concerto di Radio Popolare.
Nel corso del live saranno ospiti Daniele Silvestri e Gerardo Carmine Gargiulo, interprete del brano “Una gita sul Po”, rivisitato da Bandabardò e Cisco nel loro primo album insieme “Non fa paura”, uscito lo scorso maggio; oltre a Rocco Greppi e Jacopo Finazzo, rispettivamente figli del compianto Erriquez e di Finaz.
Bandabardò può dirsi a buon diritto una delle live band più vitali in Italia. I suoi concerti sono feste straripanti d’affetto: il pubblico vi partecipa numerosissimo, cantando infaticabile ogni canzone, duettando continuamente con gli artisti sul palco, senza perdersi un solo verso, in uno scambio d’intesa che non smette mai di sorprendere. Un affetto che si traduce in grandi numeri non solo ai live: tredici album pubblicati (inclusi dischi dal vivo, progetti speciali e pubblicazioni estere), un DVD, un’autobiografia ufficiale e, in occasione dei 25 anni di carriera, una nuova versione di Beppeanna – “Se mi Rilasso Collasso” – cantata e suonata con Stefano Bollani, Caparezza, Carmen Consoli, Max Gazzè e Daniele Silvestri. Così negli anni anche la cartina geografica bardozziana si è estesa a macchia d’olio con le lunghe tournée che toccano anche Francia, Germania, Spagna, Belgio, Lussemburgo, Svizzera, Polonia, Slovenia e persino Chiapas e Canada.
Stefano Bellotti, in arte Cisco, è stata la voce storica della band Modena City Ramblers dal 1992 fino al 2005, con loro ha realizzato otto album collezionando più di mille date in Italia e in Europa oltre ad aver fondato un genere che oggi tutti conosciamo come combat folk. Ha in seguito intrapreso il suo percorso da solista che lo vede alle prese con un cantautorato d’ispirazione folk-rock tra produzioni internazionali, teatro e letteratura. Anche la sua carriera da solista è caratterizzata da un numero elevatissimo di live, e l’eterogeneità della sua produzione lo ha portato anche a essere protagonista di tour teatrali e presentazioni di libri. Tante sono anche le collaborazioni, alcune tra le quali Casa del vento, Ginevra Di Marco, Bandabardò, le Mondine di Novi, i Nomadi, Giulio Cavalli e il “The Liberation Project” ideato da Dan Chiorboli insieme a Phil Manzanera (Chitarrista dei Roxy Music).
Le strade di Bandabardò e Cisco si sono incrociate più volte, in studio di registrazione e su tantissimi palchi. Una condivisione profonda di suoni e idee che parte da lontano e nel 2022 approda a “Non fa paura”, un disco di inediti a più mani, e un tour insieme.
Cisco - Stefano Bellotti - voce, chitarra acustica
Finaz - Alessandro Finazzo - voce, chitarra acustica
Don Bachi - Marco Bachi - basso, contrabbasso
Orla - Andrea Orlandini - chitarra
Nuto - Alessandro Nutini - batteria
Ramon - Jose Ramon Caraballo Armas - percussioni, tromba
Pacio - Federico Pacini - tastiere
Day off for 5 days and while i was cleaning up my clutter i noticed several collection of magazines on my shelf. So I'm sharing with my fellow photographers some of the photos I have entered on competitions for the past 21/2 yearssince I started digital photography on october 2006. Joining these competitions have been fun and rewarding in a way i'am more challenged to improve my skills in photography as there are so many talented artists out there
This is my winning entry for the Samsung/Photography monthly Best of British competition featured on the November 2007 issue of Photography Monthly Magazine. Prize includes Samsung DSLR GX10 and £1000 pounds worth of samsung lenses.
MANITOBA CO-OPERATOR FARMERS' INDEPENDENT WEEKLY Feb. 15, 2007
Banner Photo
HOLISTIC MANAGEMENT INTERNATIONAL CONFERENCE - Brandon - Oct. 22, 2008
The Postcard
A postally unused carte postale that was published by Jullien Frères of Geneva. Although the card was not posted, an addressee's name and address feature on the back of the card:
Miss M. G. Armstrong,
Windham Depot,
New Hampshire,
U. S. A.
There was also a message on the divided back@:
"This is taken from across
the railroad back over the
town showing the larger
hotels back towards the
mountains."
Aix-les-Bains
Aix-les-Bains, known locally as Aix, is a commune in the southeastern French department of Savoie.
Situated on the shore of the largest natural lake of glacial origin in France, the Lac du Bourget, this resort is a major spa town; it has the largest freshwater marina in France. It is the second largest city in the Savoie department in terms of population, with a population of 32,175 as of 2022.
A leading town of the Belle Époque, of international renown, Aix-les-Bains was a vacation destination for nobility and the wealthy. Although the thermal baths are no longer the main attraction in Aix, the area continues to draw visitors for water sports and activities. The town has partially compensated for the loss of visitors coming for spa treatments by developing tourism.
It hosts up to 200,000 visitors annually, between tourists and people seeking mineral bath therapy. It is also an industrial city, with a few large companies such as General Electric, the headquarters of the Léon Grosse companies, ABB Cellier, Aixam, as well as a high-quality leather goods factory.
In addition to thermal baths and tourism, Aix-les-Bains is known for its national Musilac festival. It has four flowers and two golden flowers at the Concours des villes et villages fleuris, as well as the City of Art and History label.
Bunion cartoons created by George Martin were published in my local newspaper The Leicester Mercury.
MØ
Webster Hall
New York City
September 25th, 2014
© 2014 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Source: Betty H. Carter Women Veterans Historical Project
Published at: digitalpostermuseum.com/1939-1945-world-war-ii/ww2-usa-re...
Dr. Hezekiah Beardsley (1748–1790) - ca. 1788–90
Artist: The Beardsley Limner (American, active ca. 1785–ca.1800)
In this portrait by an unknown artist and its pair (1952.46.2), a New Haven husband and wife proudly display their material success, but they hold in their hands warnings about the gradual demise of all worldly things. Pediatrician Hezekiah Beardsley rests on his knee Edward Gibbon’s recently published Decline and Fall of the Roman Empire, which implicitly admonished America’s imperialistic ambitions. Elizabeth reads Meditations and Contemplations by the religious revivalist Reverend James Hervey, who proclaimed that, like the blossoms between Elizabeth’s fingers, "Ye flowery Nations, Ye must all decay." As if the books were portents of their owners’ fate, the Beardsleys died soon after the portraits were completed.
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
_______________________________________
Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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CRUISING FOR A NOT-SO-FRESH MEAL
These turkey vultures were spotted gliding over a canola field last week.
The Postcard
A postally unused postcard bearing no publisher's name. The card was published prior to June 1918, because in the space for the stamp it states that a ½d. stamp is required for postage; this was doubled to 1d. in June 1918 in order to help pay for the Great War
The following information is also printed on the back of the card:
'Carlyle's House,
24, Cheyne Row,
(Formerly 5, Great Cheyne Row)
Chelsea, London SW.'
Thomas Carlyle
Thomas Carlyle, who was born in Ecclefechan, Dumfriesshire, on the 4th. December 1795, was a Scottish essayist, historian, and philosopher from the Scottish Lowlands.
A leading writer of the Victorian era, he exerted a profound influence on 19th-century art, literature, and philosophy.
Carlyle attended the University of Edinburgh where he excelled in mathematics, inventing the Carlyle circle. After finishing the arts course, he prepared to become a minister in the Burgher Church while working as a schoolmaster.
He quit these and several other endeavours before settling on literature, writing for the Edinburgh Encyclopædia and working as a translator.
He found initial success as a disseminator of German literature, then little-known to English readers, through his translations, his Life of Friedrich Schiller (1825), and his review essays for various journals.
Thomas' first major work was a novel entitled Sartor Resartus (1833–34).
In June 1834, the Carlyles moved into 5 Cheyne Row, Chelsea, which became their home for the remainder of their respective lives. Residence in London wrought a large expansion of Carlyle's social circle.
He became acquainted with scores of leading writers, novelists, artists, radicals, men of science, Church of England clergymen, and political figures.
Two of his most important friendships were with Lord and Lady Ashburton. Although Carlyle's warm affection for the latter would eventually strain his marriage, the Ashburtons helped to broaden his social horizons, giving him access to circles of intelligence, political influence, and power.
Carlyle eventually decided to publish Sartor serially in Fraser's Magazine, with the instalments appearing between November 1833 and August 1834.
However despite early recognition from Emerson, Mill and others, it was generally received poorly, if noticed at all.
In 1834, Carlyle applied unsuccessfully for the astronomy professorship at the Edinburgh observatory. That autumn, he arranged for the publication of a history of the French Revolution, and set about researching and writing it shortly thereafter.
Having completed the first volume after five months of writing, he lent the manuscript to Mill, who had been supplying him with materials for his research.
One evening in March 1835, Mill arrived at Carlyle's door appearing "unresponsive, pale, the very picture of despair". He had come to tell Carlyle that the manuscript was destroyed. It had been "left out", and Mill's housemaid took it for wastepaper, leaving only "some four tattered leaves".
Carlyle was sympathetic:
"I can be angry with no one; for they
that were concerned in it have a far
deeper sorrow than mine: it is purely
the hand of Providence".
The next day, Mill offered Carlyle £200 (equivalent to £21,000 in 2019), of which Thomas would only accept £100. He began the volume anew shortly afterwards.
Despite an initial struggle, he was not deterred, feeling like:
"... a runner that tho' tripped down,
will not lie there, but rise and run
again."
By September 1835, the volume was rewritten. That year, he wrote a eulogy for his friend, "Death of Edward Irving".
Each of Thomas' subsequent works, including On Heroes (1841), Past and Present (1843), Cromwell's Letters (1845), Latter-Day Pamphlets (1850), and History of Frederick the Great (1858–65), were highly regarded throughout Europe and North America.
He founded the London Library, contributed significantly to the creation of the National Portrait Galleries in London and Scotland, was elected Lord Rector of Edinburgh University in 1865, and received the Pour le Mérite in 1874, among other honours.
Carlyle occupied a central position in Victorian culture, being considered not only, in the words of Ralph Waldo Emerson, the "undoubted head of English letters", but a "secular prophet".
Thomas Carlyle died in London at the age of 85 on the 5th. February 1881. Posthumously, his reputation suffered as publications by his friend and disciple James Anthony Froude provoked controversy about Carlyle's personal life, particularly his marriage to Jane Welsh Carlyle.
Thomas' reputation further declined in the 20th century, as the onsets of the Great War and World War II brought forth accusations that he was a progenitor of both Prussianism and fascism.
However since the 1950's, extensive scholarship in the field of Carlyle Studies has improved his standing, and he is now recognised as:
"One of the enduring monuments
of our literature who, quite simply,
cannot be spared."