purpose photos on Flickr

IMG_6131 by Westminster College

all purpose seasoning by Underdestruction

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victimal by ridwan madon

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non-commercial personal school work purposes

Purposed-2019-41 by GoodUp

Purpose 2019

IMG_0210 by Maureen McKinney

The establishment of missions chiefly for the purpose of Christianizing the Indian population was one of the methods used by Spain in attempting to colonize Florida in the sixteenth century. The Mission of San Juan del Puerto was founded in the late 1500's by the Franciscan Order of friars to serve the Timucuan Indians living in the area. While working at this mission around 1600 Father Francisco Pareja prepared a Timucuan dictionary, grammar and several religious books in that language for use by the Indians. The Mission of San Juan del Puerto continued to exist throughout the seventeenth century in spite of the growing

Reverse:

conflict between Florida's Spanish inhabitants and English and French invaders. In 1696, Jonathan Dickinson, a Philadelphia Quaker who had been shipwrecked off the coast of Florida, passed this way and recorded a visit to "the town of St. Wans, a large town and many people." In 1702, Governor James Moore of the British Colony of South Carolina attempted to take St. Augustine from the Spanish. His effort failed, but in the process of the raid into Spanish territory, Moore destroyed the Spanish

Site of the Mission of San Juan del Puerto Marker image.

Arist & Tourist 02 by Son Nguyen

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oof on purpose

Purposed-2019-33 by GoodUp

Purpose 2019

Spartanburg, South Carolina - December 27, 2024 by JR P

THE JOHNSON COLLECTION - A Private Collection for Public Good

thejohnsoncollection.org/the-collection/

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer

Stages of 'right'. slide.060 by Phil Squires

Right = Good. Also authentic or real

Learnt social skills by Common Purpose

Participants share what they experienced and learnt on the Common Purpose Frontrunner course at University of Birmingham.

All purpose by 7_70

AA gallery

The Purpose by John Graham

purpose built by J Frey

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Purses with Purpose Fundraiser by purses with purpose

Inside Purses with Purpose Fundraiser Program

20140212-IMG_9957 by jadyngeisel

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Purpose

Purpose by Justin Ales

AF Nikkor 70-300mm 1:4-5.6 G by KayVee.INC

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For E-bay purposes.

IMG_6148 by Westminster College

Purpose and Intention: Exploration of Creativity, Leith Mahkewa, Indigenous Artist-in-Residence by Western Visual Arts

Exhibition: May 30 – June 20, 2024

Reception: Thursday, May 30 from 5-7PM

artLAB Gallery

This exhibit is a culmination of Leith Mahkewa’s time as the Indigenous Artist in Resident at Western University. Although the focal art piece of her residency was the production of a cradleboard adorned with beadwork, she also produced many beaded items, which are pictured in the exhibit.

While in residence Leith explored a variety of new art mediums: woodworking, linocut printing, leather handbag making, silversmithing and haute couture embroidery which add to her artistic repertoire and increase her creative skills.

Beadwork is Leith’s primary art medium of choice. Through this residency she followed a vision to create a new and innovative artwork while still conserving the original intent of the cradleboard. This was her first attempt at making a cradleboard and then adorning it with beadwork. The design and creation of the board itself is not a new concept, cradleboards have been used for centuries but Leith had never made one. The completion of this board and accompanying beadwork took approximately 7 months, a relatively short time compared to the 12 years she held this idea and waited for an opportunity to make her idea come to life. The inspiration for this project came from Leith’s personal experience using a cradleboard for her children and her desire to create one herself using beadwork as the main focal point. She promotes the use of the cradleboard and its value to the mother, baby and family.

One of the goals Leith had during her residency goes beyond the boundaries of UWO’s campus and Western’s Wampum Lodge to her community, Oneida Nation of the Thames. Leith’s intentions while at Western was to help increase the visibility and use of cradleboards by those within her community. The avenue that she chose was to encourage a group of women to explore their beadwork journey and to encourage them to bring the cradleboard home for themselves to use or for their families to see its utility and beauty.

The group gathered on campus and in Oneida, where they learned beading techniques, shared food, and comradery. All were gifted a cradleboard to bring home to their families. It’s important to note that beading for Leith is primarily done alone. However, the time spent creating and sharing with these four ladies motivated her to complete her own works and helped to foster the possibility of sharing future beadwork teachings. The beaded wraps for each cradleboard created by Faye Summers, Shelley Elijah, Twyla Antone and Samantha Doxtator are integral to this exhibit and a once in a lifetime experience which sustains the utility of cultural items.

Leith would like to acknowledge all those who mentored, encouraged and at times listened to her creative ramblings. The journey to this point was not done alone, there have been many people who helped to make this process enjoyable and a success. She recognizes the Department of Visual Arts at the University of Western Ontario for the providing the space for the promotion and growth of the Indigenous Artist in Residence program without which she would not have had the resources to work independently and create art as she sees it.

Re-purposed Coffee Bean Bag by Jules loves stitches

Re-purposed burlap coffee bean bag. A peek at the inside lining. The bottom of the inside lining matches the outer pocket.

Rediscovering Purpose by future.agenda

Multi-Purpose Room by Michael Muraz

Dunfield Cambridge - Cambridge, ON

Washington House, Main Street, Abingdon, VA by Warren LeMay

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Built in 1835, this Federal and Italianate-style building was the first purpose-built hotel in Abingdon, and was constructed for Thomas Findlay, replacing an earlier log structure that had been built as a tavern circa 1783, and was enlarged into a dwelling house, eventually becoming an Ordinary owned by Fincastle Sterrett, an emancipated former slave. The building features a painted brick exterior, a side-gable roof, bracketed eaves, twelve-over-twelve double-hung windows, stone lintels, a gabled front dormer, a two-story side ell with a shed roof and stepped parapet, first floor retail shopfronts with recessed doorways flanked by large plate glass windows, and a recessed main entrance with sidelights and covered steps behind an opening with a decorative trim surround. The building is a contributing structure in the Abingdon Historic District, listed on the National Register of Historic Places in 1970.