View allAll Photos Tagged questioning
Virginia Derryberry - born 1950
Consummation. - 1988
Part experimentation, part magic, medieval alchemy impacted modern chemistry and influenced the work of Asheville artist Virginia Derryberry. While the alchemists tried but failed to turn various metals into gold, Virginia’s art practice—which uses a similar formula of experimentation and questioning—led to a golden career as an educator, showing artist, and storyteller.
Born of the South where storytelling is an art form, Virginia started drawing doodles at the age of five, often of friends trying their best to sit still in church. “I would do profile drawings, and it just really charged me up,” she remembers. The inner artist in Virginia ignited, and she started a life of making with abandon. “I know sometimes kids around that age worry about judgment of their work and whether it’s good enough, but for some reason I never cared. I just wanted to make things,” she tells Artsville.
www.artsvilleusa.com/virginia-derryberry/
aah.unca.edu/faculty/virginia-derryberry
.
Regionalism in the South
Southern regionalism reflects the important influence of Thomas Hart Benton, who traveled widely through the rural South in 1928 and 1929 gathering visual material for mural projects in New York City. The paintings that Benton produced during that trip predicted the kind of work that many Southerners turned to in the 1930s. Lamar Dodd, for example, celebrated the real values of everyday life and the beauty of simple things, while Charles Shannon sought to identify and address problems that were distinctive to Southerners, black and white. In this gallery hangs a masterpiece by one of the most important of all regionalist painters, John Steuart Curry, whose Hoover and the Flood, commissioned by Life magazine publisher Henry R. Luce, depicts the catastrophic Mississippi River floods of 1927.
www.themorris.org/ourcollection/regionalism-in-the-south/
.
______________________________________________
Located on the Riverwalk in historic downtown Augusta, the Morris Museum of Art, the oldest museum in the country that is specifically devoted to the art and artists of the American South, is noted for its multifaceted permanent collection of 5,000 works of art and a rich variety of continually changing special exhibitions and public programs. The Morris is dedicated to the continued interpretation of the culture of the South in all its forms.
Located in historic downtown Augusta, Georgia, on the Savannah River, the Morris has preserved the history and culture of the South for more than twenty-five years. The museum’s permanent collection, dating from the late eighteenth century to the present, is arranged thematically in ten galleries. In addition, the museum hosts temporary special exhibitions throughout the year as well as a rich array of public programs and events for children, families, and art lovers of all ages.
The Morris Museum’s permanent collection was established in 1989 with the purchase of 230 paintings from Dr. Robert Powell Coggins, a pioneering collector of Southern art. That acquisition set the museum’s mission and identified its special interest in the art and artists of the American South. When it opened in 1992, the collection included approximately 700 objects, half of them paintings. Today, the museum’s collection includes 5,000 works of art that represent fifteen states and the District of Columbia. In recent years, its traditional strengths in paintings and works on paper have been significantly enhanced by the creation of important collections of photographs, folk art, and studio art glass. The Morris Museum’s Center for the Study of Southern Art, a comprehensive research library, has also grown to include 20,000 volumes, 28,000 vertical files, 1,350 media resources, and a rich archive that includes artists’ letters and papers.
...
www.georgiaencyclopedia.org/articles/arts-culture/morris-...
...
Questioning New Media, taught by Jill Miller, with Renée Pastel as GSI, presented their final assignments on 12/7/2015 at 340 Moffitt!
Questioning the nature of the photographer's ability to push and pull their subjects into whoever they are needed to be- the total loss of self experienced by the subject of a piece of art.
La captation acoustique des Burning Peacocks est en ligne. A regarder et à partager sans modération. Un grand merci à toute l'équipe !
quai19production.fr/?portfolio=burning-peacocks-questioni...
always wondering about so many things around me.
so much to learn, so much to explore and so much to enjoy !
loving every bit of the year 2 & my newfound independence
A still from John Waters' "Serial Mom", used to illustrate the essay at afuzzyday.blogspot.com/2009/07/serial-mom.html
Economic and societal changes have led to increased questioning about the purpose of working. The “Great Resignation” and “Quiet Quitting” have been in the headlines and seem to indicate a dynamic time with new questions. In many ways, these times seem unprecedented, and yet in 1981, St. John Paul II wrote, “Work is one of these aspects, a perennial and fundamental one, one that is always relevant and constantly demands renewed attention and decisive witness.” In the exhibit, Why We Work, several witnesses highlight what is true and timeless in front of these new questions.
Are you questioning yourself that do I have Gonorrhea? Head Start Testing has a solution for you with a diy test to determine the occurrence of the infection. This STI (Sexually Transmitted Infection) is common in both male and female and if, left untreated, may have serious consequences.
Celestial Diagrams of Black and Whitened Quartz: 2 of 3
I have taken much longer analyzing this micro digram because these black quartz stones scare me a little. Across ancient history we have heard of celestial visitors not only from other places in the galaxy, but even more questioning is "other places in the universe". I took a couple hundred of micro images from this black quartz stone last May; it not only takes a great deal of time capturing the photos, but then analyzing what it is you are seeing in the photos is an equivalent to infinite hours with no beginning or an ending. The micro images found on a single black quartz stone are a never ending "Work In Progress" because of the infinite images with constantly changing perspectives filled with information that are controlled by the direction and intensity of the light source when capturing the images.
Lets begin with the meager assumption that what we are looking at the celestial lights of our MilkyWay Galaxy in the lower left quadrant. If this is the case that these images represent Celestial Events and Entities contained within our Galaxy......what do the rest of the celestial entities represent in the entirety of this image field??? How would anyone of high intelligence embark on such a gargantuan task of explaining and teaching about our galaxy, not to mention the universe, on one simple black quartz stone capable of fitting snuggly into the hand if the creator??? That is a momentous feat.
In our modern world Scientists, Astronomers, Astrophysicists, and Celestial Navigators draw diagrams of Stellar Parallax celestial distance calculations based on Line of sight between between specific and chosen celestial systems. The problem with this cumbersome 'line of sight' Stellar Parallax diagram we use in our modern world when calculating celestial distance is that it fails to take into account the natural curvature of the universe, as cleverly defined by Albert Einstein in his Theory of Relativity.
If you very carefully look at the celestial diagram in the lower right corner, this celestial stellar parallax diagram is not only exponentially more complex beyond our modern "line of sight" primitive stellar parallax drawings; this particular stellar parallax drawing includes specific celestial pathways, regional pictograph symbols within our galaxy, and finally celestial drawings completely disregarding the primitive 'line of sight' (straight line) concept. The natural thought process of this ancient celestial culture is so advanced that they naturally integrate celestial curvature when they calculate the travel of light, the passing of time, and movement through three-dimensional space into their celestial diagram; which is rather amazing. Just like people who travel within three dimensional systems; water, solid, our atmosphere, or "Deep Space"; these individuals would never even consider factoring in the curvature automatically within their celestial drawings, diagrams, and illustrations. Gravity from Earth is just the beginning of understanding this curvature of space and light; however traveling through multiple celestial systems of different sizes and gravitational forces; it would require constant recalculations of this curvature based on infinite fluctuations of Gravitational forces and variations of Electromagnetic Energies traveling from Point A to Point B within our Galaxy, or beyond; unless some kind of tube could be manufactured to minimize these infinite fluctuations in gravitational forces from Point A to Point B within our Galaxy or Beyond.
I couldn't even begin to analyze this celestial diagram in one day; however quickly and briefly engage your focus on the celestial drawings in the center of this diagram. What exists in the center of this image field is what appears to be a complex celestial diagram; possibly even including star systems and perhaps even galaxies. This celestial diagram in the center appears to be explaining the different galaxies that this person traveled through in order ultimately descend into the stellar parallax diagram in the lower right quadrant, and finally arriving within our own galaxy located within the lower left quadrant?
Just as we can't isolate these celestial diagrams to our own planet and Solar System, perhaps I would also be failing if I chose to consider that these celestial diagrams found on these black quartz stones were only related to celestial events and geographic locations within only our own galaxy??? Is it possible that what we are looking at is a celestial diagram of a handful of galaxies with many in the distance; and the luminescent lines in the center of this image field appear to represent specific stellar parallax diagrams based on the position of this celestial culture's perspective from not only outside our own galaxy: but also from an even more distant perspective, including other galaxies based on the complexity of this micro image field at 35x's magnification?
1. Perhaps our own Milky Way Galaxy is located in the lower left quadrant.
2. The Stellar Parallax diagram in the lower right quadrant indicates passage over numerous celestial arches like interlocking pieces in a very large puzzle ascending to a blackened diagonal celestial line serving as a celestial direction line passing through the head of an upward gazing, left-facing celestial individual bearing the classical Dome or half-circle "line of sight" parallax line, and this line is coupled with the actual stellar parallax navigation diagram leading to and from what appears to be a navigation instruction, possibly between multiple galaxies, and not simple Star A to Star B celestial navigation that our modern world is just beginning to grasp.
It appears what we are seeing in the center of this micro diagram is actually a complex Stellar Parallax Diagram using multiple celestial systems, and stages of passage including course corrections yet to be translated and understood; North America.
This celestial diagram came from the same black quartz stone as the other micro image with the celestial individual pointing in the opposite direction that actually appeared to be pointing at only our own Galaxy. This micro diagram is not only pointing in the opposite direction, but his micro image also appears to actually include distant galaxies; perhaps including the People of Light and Color???
Sad Love Quotes :
QUOTATION – Image :
Quotes Of the day – Life Quote
You will eventually ruin a good thing if you're always questioning it.
Sharing is Caring
- #Love
quotestime.net/sad-love-quotes-you-will-eventually-ruin-a...