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A seemingly abandoned piece of machinery behind my apartment. Not a whole lot of lawns in Bethel that need taking care of... Maybe there was at one time?
Taken with a 1974 Olympus OM-1 on Ilford HP-5 400 B&W film, developed with Ilford solutions at home and scanned with Canon 8800F. I'm still exploring this medium and developing technique, so open to any comments or suggestions!
On a seemingly beautiful day in Northern West Virginia, a big tree fell across Route 857 in Monogalia County, near Cheat Lake.
When I pulled up, there was already a half mile of traffic or so, and we didn't know any easy alternate route so my friend and I left my mom to watch the car, and jumped out to see if there was anything interesting to see.
Apparently the big tree just sort of randomly fell down, and the white car came around the bend a bit fast and wasn't able to stop in time. No one was hurt, but the car had some fairly serious damage (not shown) and the road was blocked for about 30-45 minutes.
Finally, just as the road was being cleared, two state troopers came barreling up the hill. The one, noticing my friend and I taking pictures, asked "what are you boys doing, a school project or something?"
A seemingly innocent pile of trash...But when the motion detector detects a participant within its range, a rattle sound comes from the Wendy's cup. If the participant does not leave, or comes closer to the piece, poisonous venom (water) shoots at them from the straw, which has precise aim, with the help of the motion detector.
beware seemingly small requests.
if you put twice the number of grains of rice on each square, you would need 9,223,372,036,854,780,000 for the last square. I was running out around 50,000, so I gave up.
en.wikipedia.org/wiki/Wheat_and_chessboard_problem
104/365
Seemingly limitless varieties of sea critters, sausages, cheeses, meat (including Jabugo ham) and sweets are to be found in el Mercat de la Boqueria.
Seemingly ordinary things can make beautiful pictures with a little editing and a mad-crazy Macro close-up!
Seward Johnson ‘Double Check’, (Symbolically ‘The Survivor’), 2014, Seward Johnson Center for the Arts, Grounds for Sculpture, New Jersey-
Originally it was installed in Liberty Place Park in lower Manhattan, and represented the people who worked in NY financial district. After Sptember 11, 2001, it came to represent the business man, sitting hunched over his briefcase, seemingly in shock and despair.
On a seemingly beautiful day in Northern West Virginia, a big tree fell across Route 857 in Monogalia County, near Cheat Lake.
When I pulled up, there was already a half mile of traffic or so, and we didn't know any easy alternate route so my friend and I left my mom to watch the car, and jumped out to see if there was anything interesting to see.
Apparently the big tree just sort of randomly fell down, and the white car came around the bend a bit fast and wasn't able to stop in time. No one was hurt, but the car had some fairly serious damage (not shown) and the road was blocked for about 30-45 minutes.
Finally, just as the road was being cleared, two state troopers came barreling up the hill. The one, noticing my friend and I taking pictures, asked "what are you boys doing, a school project or something?"
Seemingly in the middle of nowhere in between the fields I ran across this Drive-In theater that is still in operation (where the people come from to attend is a mystery to me).
The Fairview Drive-In has been opened since 1953 and has been remodeled twice, once after the original screen was blown over because of a wind storm. The Fairview is large enough to hold 250 cars! So, it's by no means tiny.
A seemingly ideal day turns disastrous when California’s notorious San Andreas fault triggers a devastating, magnitude 9 earthquake, the largest in recorded history. As the Earth cracks open and buildings start to crumble, Ray Gaines (Dwayne Johnson), an LAFD search-and-rescue helicopter...
Social Television
On a seemingly beautiful day in Northern West Virginia, a big tree fell across Route 857 in Monogalia County, near Cheat Lake.
When I pulled up, there was already a half mile of traffic or so, and we didn't know any easy alternate route so my friend and I left my mom to watch the car, and jumped out to see if there was anything interesting to see.
Apparently the big tree just sort of randomly fell down, and the white car came around the bend a bit fast and wasn't able to stop in time. No one was hurt, but the car had some fairly serious damage (not shown) and the road was blocked for about 30-45 minutes.
Finally, just as the road was being cleared, two state troopers came barreling up the hill. The one, noticing my friend and I taking pictures, asked "what are you boys doing, a school project or something?"
in their rented Sebring--seemingly asking for directions from the driver in front of me...directions that appeared to be incomprehensible to them (as their little faces show). I allowed them to cut in front of me to follow their path. They didn't give me so much as a wave or a nod in acknowledgement. There's no excuse for such rush-hour rudery.
Selattyn Road Cemetery, Glyn Ceiriog, North Wales.
The cemetery has not been used for some time now and is seemingly abandoned.
Seemingly a fixture of good operation, Pennine finally went in 2014, killed by competition and council cuts. Seen in Dec 2011 is one of their Darts outside Burnley bus station
Seemingly now something of a passenger engine, heavyweight variant 37716 stands at Norwich after arrival with 0917 from Great Yarmouth. 37407 was on the Yarmouth end, and the pair would go onto work the 1036 service back to Great Yarmouth.
Seemingly there were UFOs spotted over Wexford last Monday evening. This image is of a IFO, or Identified Flying Object...it's a helicopter. The story goes that people from a mountain saw this and got excited!!! Even the UFO society of Ireland got in on the act. The lights to the left are flare from a street light.
You can see a larger version on my site - www.alanrossiterphotography.com
Dan Miller, Born Castro Valley, CA 1961
Untitled (peach and gray with graphite), 2010, acrylic and graphite on paper, 42 1⁄8 in. × 55 in.
Dan Miller’s art is a graphic communication made in the moment. His paintings and drawings convey thoughts, recorded and repeatedly overdrawn until the imagery forms a visual cloud with a seemingly audible presence. Miller’s works are both compulsively made and abstract, gestural expressions that use color, density, and scale to convey the ideas and feelings that Miller, who is on the autistic spectrum, is unable to express verbally.
Miller was born in California’s Castro Valley in 1961 and joined Creative Growth, the same art studio where Judith Scott worked, in 1992. There he began making large, abstracted graphic works that function as communiqués in a self-shaped language. Miller is on the autism spectrum, significantly impacted by a syndrome in which communication challenges are central. His art draws on deeply embedded memories—linguistic and physical—and provides a means of conveying what he is unable to express verbally. Miller, like Scott before him, has become an iconic artist in the increasingly recognized sector of neurodivergent creativity.
When Miller was born, the autism spectrum was ill-understood and effective childhood interventions had yet to exist. His grandmother, a schoolteacher, was nevertheless determined to help Dan develop language, repeating to him the sounds and forms of words, time and again. Her efforts revealed their impact much later, when he began making artworks that overlay and repeat words, letters, names, and numbers, conveying, uniquely but effectively, his ideas and memories. Miller’s complex experience is mirrored in the emotionally enveloping drawings and sculptures he makes. His artworks stand on their own, but his extraordinary story offers a critically enriching context. Miller solidifies the idea that art is as unique as the maker, that labels for people can’t meaningfully describe art, and that creative practice is a vehicle for connecting with family and the world.
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"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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A seemingly odd mixture (for me anyway) of ingredients comes together to make one incredibly delicious flatbread.
www.fullforkahead.com/2014/11/05/fig-and-prosciutto-flatb...
Seemingly random vertical reflections mingled with horizontal interior office lights. Could resemble a code if you were feeling particularly paranoid.
This seemingly empty picture is actually of the D.M.Z., the most militarised border in the world.
On the right, you can see the South Korean Flag, and on the left, the North. Peace Village is situated on the South Korean side.
On a seemingly beautiful day in Northern West Virginia, a big tree fell across Route 857 in Monogalia County, near Cheat Lake.
When I pulled up, there was already a half mile of traffic or so, and we didn't know any easy alternate route so my friend and I left my mom to watch the car, and jumped out to see if there was anything interesting to see.
Apparently the big tree just sort of randomly fell down, and the white car came around the bend a bit fast and wasn't able to stop in time. No one was hurt, but the car had some fairly serious damage (not shown) and the road was blocked for about 30-45 minutes.
Finally, just as the road was being cleared, two state troopers came barreling up the hill. The one, noticing my friend and I taking pictures, asked "what are you boys doing, a school project or something?"
In the peripheral view a seemingly innocuous cumuli of tiny black particles begin to gather. They swirl and dance in the air like a noxious cloud of negatively charged electrons. Eventually the choking fringes of an acidic wave drift gently inwards. Within this murky cloud the metaphoric atoms of fear eventually reveal themselves, as they roll and settle into the mind like a fine mist. Looming blacker, they morph into particles of panic threatening to engulf all feeling, killing emotion, replacing memory with a numb abyss. No two people are the same, yet for all who experience the onset of mental darkness, it takes great bravery and training to recognise the signs of onset, to banish the cloud before it can envelop, to take control. To explain the unpredictability of its onset, in varied semblance, can lead others to doubt its very existence, which is devastating for the mind that is fighting this internal battle. Time, patience and determination are key to building a defensive enclosure that can filter in happiness yet block the Black Dog...#ScreamingAbdabsGallery; #screamingabdabs; #artgalleryonline; #UKgallery; #contemporaryphotography; #limitededition; #modernart; #RossanoBManiscalchi; #photographer; #art; #photograph; #fashionphotography; #contemporaryart; #fineartphotography; #photographforsale #gallery; #digitalphotography; #professionalphotography; #artcollection #photographycollection; #artphotography; #investinart; #investinphotography; #photographycollector; #photographyart; #buyart; #artworkforsale; #workofart; #buyartonline; #affordableart; #artworkonline; #new artist; #newphotographer; #orginalartworkforsale; #artforsaleonline; #fineartgallery; #photographcollector; #photographycollector; #fineartdealer; #buyfineart; #investmentart; #investmentphotography; #emergingphotographer; #emergingartist; #Italianphotographer; #Englishgallery; #onlinegallery; #20thcenturyphotography; #21stcenturyphotography; #artforsaleonline; #affordable art; #artforsale; #artgalleryonline; #artonline; #artprints; #art sy; #artsy; #artadvisory; #artcollector; #artexhibition; #artgallery; #artistsoninstagram;#artistic #artwork_daily; #artworkoftheday; #bestphotography; #blackandwhitephotography; #blackandwhite; #buyart; #buyartonline; #buycontemporaryphotography; #buyfineart; #calledtobecreative; #carveouttimeforart; #colorphotography; #colourphotography #contemporaryphotography; #contemporaryphotographyforsale; #contemporaryphotographyonline; #contemporaryartgallery; #createeveryday; #creativelife; #digitalphotography; #documentaryphotography; #editorialphotography; #emergingphotographer; #explorecreate; #fineartdealer; #fineartgallery; #fineartphotography; #fineartphotograph; #fotografiadimoda; #instaart; #instagramartist; #instagramgallery; #instagramphotograph; #instagramphotography; #investinart; #investinphotography; #investmentart; #investmentphotography; #lensculture; #limitededition; #maleartists; #newphotographer; #onlineartgallery; #photophotophoto; #photobasedart; #photobook #photographcollector; #photographforsale; #photographer; #photography; #photographyart; #photographycollection; #photographycollector; #photographysites #photography #eroticart #photographywebsites; #photographybook; #photographyoncanvas; #photographyoninstagram; #photooftheday; #pictureoftheday; #portraitphotography; #poster; #snapshotaesthetic; #visualsoflife; #wallart; #workofart; #stilllifephotography;..
Seemingly indifferent to its predicament - stranded on the cliffs above Dancing Ledge.
No sign of its flock. It just stood. And stared.
Seemingly out of nowhere, traffic was closed for a huge group of rollerbladers, stretching for blocks. This intrusion of non-motorized vehicles was a surprise, as St Petersburg was a fairly car-oriented city.
Some houses survived well; others didn't.This one is still in use and the mains electricity is connected.
me, seemingly [sob]
i was advised to get day and night nurse capsules, and they better work as they're far from cheap for what appears to be ponced about with paracetamol
still, they are awfully pretty colours :-D
A seemingly simple wall in the main living quarters of the Baker Suite. I did a "little" scrubbing in Ps to achieve this look unfortunatelly. The detail work in this room is gorgeous, and takes time to absorb when you are immersed in it. So by taking these small detail shots, it allows one to more fully appreciate the subtle nuances of the work put into the room that ultimately Mr. Baker himself found himself breathing his last in.
On a seemingly beautiful day in Northern West Virginia, a big tree fell across Route 857 in Monogalia County, near Cheat Lake.
When I pulled up, there was already a half mile of traffic or so, and we didn't know any easy alternate route so my friend and I left my mom to watch the car, and jumped out to see if there was anything interesting to see.
Apparently the big tree just sort of randomly fell down, and the white car came around the bend a bit fast and wasn't able to stop in time. No one was hurt, but the car had some fairly serious damage (not shown) and the road was blocked for about 30-45 minutes.
Finally, just as the road was being cleared, two state troopers came barreling up the hill. The one, noticing my friend and I taking pictures, asked "what are you boys doing, a school project or something?"
Oil on canvas
Van Gogh, seemingly returning to his pointillist experiments of 1886-87, radically asserts the flat plane and plays on the vigorous contrast between two complementary colours, red and green. The treatments of the sky with rod-like brushstrokes in contrasting colours and the clearly defined striations of the alfalfa stalks amidst the poppies make this painting a spectacular example of his experimentation with a banal subject.*
From the exhibition
Van Gogh in Auvers-sur-Oise
(October 2023 to February 2024)
Vincent Van Gogh arrived in Auvers-sur-Oise on May 20th 1890 and died there on July 29th following a suicide attempt. Although the painter only spent a little over two months in Auvers, the period was one of artistic renewal with its own style and development, marked by the psychic tension resulting from his new situation as well as by some of his greatest masterpieces.
Sorely tried by the various crises suffered in Arles and then at the asylum in Saint-Rémy, Van Gogh decided to settle near Paris and his brother Theo in an attempt to find fresh creative energy. The choice of Auvers had much to do with the presence there of Dr Gachet, a physician specializing in the treatment of melancholia who was also a friend of the impressionists, a collector and an amateur painter. Van Gogh moved to the Ragout Inn in the village centre and explored every aspect of the new world in front of him, while struggling with the many anxieties connected with his health, his relationship with his brother, and his place in the art world.
No exhibition has previously been exclusively devoted to this final yet crucial stage in his career. In just two months, the artist produced 74 paintings and 33 drawings, including some iconic works: Portrait of Dr Paul Gachet, The Church at Auvers, and Wheatfield with Crows. Comprising some forty paintings and around twenty drawings, the exhibition will highlight this period thematically: first landscapes featuring the village, portraits, still lifes, and landscapes depicting the surrounding countryside. It will also present a series of paintings in elongated double-square format, unique in Van Gogh’s body of work.
[*Musée d'Orsay]
Unless otherwise stated, artwork is by Van Gogh
Taken in Musée d'Orsay
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