View allAll Photos Tagged self-reflection
From an outing at Ferguson Center for the Arts, Christopher Newport University, Newport News, Virginia, USA.
While testing my new D300s... on the highway...
Photograph taken by : Debolina Dubois (your's truly) © Do not use this image without my written permission.
Heads by Julian Opie, feathered fashion creations by various designers and a lushly coloured interior, all at the Bowes Museum at Barnard Castle - well worth a visit!
Self reflection in the sculpture "Point Growth" of LIM Dong-Lak with snow / "Point croissance" de LIM Dong-Lak
After roughly two years without one... I finally went and got a stereo for my car.
There is a looong and sordid story about the sad sudden death of the old stereo so long ago, and the subsequent dramarama of why it took so bloody long to finally have a new one installed.. But suffice it to say I'm totally thrilled to have music restored to my beloved Subaru.
Please don't use this image on websites, blogs, or other media without my explicit permission. Por favor, no use esta imagen en su web, blogs u otros medios de comunicación sin mi permiso explícito.
Self reflection in the sculpture "Point Growth" of LIM Dong-Lak with snow / "Point croissance" de LIM Dong-Lak
SPNC - Year 3 - Instruction #26 - "What you shoot reflects your personality. What does yours show?" - Martin Hanna
Look closely at the steel leaves on the Self-reflection Mirror and you may discover some interesting and descriptive words. Legend has it, whichever characteristic you see first is what you truly are. Beware - they’re not all good.
• Adjectives hidden in leaves
• Antique copper finish
• 18” h X 28” w
The MAR’s participation in the Kunstvlaai was in itself a form an artistic research project, using the classroom as a space for tryout and self-reflection. The project can be read as a pragmatic and political act, in its undisguised reallocation of resources from the art educational context to the art world in a time of budgetary scarcity. It can be seen as a gesture of inclusivity and altruism in its opening up of art education for the general public and/or a gesture of exclusivity and hermeticism in its carrying on of an insider activity in the public realm. It can be read as an act of blatant self-promotion at a competitive moment for the survival of postgraduate programmes. It is precisely the entanglement of such mixed agendas inherent in its participation in “Learning Utopia(s)” that the MAR wishes to bring to the fore at this political and economic moment of art and art education in the Netherlands.