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Source: livinghistories.newcastle.edu.au/nodes/view/45744
This image was scanned from a photograph in the University's historical photographic collection held by Cultural Collections at the University of Newcastle, NSW, Australia.
If you have any information about this photograph, or would like a higher resolution copy, please contact us or leave a comment.
Source: livinghistories.newcastle.edu.au/nodes/view/37755
This photograph was taken by Brian R Andrews of Killingworth NSW. Brian worked for 20 years as a Draftsman for Coal and Allied Industries Limited. This photograph is part of Brian's private collection. Brian has kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to his collection and allowed us to publish the images.
If you wish to reproduce the image, you must obtain permission by contacting Cultural Collections at the University of Newcastle, NSW, Australia.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
If you would like to comment on the photograph, please contact Cultural Collections at the University of Newcastle, NSW, Australia, or leave a comment in the box below.
Wild on the Wall 2021
This years acts include:
(In running order)
Daylight Rush
Palo Alto
Christian Moss
Sultans of the Source
Mike Turnbull & The Safe Kings
Chris Jagger
Boathouse Blonde
Long Meg
Chasting Springtime
Al Neptune
Mel Clapham
No Soap No Radio
Anne-Marie Lewis Skipper
Reggie
Billy Johnstone
BBT
Asha Nicholson
Cosmic Cat
Bees in Blankets
Hardwicke Circus
La primera iniciativa del Gobierno de Canarias con la Unión Europea fue este taller de guionistas que coordiné desde mi posición como responsable de Producción Audiovisual. Entre ellos, Aurelio Carnero, Jesús Díaz (fallecido), Juan Ramón Hernández (fallecido), Andrés Koppel, Tomás Pérez "Esaú", Jorge Goldemberg, Alberto Omar, Tomas Monsalve, Concetta Rizza, Pedro Acca, Nicolás Melini, Mercedes Ortega, Luis Sánchez-Gijón y yo mismo.
For light I go directly to the Source of light, not to any of the reflections.~Peace Pilgrim
A Wondrous Weekend Everyone!
Image Source: www.archivessearch.qld.gov.au/items/ITM299142
Australia was approaching its bicentennial celebrations, and after Brisbane’s success hosting the 1982 Commonwealth Games, Brisbane City Council and the Queensland State Government were confident they could win the bid to hold the next World Exhibition.
Brisbane won the right to hold the event and Expo 88 was officially opened by Her Majesty Queen Elizabeth II on 30 April 1988. By the time it closed, it had changed the way the world saw Brisbane and helped shaped the city as we know it today.
Starting with an estimated budget of $645 million, the Queensland State Government developed a World Expo that would recoup and support its own costs and promote international investment in Queensland, both during and after the event. South Bank, badly damaged in the 1973–74 floods, was chosen and the site acquired for $150 million. Developers completed construction on time and within budget. The targets set for ticket sales were reached 11 weeks before Expo 88 had even opened. It was off to a smashing start.
Celebrating ‘Leisure in the age of technology’, there was an incredible range of pavilions, performances, parades, comedy and artwork on show. Guests could experience over 50 restaurants filled with flavours from around the globe. Hosted over six months, it drew more than 18 million people to the renewed South Bank parklands district. An average of 100,000 people a day entered the gates.
An influx of royalty, celebrities and international visitors came to Brisbane for the exhibition, but it was Queensland residents who attended the most often, purchasing 500,000 season tickets. Expo 88 provided something the city needed: an easy-to-access recreational facility with exciting things to do, see and experience. Brisbanites returned again and again to socialise and enjoy the festival atmosphere.
The monorail was one of the most popular attractions. Giving travellers a view of the entertainments from above, it operated along a 2.3-kilometre track during Expo 88, taking up to 44,000 visitors a day from one side of Expo to the other, along the Brisbane River. Built by Swedish manufacturer Von Roll, the monorail cost $12 million and comprised four MkII trains with nine carriages each. The idea of keeping the monorail operating after Expo and extending it into the Brisbane CBD was discussed. Ultimately, the existing monorail wasn’t a feasible long-term people-moving solution and it was disbursed. Three trains were sold back to Von Roll and were used in Germany’s Europa-Park. The remaining train and some tracks were incorporated into the Sea World theme park on the Gold Coast.
Some of the most significant installations, exhibitions and artworks from Expo 88 were relocated and continue to be enjoyed today. Ken Done AM, a prominent Australian artist and designer, was commissioned to produce the entry and exit statement art pieces for the Australia Pavilion. Using the word ‘Australia’, Done produced a sign nearly six metres tall that could not be missed by anyone who attended Expo 88. The letters have since been restored and are on display at the Caboolture Heritage Village. The Nepal Peace Pagoda was the only international pavilion that remained on-site, after a petition asking that it remain attracted about 70,000 signatures. The Japan Garden and Pond were gifted to the city of Brisbane and moved to the Botanic Gardens at Mt Coot-Tha.
The buzz of activity, the investment in South Bank’s infrastructure and the spotlight on Brisbane transformed the city. The physical legacy left by Expo 88 turned South Bank into a thriving social space and prominent cultural hotspot: 42 hectares was dedicated to the construction of the South Bank Parklands.
blogs.archives.qld.gov.au/2021/10/29/when-the-world-comes...
Sourcing Summit Europe 2016 www.sosueurope.com Amsterdam RAI September 28, 2016 - Image by Oscar Mager - Copyright Mager | Photography www.mager.photography - All rights reserved
Source: Scan of original photograph.
Image: HER01.
Date: 1956?
Photographer: Unknown
Repository: From the collection of Mr Dennis Herbert.
Local Studies at Swindon Central Library.
Source: livinghistories.newcastle.edu.au/nodes/view/17640
This image was scanned from a negative in the Bert Lovett collection. It is part of the Norm Barney Photographic Collection, held by Cultural Collections at the University of Newcastle, NSW, Australia.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections.
If you have any information about this photograph, please contact us or leave a comment in the box below.
Source: livinghistories.newcastle.edu.au/nodes/view/42027
This image was scanned from a photograph in the University's historical photographic collection held by Cultural Collections at the University of Newcastle, NSW, Australia.
If you have any information about this photograph, or would like a higher resolution copy, please contact us or leave a comment.
Source: Scan of Original Postcard.
Date: c1920
Postmark: None
Publisher: Unknown
Photographer: Unknown
Inscription: Yes
Repository: Swindon Museum and Art Gallery
FS0052
The beautiful island of Grenada (near the north east tip of South American) hosts the all-inclusive spa and resort named Le Source. Wonderful facility, great rooms, romantic dining and daily spa treatments all combine for a wonderful and relaxing vacation!
Source: livinghistories.newcastle.edu.au/nodes/view/18983
This image was scanned from a photograph in the University's historical photographic collection held by Cultural Collections at the University of Newcastle, NSW, Australia.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections.
Please contact us if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
If you have any information about this photograph, please contact us or leave a comment in the box below.
[L to R] Susan Glasser, Thomas Drake, Jesselyn Radack, James Risen
All images © 2015 Newseum
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PEN Presents: “Secret Sources" brought together NSA whistleblower Thomas Drake, Jesselyn Radack of ExposeFacts' Whistleblower & Source Protection Program, New York Times reporter James Risen, and moderator Susan Glasser of Politico to debate the impact of the Obama administration’s aggressive pursuit of national security leaks on freedom of expression. The issue has gained unprecedented national attention following the 2013 revelations by former NSA contractor Edward Snowden, who joined the event via Skype following the panel in a conversation with PEN Executive Director Suzanne Nossel on whistleblowing and questions of conscience.
This forum builds off of a new PEN report, Secret Sources: Whistleblowers, National Security, and Free Expression. PEN’s research demonstrates that gaps in existing protections for whistleblowers, failure to adequately address retaliation against them, and the Obama Administration’s use of the Espionage Act against leakers is damaging freedom of expression, press freedom, and access to information in the United States.
Read the report here: www.pen.org/whistleblowers
Watch the full event video here: www.pen.org/secret-sources-live
All images © 2015 Newseum
Source: livinghistories.newcastle.edu.au/nodes/view/46979
The Conferring of Degrees booklet for this ceremony is available via the University of Newcastle Library catalogue.
This image was scanned from a photograph in the University's historical photographic collection held by Cultural Collections at the University of Newcastle, NSW, Australia.
If you have any information about this photograph, or would like a higher resolution copy, please contact us or leave a comment in the box below.
Arthur Kimmig GETZ •
* 17 May 1913 in Passaic, New Jersey.
✝︎ 19 January 1996 in Litchfield, Connecticut.
The New Yorker cover design.
October 11, 1958.
Issue 1756 — Volume 34 — Number 34.
About Getz ↓
He was an American illustrator best known for his fifty-year career as a cover artist for The New Yorker magazine. Between 1938 and 1988, two hundred and thirteen Getz covers appeared on The New Yorker, making Getz the most prolific New Yorker cover artist of the twentieth century.
Getz was also a fine artist, painted murals for the Works Progress Administration Program, wrote and illustrated children's books, and taught at the School of Visual Arts in New York City, the University of Connecticut, and the Washington Art Association in Washington, Connecticut. In addition to his New Yorker covers and spot drawings, Getz's illustrations were published in American Childhood, Audubon, Collier's, Consumer Reports, Cue, Esquire, Fortune, The Nation, The National Guardian, The New Masses, The New Republic, PM, Reader's Digest, Saturday Review, Stage, and The Reporter.
Early years
Arthur Getz was born in Passaic, New Jersey, the son of Madeline Kimmig Getz and Anthony Getz. He attended Pratt Institute in Brooklyn, New York, on a full scholarship, and graduated with honors in 1934 from Pratt's School of Fine and Applied Art. His very first cover illustration for The New Yorker was printed on July 23, 1938.
Murals
In 1939, Philip Guston taught Getz how to mix casein tempera, a milk-based pigment utilized for mural painting, and suggested that Getz apply for a New Deal mural contract. Over the next four years, Getz won four mural contracts:
1939: Post Office, Lancaster, New York.
1939: Textile Building, 1939 New York World's Fair.
1941: Post Office, Bronson, Michigan.
1942: Post Office, Luverne, Alabama.
The New Yorker
After serving in the Philippines during World War II as a First Lieutenant of Field Artillery, Getz returned to New York City and resumed his work as an artist, soon becoming one of the more regular contributors to The New Yorker. During the 1950s and 1960s it was not unusual for more than one Getz cover to be printed on The New Yorker during a single month.
The writer John Updike, in his foreword to The Complete Book of Covers from The New Yorker, 1925 – 1989, wrote: "The artist who has contributed most covers is Arthur Getz, whose alert eye and confident brush find endless silent dramas of contrast and tone in the world around us; beginning in 1938 and still producing, he has thus far published two hundred and thirteen."
Lee Lorenz, the former Art Editor of The New Yorker, wrote of Getz: "[He] seems to have found his particular subject, the special light of Manhattan … Arthur's paintings are a chronicle of New York's moods to be set alongside Guardi's paintings of Venice." Lorenz also wrote of Getz, "He drew inspiration equally from the night clubs of Manhattan and the apple orchards of New England, but his covers, taken as a group, seem really to be about the joy of painting itself."
In addition to his work as an illustration artist, Getz continued to pursue fine art painting. In 1960 he was offered a one-man show at the Babcock Gallery in New York City. The gallery director requested that Getz, already well known for his covers, exhibit his fine art under a different name, concerned that Getz's association with "commercial" (illustration) art would hinder his recognition as a fine artist. Getz used his middle name, Kimmig, for his signature on his fine art work. Many paintings from this era are signed "Kimmig"; some Getz re-signed later and are signed both "Kimmig" and "Getz."
In 1963 Getz and his first wife, Margarita Gibbons, were divorced. Getz later married writer Anne Carriere, and shortly after relocated from New York City to Sharon, Connecticut in 1969, where Getz lived until his death in 1996. His move to Connecticut marked a shift in the mood of his New Yorker covers from the city-centered work of his past. He began to depict more rural scenes of the countryside, familiar to the growing commuter and weekender populations. During this time Getz also wrote and illustrated four children's books and illustrated numerous others, including Jennifer's Walk, authored by Anne Carriere (Getz and Carriere divorced in 1973).
On August 29, 1988, Getz's 213th and final New Yorker cover was printed. Though a stroke rendered Getz blind in one eye in 1994, he continued to paint and draw until his death on January 19, 1996, at the age of 83.
#Sources: Wikipedia
This sculpture belongs to the early days of the sculptor Josep Reynés, despite that, is considered as one of his best works. Highlights the delicate finesse and sensitivity of the topic "children and flowers." Reflects a very refined taste typical of the era of the late nineteenth century and a clear influcencia of their formation in Paris.
Source: Brückner, Heinrich Jacob Christian. Dissertatio iuridica de successione exspectatiuariorum in feudum apertum (Halae Magdeburgicae: Typis Ioannis Christiani Hilligeri, 1752); 23 cm. Call # Germany 46 B8324.
Source: Digital image.
Set: WIL04.
Date: c1910.
Photographer: William Hooper.
HOOPER COLLECTION COPYRIGHT P.A. Williams.
Repository: From the collection of Mr P. Williams.
Used here by his very kind permission.
Local Studies at Swindon Central Library.
Pictures from OSCEdays Berlin 2018 (oscedays.berlin) / All pictures are licensed CC0 creativecommons.org/publicdomain/zero/1.0/deed.de
Dark Source shows the inner workings of a commercial electronic voting machine, the Diebold AccuVote-TS™ touch-screen voting terminal that has recently been adopted in many U.S. states. What you see here is a representation of the software program that runs inside this machines. To be specific, it is a printout of version 4.3.1 of the AccuVote-TS™ source code — 49,609 lines of C++. 720 pages of the printout are suspended, and several hundred additional pages can be accessed on microfiche.
More at... www.earstudio.com/projects/darksource.html
Location: ZKM in 2005 & at The Kitchen in 2008
Illustrations for The Source magazine.
Fashion Shoot with Lil Twist, Roscoe Dash and Vado.
Check more on www.thesource.com and www.bernardometa1.com