specific photos on Flickr

No. 33: Bear Necessities by Matthew Wells

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No. 1: Love, Paddington X (Lulu Guinness) |

No. 67: It's Kraken, Gromit! by Filthy Luker by Matthew Wells

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documenta kassel 2022 tent by Thierry Geoffroy / Colonel : Artist

Collaboration beetween Biennalist and Ultracontemporay

Art Format

www.emergencyrooms.org/formats.html

Documenta From Wikipedia,

The Fridericianum during documenta (13)

documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.

Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.

Etymology of documenta

The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]

Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]

History

Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7

Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.

Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]

Criticism

documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]

Directors

The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000

documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000

4. documenta27 June – 6 October 196824-strong documenta council1511000220,000

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301

documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]

documenta 148 April – 16 July 2017 in Athens, Greece;

10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens

891.500 in Kassel

documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]

2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]

Venues

documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]

There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.

Rahmenbau (1977) by Haus Rucker und Co.

A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).

documenta archive

The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.

Management

Visitors

In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]

References

Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX

Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2

Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.

The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).

Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.

Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.

Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).

dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.

Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.

Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.

Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.

Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.

Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.

Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.

Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.

"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.

Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.

"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.

Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.

d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.

Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.

Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.

Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.

Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.

Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.

Further reading

Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.

Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.

other biennales :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

www.emergencyrooms.org

www.colonel.dk/

lumbung

Short concept by ruangrupa for documenta 15

"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."

ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.

Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.

The main principles of the process are:

• Providing space to gather and explore ideas

• Collective decision making

• Non-centralization

• Playing between formalities and informalities

• Practicing assembly and meeting points

• Architectural awareness

• Being spatially active to promote conversation

• A melting pot for and from everyone’s thoughts, energies, and ideas

#documentakassel

#documenta

#documenta15

#artformat

#formatart

#rundebate

#thierrygeoffroy

#Colonel

#CriticalRun

#venicebiennale

#documentafifteen

#formatart

#documentacritic

#biennalist

#ultracontemporary art

protestart

Art in Embassies - Nathan Huff, Negotiating Place, 2011 by US Embassy

2

Nathan Huff (born 1981)

Negotiating Place, 2011

Gouache on paper

42 x 78 in. (106,7 x 198,1cm)

******************************************

Negotiating Place is a gouache on paper that utilizes the structure of the dining room in which it sits in to comment on place. Site specific to the red walls and chandelier, it opens the roof to reveal the passage of boats sailing across the ceiling of the room. Like the relations that might exist around this table, the boats offer fantastical representations of those present or long absent.

“I wanted to create a work that would both represent my rich experience of travel to New Zealand and engage with the history of the residence.

“My recent drawing and painting installations create freewheeling narratives: personal stories of suspending gravity, traversing emotional vertigo, and sorting reservoirs of memories.

“I am fascinated by visual conversations that can occur between images and objects that tangentially relate yet lack a linear retelling.

“Exploring the gaps between visual perception and modes of representation, and possible interpretation of these objects, provides a rich and fertile arena for my art making.

“In my studio practice I leave space for interpretive play and experimentation. I collect meaningful images, imagined experiences, or emotional conundrums.

“My initial responses take the forms of gouache drawings; sculpture made from altered found furniture, creative writing, an enacted dialogue, an Internet search and collage, or colliding personal mythology with actual objects.

“It is in these chance combinations that objects take on potential beyond what I might have immediately recognized. New visual observations, personal insights, and metaphorical links are discovered in the process of this exploration.” - Nathan Huff.

Biography:

Nathan Huff earned a Master of Fine Arts degree in Drawing and Painting from California State University, Long Beach; a degree in art education from Azusa Pacific University, California, and has also studied art in Italy, France, the United Kingdom, and Spain. Actively exhibited in Los Angeles and abroad, his work has been collected throughout the West by universities, public collections, and private individuals. He enjoys working in his art studio above the beautiful cliffs of San Pedro and is privileged to work with art students at Biola University and at California State University, Long Beach as an adjunct lecturer.

www.nathanhuff.com

newzealand.usembassy.gov

Fish Tales by Matthew Wells

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Bastrop State Park - Kitchen Shelter - SP.22.177_thumb by Texas State Archives

1

Specific date: 11/3/1941

Pencil & blue ink on tissue; plot plan, sections. LN: 36 X HT: 24.125

palmed in abstract by Edward Kreis

9 26

palm frond in mono

All of my images are under protection of all applicable copyright laws. Unauthorized use and/or duplication of this material without express and written permission from myself is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to dK.i Photography and Edward Kreis with appropriate and specific direction to the original content (website). I can be contacted through the contact link provided on this website.

Client Questionnaire by Rebecca Bulcraig

5 4

project Title Marks awarded Total possible

1Questionnaire 23 25

2Concept Board 19 20

3Colour Wheel 36 40

4Survey sheet 17.5 20

5Drawing and measuring 111.5 120

total 207 225

percentage 92%grade A

Marks 23/25

Tutors Comments.

You’ve covered a lot in the questionnaire and gone into some good detail. Taking a brief is one of the most crucial parts of a project, if it is done thoroughly then the design element becomes so much easier.

The questionnaire is as much for you as it is the client, it enables you to keep the client focused and get all the relevant information you require. You could have given yourself some more detailed prompts in a few areas; lighting, bathroom and kitchen. For example you could ask if the client wants different mood settings in their lighting, possibly a 5amp circuit for table lamps and floor lamps? Does the client put their make up on in the bathroom? i.e. will they need wall lights either side of a mirror etc etc....

The kitchen is a place where clients tend to be really specific about how they function. Gas or electric hob? Eye level or undercounter oven? Double or single oven? Hip height or undercounter dishwasher? Full size or half size dishwasher? Etc etc. You absolutely need to know the answers to these questions so put them down on the questionnaire, they key really is to cover every eventuality.

Demonstration of understanding of the given brief:

You have clearly understood the brief.

Presentation of questionnaire:

Professional presentation.

Grey-headed flying fox (Australia) by Kris

17 25

The Grey-headed flying fox (Pteropus poliocephalus) is a megabat native to Australia. The species shares mainland Australia with three other members of the genus Pteropus: the Little red flying fox (P. scapulatus), the Spectacled flying fox (P. conspicillatus), and the Black flying fox (P. alecto). Flying-foxes are the only mammals capable of sustained flight.

DESCRIPTION

The Grey-headed flying fox, the largest bat in Australia, has a dark-grey body with a light-grey head and a reddish-brown neck collar of fur. Their belly fur grey has flecks of white or ginger, and their back fur can have a silver or frosted appearance which might be related to age, moult or subpopulation. It is unique among bats of the genus Pteropus in that fur on the legs extends all the way to the ankle. Adults have an average wingspan up to 1 m and can weigh up to 1 kg. The head and body length is between 23 and 28.9 cm. It is tailless, with claws on its first and second digits. Since it does not echolocate, it lacks tragus or leaf ornamentation found in most microbats species. It relies on sight to locate its food (nectar, pollen and native fruits) and thus has relatively large eyes for a bat.

HABITAT AND MOVEMENTS

The Grey-headed flying fox is endemic to the south-eastern forested areas of Australia, principally east of the Great Dividing Range. They live in a variety of habitats, including rainforests, woodlands, and swamps. During the day, individuals reside in large roosts (colonies or camps) of up to 200,000 individuals. Colonies are formed in seemingly arbitrary locations, but commonly in gullies and close to water. Roost vegetation includes rainforest patches, stands of melaleuca, mangroves, and riparian vegetation, but roosts also occupy highly modified vegetation in urban areas.

Movements of Grey-headed flying foxes are influenced by the availability of food. Their population is very fluid, as they move in response to the irregular blossoming of certain plant species. The species is a partial migrant that uses winds to facilitate long-distance movement. It does not migrate in a specific direction, but rather in the direction that will be the most beneficial at the time.

DIET AND FORAGING

Around dusk, Grey-headed flying foxes leave the roost and travel 20 to 50 km a night to feed on pollen, nectar and fruit of around 187 plant species (preferably Eucalyptus blossom) and fruits from a wide range of rainforest trees (preferably figs). These bats are considered sequential specialists, since they feed on a variety of foods. Grey-headed flying foxes, along with the other Australian flying fox species, fulfill a very important ecological role by dispersing the pollen and seeds of a wide range of native Australian plants. The Grey-headed flying fox is the only mammalian nectarivore and frugivore to occupy substantial areas of subtropical rainforests, so is of key importance to those forests.

Most vegetation communities on which this species forages produce nectar and pollen seasonally and are abundant unpredictably, so the flying fox's migration traits cope with this. The time when flying foxes leave their roosts to feed depends on foraging light and predation risk by eagles, goannas, snakes, and crocodiles. Flying foxes have more time and light when foraging if they leave their roosts early in the day. The entire colony may leave later if a predatory bird is present, while lactating females leave earlier. With males, the bachelors leave earlier than harem-holding males, which guard their wait until all their females have left. The flying foxes that leave the roost earlier are more vulnerable to predation, and some other flying foxes will wait for others to leave, a phenomenon labelled the "after you" effect.

SOCIAL ORGANISATION

Grey-headed flying foxes form two different roosting camps: summer camps (considered the "main camps") and winter camps (referred to as transit camps). In summer camps, which are used from September to April or June, they establish territories, mate, and reproduce. In winter camps, which are used from April to September, the sexes are separated and most behaviour is characterised by mutual grooming.

In their summer camps, males set up mating territories. Mating territories are generally 3.5 body lengths along branches. The males' neck glands enlarge in the mating season, and are used to mark the territories. The males fight to maintain their territories, and this is associated with a steep drop in the males' body condition during this time. Around the beginning of the mating season, adult females move from the periphery towards the central male territories where they become part of short-term ‘harems’ that consist of a male and an unstable group of up to 5 females. Centrally located males are polygamous, while males on the periphery are monogamous or single. The mating system of the grey-headed flying fox is best described as a lek, because males do not provide any essential resources to females and are chosen on the basis of their physical location within the roost, which correlates with male quality.

MATING

Matings are generally observed between March and May, but the most likely time of conception is April. Most mating takes place in the territories and during the day. Females have control over the copulation process, and males may have to keep mating with the same females. Females usually give birth to 1 young each year. Gestation lasts around 27 weeks, and pregnant females give birth between late September and November. Late births into January are sometimes observed. The altricial newborns rely on their mothers for warmth. For their first 3 weeks, young cling to their mothers when they go foraging. After this, the young remain in the roosts. By January, young are capable of sustained flight, and by February, March or April are fully weaned.

THREATS AND CONSERVATION

The Grey-headed flying fox is now a prominent federal conservation problem in Australia. Early in the last century, the species was considered abundant, with numbers estimated in the many millions. In recent years, though, direct evidence has been accumulating that the species is in serious decline. Current estimates for the species are about 610,000, and the national population may have declined by over 30% between 1989 and 1999 alone.

Grey-headed flying foxes are exposed to several threats, including (1) loss of foraging and roosting habitat, (2) competition with the black flying fox, (3) from power line electrocution and entanglement in barbed wire fences or backyard fruit tree netting, (4) disturbance of roosting sites, and (5) mass die-offs caused by extreme temperature events. Recent research has shown, since 1994, more than 24,500 Grey-headed flying foxes have died from extreme heat events alone.

When present in urban environments, Grey-headed flying foxes are sometimes perceived as a nuisance and shot. Cultivated orchard fruits are also taken, but apparently only at times when other food items are scarce. Because their roosting and foraging habits bring the species into conflict with humans, they suffer from direct killing of animals in orchards and harassment and destruction of roosts. Negative public perception of the species has intensified with the discovery of 3 recently emerged zoonotic viruses that are potentially fatal to humans, however, only 2 isolated cases are known to be directly transmissible from bats to humans.

To answer some of the growing threats, roost sites have been legally protected since 1986 in New South Wales and since 1994 in Queensland. In 1999, the species was classified as “Vulnerable to extinction” in The Action Plan for Australian Bats, and has since been protected across its range under Australian federal law. As of 2008 the species is listed as “Vulnerable” on the IUCN Red List of Threatened Species.

Source: Wikipedia, wildlife.org.au

Shakesbear & St. Paul's by Matthew Wells

Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below

No. 1: Love, Paddington X (Lulu Guinness) |

Innisfree by National Register of Historic Places

1

Listed 9/3/2019

Millbrook, New York

Reference number: 100004333

Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”

Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.

Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public

garden while continuing to gradually develop and transform the landscape until his death in 1993.

Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural

community.

The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.

Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.

While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.

There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.

Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.

In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.

National Register of Historic Places Homepage

Innisfree

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Cinnamon Bun Muffins by Sarah R

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I had to admit I was skeptical when I was making these, but the muffins I adapted slightly from Cooking for the Specific Carbohydrate Diet: Over 100 Easy, Healthy, and Delicious Recipes that are Sugar-Free, Gluten-Free, and Grain-Free by Erica Kerwien really do taste like cinnamon buns - without the gooey mess!

readwritecook.blogspot.ca/2013/06/cooking-for-specific-ca...

No. 26: Blush by Matthew Wells

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All young people see something specific and keep remember everything in life by Mohammad AlSakit

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Increment Specific System Update briefing by NASA Johnson

JSC2013-E-079308 (30 Aug. 2013) --- Japan Aerospace Exploration Agency (JAXA) astronaut Koichi Wakata (front row, second right), Expedition 38 flight engineer and Expedition 39 commander; and NASA astronaut Rick Mastracchio (front row, right), Expedition 38/39 flight engineer; along with instructors and flight control team members, are pictured during an Increment Specific System Update briefing in a conference room in the Jake Garn Simulation and Training Facility at NASA's Johnson Space Center. Flight director Royce Renfrew is standing at left. The briefing is supported by 19 flight control team disciplines and gives the upcoming crew a quick review of the Soyuz 37 vehicle’s current health, status and upcoming operations. Photo credit: NASA

Andrew Lloyd Webber's Paddington by Matthew Wells

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The Paddington Inside the Museum of London by Matthew Wells

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