specific photos on Flickr

No. 38: Isambark Kingdog Brunel by Tim Miness by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

Michigan Traffic Risk by IDV Solutions

Here is a Michigan-specific partner graphic to the seasonal and weekly time-risk for traffic fatalities. Commissioned by the Lansing State Journal, It covers ten years of Michigan's driving history and shows hot spots in time for various sorts of traffic risk.

Specific by Thomas Hawk

4

"Donació" (2016), a project by Lola Lasurt by Latitudes | Barcelona

1

In her intervention, Lola Lasurt has collaborated with the Biblioteca Pública Arús, a study centre founded in 1895 with outstanding collections related to the labour movement, anarchism, Freemasonry and Sherlock Holmes. The project centres on a series of grisaille paintings forming a pictorial frieze that hangs from the balcony above a presentation of books in the Arús’s display cases. Under the title “Donació” (Donation), 2016, Lasurt departs from 135 publications that once formed the personal library of Assumpta Corbera Santanach that were gifted in 2010 to the Arús after her death. Corbera Santanach identified as a feminist and a Freemason; she was not a public figure. Yet the impulse of Lasurt’s project is not primarily biographic or historiographic, but bibliographic and pictorial. Accordingly, “Donació” attempts to narrate changes in social and cultural attitudes through the selection and redrafting of images that appear on the pages of the bibliographic bequest. Treating the publications as an intimate accumulation of ‘alternative’ knowledge and a representation of a self-education, Lasurt is interested in the portrayal of a private political imagination in the midst of what is now a public collection. – Latitudes

Lola Lasurt (Barcelona, 1983) studied Fine Arts (2005) at the Universitat de Barcelona and obtained a postgraduate in Aesthetics and Contemporary Art Theory, Universitat Autònoma Barcelona (2007) and an MA in Artistic Production and Research (2009). She has been resident at HISK, Ghent; La Ene, Buenos Aires and at the Greatmore Art Studios, Cape Town. She has exhibited individually at ‘Promenade’, 105 Besme, Brussels (2015); ‘Exercici de ritme’, Galeria Joan Prats, Barcelona (2015); ‘Doble autorización‘, as part of the exhibition cycle ‘Arqueología preventiva’, Espai 13, Fundació Joan Miró, Barcelona (2014); ‘Amnèsies’, Espai2, Terrassa (2012), ‘El Gegant Menhir’, Museu Joan Abelló, Mollet del Vallès (2011). Amongst her group shows are ‘Young Belgian Art Prize 2015’, Bozar, Brussels (2015); ‘Write of Spring’, Het Paviljoen, Ghent (2014); ‘Narrativas domésticas: más allá del álbum familiar’, Visiona, Huesca (2013); ‘Los inmutables’, DAFO, Lleida (2012); ‘La gran aventura’, Can Felipa, Barcelona (2012); ‘Learn and Teach’, Greatmore Art Studios, South Africa (2012).

Lasurt is represented by Galeria Joan Prats, Barcelona.

––

“Donació” (2016) was commissioned for the second edition of the Barcelona Gallery Weekend (29 September–2 October 2016) as part of the “Composiciones” programme.

Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.

In its second edition, "Composiciones" presents interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.

Conceived and curated by Latitudes | www.lttds.org

Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.

Info: www.lttds.org/projects/composiciones2016/

Social media documentation: storify.com/lttds/composiciones-five-commissions-curated-...

Evolution by Travel Galapagos Islands

Built: 1970, rebuild 2005

Dimensions: 192 feet length/ 29 feet beam/ 10.5 feet draft

Class: Luxury Class

Type: Motor Vessel/ cruise

Capacity: 32 passengers

Crew: 18 crew members + 2 naturalist guides

Accommodation: 16 cabins with private bathroom, climate controls, safe-boxes and ample space to hang and store clothing

Facilities: lounge with a bar and facilities for lectures, slide shows and films, library with a wide range of books, movies and games, Inside and Al Fresco Dinning Areas, sundeck with rattan furniture, small hot tub on bow with sun chairs and ample outside deck space

Activities: walks & hikes, snorkeling, kayaking, dinghy rides

Safety and navigation: Complete navigation and safety equipment

Specific feature: Small hot tub with lounge chairs, extensive outside areas, sea kayaks, snorkeling gear and wetsuits, kids club

+Info: www.travelgalapagosislands.com

Eddie Colla - Urban Osmosis street art show @ LOPO Gallery, SF - Eddie Colla, Shark Toof, D Young V, Hugh Leeman, GATS, RAS TERMS, Eon 75, and more! - curated by Spoke Art - Warholian by MichaelCuffe

Follow Warholian.com on Facebook at:

www.Facebook.com/WarholianFan

Spoke Art is proud to present:

Urban Osmosis

Opening Reception Friday, December 31st (New Years Eve) 2010 7PM-Midnight. On View December 31 - January 31, 2011

More info and photos here:

endlesscanvas.com/?page_id=4460

Spoke Art is proud to present Urban Osmosis, an immersive exploration into our ever changing environment and landscape.

Ending our three month block of shows at Lopo Gallery, Spoke Art closes out 2010 with an ambitious showing of work by an impressive roster of emerging and established street and fine artists. Featuring three separate rooms of site-specific works and two floor-to-ceiling walls of free form wheatpastes, Urban Osmosis goes beyond your standard street art show to present a selection of captivating installations and selected indoor/outdoor works.

Please note that this event is 21+

About the artists:

Kelly Towles is an internationally acclaimed artist living and working in the Washington DC area. In 2006, Towles not only participated in Wooster Collective’s historic Spring Street Project but also curated his own show “Wall Snatchers” in Washington DC, a show that featured the likes of Faile, Bask and Tes One. Since then, Towles has shown throughout the United States at galleries such as 1988 in Los Angeles as well as Yosi Sergant’s Manifest Hope and Manifest Equality shows in Denver, DC and Los Angeles. For this show, Towles will be traveling to San Francisco where he will be taking over an entire room of the gallery for an on-site and site specific installation.

Eddie Colla and D Young V

Eddie Colla and D Young V are two of the Bay Area’s fastest rising stars in the street art world. Eddie Colla’s politically driven works have been featured in numerous publications such as Giant Robot Magazine and Shepard Fairey’s Art for Obama book. D Young V’s post apocalyptic imagery and gritty style have earned him multiple shows with San Francisco powerhouse White Walls, where he’ll have a solo show in 2011. For Urban Osmosis, Eddie Colla and D Young V will be joining forces to present a series of collaborative works which will be presented in an installation heavy manner. These two artists will be taking over a room of the gallery themselves.

GATS

GATS is one of the West Coast’s most prolific and rampant graffiti artists. His iconic characters litter the landscape from coast to coast and have been spotted in seven different countries around the world. For this show, GATS and EndlessCanvas.com will be curating their own room of the gallery where they’ll be presenting the work of GATS alongside notables Ras Terms, Safety First, Nina, Dead Eyes, Cuss and Political Gridlock.

Sharktoof

Sharktoof is arguably the most ambitious and versatile street artist currently working in the Los Angeles area. In 2010 he has shown with fine art gallery LeBasse Projects as well as cultural mecca Barracuda. His first monograph will be released in 2011. For Urban Osmosis, Sharktoof will be traveling up to San Francisco for a presentation of two and three dimensional works as well as an ambitious street campaign.

Rounding out the roster, San Francisco based legends Chor Boogie, Eon75, Sfaustina, Hugh Leeman and Zoltron have all created specific original fine art pieces for Urban Osmosis. Each artist has created works on 4’x4’ plywood panels in medium varying from spray paint to wheatpaste to mixed media. These unique pieces will be on display in the main room of Space Gallery.

Finally, two floor-to-ceiling walls of the gallery will be devoted to impromptu wheat pasting, allowing the artists in the show to work off each other in an open dialogue of homemade glue and collaboration. Following the show’s opening, the collaborative wall will be removed and reinstalled on the streets of San Francisco.

About Spoke Art

Created in 2010 by Ken Harman, Spoke Art is a transient curatorial company specializing in new contemporary, popular culture and street art. Harman is currently the online media manager for Hi-Fructose Magazine. In the past he has served as a contributor to the website Arrested Motion and was also the founder of the Obama Art Report. He has been interviewed in and on Giant Robot Magazine, the Wall Street Journal, the Chicago Tribune, NPR and MSNBC.

About Lopo Gallery and Space Gallery

Lopo and Space Galleries are two adjoining galleries located in San Francisco’s Lower Polk neighborhood. Owned by Chris Shaher, these two venues offer cutting edge art shows by local and national emerging artists.

Urban Osmosis

Opening night: Friday, December 31st - New Years Eve 2010

Show runs till January 31st at Lopo Gallery.

Lopo and Space Galleries

1141 Polk Street

San Francisco, CA 94109

www.lopogallery.com

www.spacegallerysf.com

Spoke Art

www.spokeart.net

All pictures by Michael Cuffe for Warholian.com

2019-07-09 @13.22.05.47 ~ Haleakala Crater by Sansei247

Haleakala Crater hike on 7/9/2019

I caught the first Hawaiian Airlines flight to Maui from Oahu which left at 5:05 am, arrival at 5:44 am.

I took a carryon duffel bag and a photo backpack ( no checked bags )

Picked up my rental car from Alamo and first stopped at 7-Eleven for water, food and snacks.

Maui Airport has changed. All the car rental companies moved to one central location reachable by tram. Additonally a specific Airport Access road was constructed and in use by this trip.

7:40 am left 7-Eleven for Haleakala.

7:30 am arrived at park entrance. $25 entrance fee by credit card only.

8:00 am arrived at Halemau'u trail head parking lot. Filled my CamelBak bladder with 3L of water, redistributed my equipment and used the bathroom to add a thermal underwear layer for the cold.

8:40 am left the parking lot and went to the Hitchhiking spot to wait for a ride. I was picked up by the 3rd car to come along. A single young male on vacation by himself. As I was grabbing my things to get into his car a mother and young son came up and asked to share the ride. I only waited maybe 5 minutes to catch a ride.

9:00 am arrived at the Summit Visitor Center parking lot. The driver had never been up to Haleakala even after visiting Maui a couple of times before, and he was considering doing a short hike while up there. I would be passed by him and the other hitch hiker about a mile down the trail later.

9:15 am after a short look around at the lookout and tightening up my boot laces, I started on Keonehe'ehe'e ( Sliding Sands Trail )

11:51 am I would get to the bottom of the crater and the trail for Holua cabins or Kapaloa, Paliku cabins. Ate lunch of one Spam musube.

12:06 pm I would start on the trial to Holua Cabin

12:59 pm top of the ascent to "Ka Moa o Pele"

1:24 pm trail juncture on the left of "Halali'i"

2:14 pm Silver Sword loop begin ( did not take the loop )

2:22 pm Silver Sword loop end

3:05 pm Holua Cabin - rested

3:32 pm left Holua Cabin and headed out on Halemau'u trail and the crater rim.

4:13 pm arrived at base of crater rim and the start of the switchbacks up the crater wall. rested and stretched.

4:27 pm started up the crater rim switch backs.

6:56 pm I would reach the flat narrow spot I consider the end of the switchbacks.

7:00 pm the temperature would be 56 degrees and dropping down to 52 degrees ( not including windchill )

7:10 pm Sunset, and I was hiking in dark shadow. Too dark to take meaningful pictures or pics of my watch.

8:00 pm I would reach the Halemau'u parking lot and my car.

8:30 pm I would finish unloading and repacking bags for going to my hotel and possibly doing some astro photography.

8:45 pm arrive at Kalahaku overlook to check out the possibility of astro photography. The 50% moon washed out the Milky way too much, stars were visible and I was starting to yawn. So I didn't, and I left at 9:05 pm for Kahului and a shower.

I used up all my water, when I got to my hotel and check, the hydration bladder was flat. Possibly one or two sips left in the tube. This was the 2nd time hiking this trail. Both times I brought a collapsable water bag w/filter to refil water at Holua and did not. If I do this again I really, REALLY need to refill water at Holua cabin.

The weather reports for the previous week were about the possibility of hurricane Barbera hitting the islands the day before my trip. Fortunately Barbera down graded and by the time of my trip and predictions for the summit were somewhat cloudy with occasional showers. While hiking I only encountered a few light drizzle/drops from the clouds that didn't require me to break out any of the rain gear I brought or to stow my cameras from rain.

The weather at the summit was cloudy and approximately 65 degrees with windchill. Along the hike until the ascent up the crater rim at the end, the temperature would not seem as cold as I expected or remember from my previous hike a couple of years ago. Possibly due to my wearing thermal underwear, hiking pants, a medium thick long sleeve athletic shirt beneath a button long sleeve hiking shirt and my broad brimmed hat of course. While moving I felt cool and relatively comfortable temperature wise, while raising a slight glistening sweat. At least it wasn't dripping into my eyes.

Keeping to my expected and normal average hiking pace of around 1 mph or less going down hill and across the flats, I would take pictures about every 1-2 hundred feet of the trail. Boring, but I like to document the trail condition. In addition to any interesting views, scenery or recording the weather.

I kept one of my watches attached to my sleeve so it would not be in skin contact and would mostly dangle in my body shade. This would give me a way of tracking my elevation and mostly the temperature.

There were many more day hikers actually crossing the crater along the same route I was going. Most notable was the mother and son that caught a ride with me. They met up with her husband and other son who caught another ride a bit later.

Probably all the hikers that were crossing the crater caught up to me and passed me, and they all started later than I did. The only people who caught up but didn't pass me were 3 female park rangers on their way to Holua Cabin and pretty much started doing their park ranger stuff in the area where they caught up to me and didn't catch up again.

I was constantly annoyed by the hikers I would see taking short cuts along the trail. I had to remind myself to not get pissy with them. I'm tempted to think the only other hikers on the trail that did not take short cuts were the park rangers I met.

Personally, I started the hike with a kinda sharp lower back pain, which had been ongoing since the previous week. But since this hike was already book and paid for I wasn't going to cancel. All thru the hike my back would be in constant pain and I would continually think I might have to give up hiking if my back doesn't get better. It was most painful going down hill, while the flats and going up weren't as bad.

I was hoping the strain and constant back movement would loosen up my lower back and aleviate my pain. Supprisingly, while getting on my stomach with all my gear still on me, when I got up my lower back was better. The pain would come and go, but could now be aleviated for short periods of time by taking off all my gear and bending over to stretch my back. When I would get home, my lower back pain issues would return to "normal"

Evidently, the dry cold air and constant breeze caused my face and lips to chap, which showed up a day after I got home.

Once again I brought chapstick but didn't use it.

-----------------------------------

CamelBak Octane 16X Hydration Pack (3L Hydration bladder)

3 liters of water = 6.6 pounds

1x Nikon D700 w/battery grip - Nikon 28-300mm

1x Nikon D700 w/out grip - Rokinon 12mm f2.8 fisheye

Tokina 16-28mm f2.8

Camera & lens weight = 12 pounds

I brought both cameras to reduce the amount of time spent changing lenses and the possibility of getting grit on the camera sensors. Turns out I never changed to the 16-28 so never removed any lens. Yay, no spots in my pictures, Bo, lugged another heavy lens around for nothing. At least I left the 100mm macro in the car already.

Specific and Ser Cymru by Swansea University

Research engineer Joel Troughton and technology transfer fellows Cecile Charbonneau and Matthew Davies

3rd Regiment, Advanced Camp, Land Navigation Practical Exam | CST 2023 by U.S. Army Cadet Command (Army ROTC)

The 3rd Regiment, Advanced Camp Cadet takes notes during the land navigation practical exam at Fort Knox, Ky., June 21, 2023. Land navigation training teaches Cadets how to use a map, compass and other techniques to navigate through various terrains and locate specific pinpoints. | Photo by Madelyn Guinn, Ball State University, CST Public Affairs Office

Artem's Laguna Seca Blue BMW F82 M4 Heritage Edition with 18" ARC-8 Wheels in Anthracite by Apex Wheels

F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...

Front: 18x9.5" ET22 with 275/35-18 Nitto NT01

Rear: 18x11" ET44 with 305/35-18 Nitto NT01

Factory M4 Competition Package Alignment Specs

Lowered on Macht Schnell Competition Springs w/ Factory EDC

Owner:

www.instagram.com/ruskii_m4

Dudley Bluffs Bladderpod Close-Up by USFWS Mountain-Prairie

1

A typical Dudley Bluffs bladderpod in full bloom during early May.

Photo credit: USFWS

...........................................................................

BACKGROUND:

The Dudley Bluffs bladderpod (bladderpod - Physaria congesta) and the Dudley Bluffs twinpod (twinpod - Physaria obcordata) are limited or endemic to barren white shale outcrops and specific soil tongues in the Piceance Basin of Rio Blanco County, Colorado. The bladderpod is known from eight populations, consisting of roughly 546,000 plants across an estimated 930 acres, while the twinpod is known from 11 populations, consisting of roughly 25,000 plants across an estimated 318 acres. Approximately 88% of the total occupied bladderpod and twinpod habitat occurs on public lands managed by the Bureau of Land Management. All known populations occur within a 20 square mile area.

When these two species were listed in 1990, natural gas drilling was not considered a threat. Previously considered inaccessible, these two species sit atop the nation’s biggest reservoir of natural gas. Fracturing technique advancements, however, have recently made these natural gas deposits accessible with 95 percent of the development near these rare plant populations. Rio Blanco County currently has over 2,600 natural gas wells, but predictions estimate there may be as many as 19,000 wells within 15 years, more than any other Colorado county. These wells and their associated infrastructure (pads, pipelines, roads, and traffic) are impacting populations and habitat of both the bladderpod and the twinpod. The Bureau of Land Management, the Colorado Natural Areas Program, the U.S. Fish and Wildlife Service (Service), and other partners have been working together to better document and study these impacts to the bladderpod and the twinpod.

Oftentimes management for rare plant species does not adequately consider impacts outside of the immediate area where a plant is found. For example, ecological effects from dust generated by heavy traffic on dirt or gravel roads can extend more than 300 feet from the road. Or, for every vehicle traveling one mile of unpaved roadway once a day, every day for a year, 2.5 tons of dust can be deposited. Effects to plants from dust can be numerous, including changes to a plant’s photosynthesis, respiration, transpiration, water use efficiency, leaf conductance, growth rate, plant vigor, and gas exchange rates. Changes to plant communities and species’ abundances within these communities have also been linked to dust deposition. Aside from dust, roads themselves alter ecosystems by importing invasive nonnative species, altering hydrology, and changing sedimentation patterns. In addition, both the twinpod and the bladderpod require pollinators for reproduction. Impacts to these solitary ground or twig nesting bees (especially their nesting habitats) may impact these species’ reproduction. We consider all of these effects to be part of “dispersed development” impacts. Our research hopes to address impacts to these two species, their associated plant communities and their pollinators. We are hopeful this research will allow land managers to better evaluate and address threats from this dispersed development.

Felix Gonzalez-Torres, Untitled, 1989/1995 by Andrew Russeth

Felix Gonzalez-Torres: Specific Object without Specific Form at WIELS, Brussels, through April 25, 2010

Felix Gonzalez-Torres, Untitled (Throat), 1991 by Andrew Russeth

1 1

Felix Gonzalez-Torres: Specific Object without Specific Form at WIELS, Brussels, through April 25, 2010

Gromit Unleashed: Blazing Saddles by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

No. 29: Gromitasaurus by Huncan Daskell by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

All well @ Key West by Martin Križka

3 4

Old style looking shot of peaceful beach scenery at Key West. Sound of gently rustling coconut palm leaves, quiet water of Atlantic ocean and specific breeze make sunset time at this tiny piece of land pretty unique.

Milkweed beetle by Nash Turley

4

Many insects depend on specific plant species for their survival. For example, the larvae of monarch butterflies feed only on toxic milkweeds (Asclepias spp.) and cannot grow as caterpillars on any other plants. Milkweeds are not just important to monarchs; flies, true bugs, and beetles have also evolved the special ability to feed on milkweeds. Like monarchs, most of them are very brightly colored to warn predators of the toxic milkweed compounds that stored in their bodies as a defense. This is a lesser known insect that feeds on milkweeds, the milkweed leaf beetle (Labidomera clivicollis) which can be found feeding on milkweeds across Eastern North America. Restoring habitats with populations of milkweeds can help not only monarchs, but also a wide range of other beautiful insects.

Lisa Lambe as Bag Headed character by The Performance Corporation

Photo by Ciaran Bagnall

documenta kassel 2022 D15 PRESS CONFERENCE at the stadium 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

Specific to You Are you looking to buy the formal dress but all dresses sold out from Studio Mink shop or not available on your size. We can make to measure any dress from size 4-22 Starting price for this style $390 available in many different colour by J & R Fashion

Lake Brownwood State Park SP.36.152 by Texas State Archives

Title: Furniture for Mother Neff State Park Concession Building: Chair

Specific Date: 8/10/1938

Architect: Pressler, P.

Remarks: Pencil drawing on buff tissue paper. chair

Dimensions: LN: 35.62" X HT: 24.31"

Felix Gonzalez-Torres by Marc Wathieu

1

View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.

WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.

Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).

To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.

Text source :

www.wiels.org/site2/event.php?event_id=160

Luggage specific set by Eric Estlund

1 3

Designed for customer supplied Acorn bar and Arkel trunk bags.

www.WinterBicycles.com

IMG_5218 by Christine Sciulli

#FERMENT, my site specific project for #HYPERsculptures @lightart_museum opening 4 November 22 and running through 30 April 23. Incredible museum with site specific installations by Rebecca Horn, @jamesturell , @studioolafureliasson , @keith_sonnier and many others including @squidie

HOBO-Remote-Weather-Station by Onset Data Loggers

The HOBO RX3000 is Onset’s next-generation remote data logging station that provides instant access to site-specific environmental data anywhere, anytime via the internet. The new station combines the flexibility and sensor quality of more expensive systems, an onboard LCD display, and the convenience of plug-and-play operation.

• Flexible support for a broad range of sensors

• LCD display for easy field deployment

• Cloud-based data access

• Plug-and-play operation

• Alarm notifications via text, email

• Rugged double-weatherproof enclosure

• Cellular, Wifi and Ethernet Option are available

• Optional Analog Input and Relay Modules

Environment:

The RX3000 Data Logger is for use in Indoor and Outdoor environments

Measurements:

The RX3000 Data Logger supports the following measurements (sensors sold separately):

Temperature, Relative Humidity, 4-20mA, AC Current, AC Voltage, Air Velocity , Amp Hour (Ah), Amps (A), Barometric Pressure, Carbon Dioxide, Compressed Air Flow, DC Current, DC Voltage, Differential Pressure, Event, Gauge Pressure, Kilowatt Hours (kWh), Kilowatts (kW), Leaf Wetness, Light Intensity, Power Factor (PF), Pulse Input, Rainfall, Soil Moisture, Volatile Organic Compound, Volt-Amp Reactive (VAR), Volt-Amp Reactive Hour, Volt-Amps (VA), Volts (V), Water Flow, Water Level, Watt Hours (Wh), Watts (W), Wind

Graffi alla ricerca della luce by Barbara Saccagno

3

Graffiando Cielo e Terra, Portale ferro e terracotta. Particolare Opera di Antonio Teruzzi per Sulle Orme di Francesco - Varallo/Orta

2017/2018. Orta - Cappella Nuova - Sacro Monte

Graffiando Cielo e Terra. Alla Ricerca della Luce

Libro

Antonio Teruzzi

Ed. Massimo&Fiameni Design

Settembre 2917

Opere 25 legature d’arte, Portale con formelle ad opera dell’artista Antonio Teruzzi

Testi di A.- Teruzzi, B. Saccagno,

A. Crespi

Ferrari Dino 206SP by - KMP -

3 2

This specific car, s/n 026, participated in the 12 Hours of Sebring in 1967 but was taken out of the race due to suspension problems 65 laps in. Nearly two months later, it burned to ashes during practice for the Nurburgring 1000km. After the accident, the chassis was sent back to Maranello to await repairs, but the damage was to such an extent that Ferrari deemed it not worth the expense to repair. In 1969, it was purchased by a French collector, Pierre Bardinon, but the chassis remained untouched and unrepaired. In 1982, the chassis was purchased by Italian Ferrari collector Currado Cupellini. He began a lengthy and comprehensive restoration with help from Ferrari. However, the engine and gearbox were not the same as used in the original. It was an Ex-Tasman 246 F2 unit wîth Hewland gearbox. The car was raced a few times in the mid-90's at tracks such as Mugello and Spa-Francorchamps. In 1997, it participated in Ferrari's 50th anniversary celebration. Shortly after, it was sold to Bernie Carl in Wahsington DC. He sent it to the UK to have a proper engine (Tipo 231B) and gearbox (Tipo 537) fitted to it. The engine used was a rare twin-plug, fuel-injected unit which produces over 240hp.

www.barchetta.cc/english/All.Ferraris/Detail/Dino/026.206...

www.conceptcarz.com/vehicle/z8788/Ferrari-206-S.aspx

The team, Scuderia Filipinetti, was based in Geneva, Switzerland. It no longer exists today.

Herbert Müller (Swiss, 1940-1981) and Günter Klass (German, 1936-1967) were the drivers in the Sebring race. Both drivers died in racing accidents. Herbert was killed in a Porsche 908 at the Nurburgring 1000km in 1981, while Günter was killed in a Dino just like this one at Mugello just under two months after this one burned. While Herbert returned for the Nurburgring 1000km, he was partnered with Jean Guichet (French, 1927- ).

Artem's Laguna Seca Blue BMW F82 M4 Heritage Edition with 18" ARC-8 Wheels in Anthracite by Apex Wheels

F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...

Front: 18x9.5" ET22 with 275/35-18 Nitto NT01

Rear: 18x11" ET44 with 305/35-18 Nitto NT01

Factory M4 Competition Package Alignment Specs

Lowered on Macht Schnell Competition Springs w/ Factory EDC

Owner:

www.instagram.com/ruskii_m4

Felix Gonzalez-Torres by Marc Wathieu

1

View at Felix Gonzalez-Torres "Specific Objects without Specific Form" retrospective at Wiels, february 2010.

WIELS premieres a major traveling retrospective of Felix Gonzalez-Torres’ oeuvre, including both rarely seen and more known artworks, while proposing an experimental form for the exhibition that is indebted to the artist’s own radical conception of the artwork.

Gonzalez-Torres (American, b. Cuba 1957-1996), one of the most influential artists of his generation, settled in New York in the early 1980s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications. His work can be seen in critical relationship to Conceptual art and Minimalism, mixing political activism, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards*, often using ordinary objects as a starting point—clocks, mirrors, light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. They are premised, like so much of what he did, on instability and potential for change: artworks without an already preset or specific form. The result is a profoundly human body of work, intimate and vulnerable even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the exhibition as a place to look but not touch, the author as the ultimate form-giver).

To present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the center of his artworks, the exhibition will be entirely re-installed at each of its venues halfway through its duration by a different invited artist whose practice has been informed by Felix Gonzalez-Torres’ work. A first version of Felix Gonzalez-Torres. Specific Objects without Specific Form by curator Elena Filipovic will open to the public and on March 5, 2010, the artist Danh Vo will re-install the exhibition, effectively making an entirely new show.

Text source :

www.wiels.org/site2/event.php?event_id=160

Echo in Madison Square Park by André-Pierre du Plessis

1

(http://www.artdaily.org/index.asp?int_sec=11&int_new=47124)

NEW YORK, NY.- Madison Square Park Conservancy’s Mad. Sq. Art presents the New York public art premiere of internationally acclaimed artist Jaume Plensa, featuring a new monumental, site-specific sculpture for Madison Square Park. Plensa’s Echo marks the single largest monolithic work of art presented in the 7-year history of Mad. Sq. Art, on view May 5 through mid- August 2011.

Echo, Plensaʼs new site-specific installation serves as a monument to everyday people, both within and without Madison Square Park. Creatively inspired by the presence of the 9-year old daughter of a restaurant proprietor near Plensaʼs home in Barcelona, the 44-feet tall sculpture comprised of white fiberglass resin depicts the face of this inspiring young girl in a dream state from the neck, up. Plensaʼs sculpture, made from marble gel-coated fiberglass-reinforced plastic, can be sited on the central Oval Lawn of Madison Square Park. Its monumental size and vertical orientation reflect the parkʼs surrounding architecture, while the visage of the sculptorʼs subject exudes a welcoming tranquility perfectly suited to this cherished urban oasis.

Drawing inspiration from the presence of a real person in real time, Plensaʼs monumental sculpture also references the myth of the Greek nymph Echo. According to Greek mythology, Echo was a nymph, who loved her own voice until it was later taken. From that point forward the legend tells of Echo being able to utter the thoughts of others but not her own. Jaume Plensaʼs Echo plays on the tale of this Greek myth, creating a sculpture of massive scale drawing parallels to the Greek Echoʼs origins as a mountain nymph. The reference is carried further by the artistʼs decision to depict the young 9-year old girlʼs face in a dream state, translating this massive sculptural portrait into a physical monument of all the voices and thoughts of others internalized by Madison Square Park as by the nymph in the myth of Echo.

Artist Jaume Plensa comments: Echo is the representation of the head of a young girl in a dream state. If in the myth of the nymph Echo, she was forced by the goddess to repeat the words uttered by others, in my project, the head becomes a mirror in where people can see themselves. With this work I aim to introduce quietness and serenity in Madison Square Park, to transform the Park further into a place to rest and dream. With Echo, I aim to create a new intimate place in the heart of NY, in where we can finally repeat the real words of our souls.”

“The Madison Square Park Conservancy is thrilled to present the New York City public art debut of Jaume Plensa, an artist who has contributed so much to the field of contemporary art in cities all around the world,” said Debbie Landau, President of the Madison Square Park Conservancy. “Jaume is an extraordinary artist and an incredibly compassionate person, qualities which are reflected in works of art that poetically bridge the boundaries between many different nationalities and cultures. Madison Square Park is a cherished public space at the heart of a culturally diverse city, making it the ideal home for the monumental and celebratory Echo, which itself is a perfect reflection of the vibrancy, vitality and optimism of New York City.”

Jaume Plensa, born and based in Barcelona, is one of the worldʼs leading contemporary sculptors. Working in a wide variety of materials, Plensa has invigorated the practice of figurative sculpture with works that examine the intersection of the human form, language and communication, and global citizenship. He was made a Chevalier des Arts et des Lettres by the French Ministry of Culture in 1993, among many other honors. His public art installations are particularly renowned, and include the legendary Crown Fountain in Chicagoʼs Millennium Park. Plensaʼs 2011 commission for Madison Square Park constitutes his long-awaited New York City public art debut.

Plensa is represented in New York by Galerie Lelong and in Chicago by Richard Gray Gallery.

1:43 Volkswagen T2 Westfalia Berlin (Premium Classixx die cast model conversion) by Dizzyfugu

Not a whif, but rather a custom build for a friend who recently sold his VW T2 camper - originally bought as a restauration project, but reality reared its ugly head and time turned out to be too sparse for this hobby.

However, I dediced to create a model of the specific T2 camper as a memorabilia piece, on a low budget, though.

The basis is a 1:43 scale die cast model from Premium Classixx, a manufacturer that also supplies VW's own fan shop. The company produces lots of limited series models (typically 500 per run), and they are nicely detailed (out- and inside), even though the paint is a bit thick.

I tried to find a basis that was close to the real bus, yet available and affordable - and in my shortsightedness I bought an orange/ivory T2a camper with a Westfalia tent roof, which appeared quite close to the original, at least at first glance.

I am not a VW expert, but I soon realized (actually while work was already in progress!) that the model I bought is T2a, while the bus I wanted to recreate is a later T2b!!! Rats!

At a cursory glance the differences are minimal, but they are there, and they are quite fundemantal.

For instance, front and rear differ between the two T2 models. On the front, the T2b blinkers are placed high, right under the windscreen, while the T2a has them further outside, above the bumbers. The latter are also different, they are extended around the corners, reaching under the front doors. The latter could be easily mended through trimming, while the blinkers were a more complicated affair - I filled the original openings and created a new air inlet for the front (well, it had to be re-done, anyway in the course of re-painting the bus) with new blinkers with a home-printed water-slide decal, some silver decal sheet and clear paint.

The rear end, esp. the brake lights, are totally different, but I left them as is, because a modification would have been much too complicated. But I am agitated that I did not notice the differences before I bought the bus model...

The tent roof is, BTW, also different, but I stuck to the OOB shape because I did not have a view from the top of the real bus' roof.

Internally, the camper received a complete re-design of the furniture, because the seats and other elements like the kitchen block were arranged almost completely different.

The upholstery and wall covers had also to be changed: the model came with an olive green interior (Yuck! Almost RLM02!) and red/blue seats, and I had to change them into a leather brown interior with green/yellow seats. In the original bus, the front seats had furthermore been replaced with more modern (Eighties Golf Mk. II?) parts with head rests, so they were modified accordingly and became two-tone grey.

Another neat internal detail from the original bus is a fake flower chain in rainbow colors that used to hang from the rear view mirror. This distinctive piece was scratched with wire, sawdust and enamel paint.

Music boxes were scratched, too, and hung into the boot, right behind the back window.

While the model came with painted/printed curtains in the windows, I had to re-do them, too, because their sand color would have been too dark; the paint was carefully wet-sanded away, as good as possible, and the free areas patched up with a pale yellow.

On the exterior, the colors had to be changed completely. The ivory roof and the bumpers became white, like the roof, while the wheels received yellow rims (their shape does not match the original rims, either...).

A really big challenge was the spare wheel that is attached to the bus' front: I was not able to get an additional wheel from the manufacturer, so I had to re-cast the spare wheel from one of the model's parts. With an alginate mold and 2C putty the stunt worked, somehow, but it took several attempts and experiments to get it more or less right.

Around the hull, several small details were added, e .g. an individual plug socket, a scratched tow coupling and other very small things.

On the model's basis (it comes in a clear display box with a piece of cobblestone street), I added a flat dish which traditionally collected oil from the engine - created from aluminum foil and a square plastic stencil.

The overall hull color was, after having been wet-sanded, changed from orange to a bright lime green. In order to stay close to the original and not present a "cleaned-up" result of a restauration, I tried to emulate the original's bus slightly shaggy look - after all, it never evolved from its "pre restauration" status to something more solid. Consequently, there's some visible rust, and on the flanks you can see the red primer coat shine through here and there, the original paint finish is rather cloudy and somewhat preliminary.

In order to re-create this look I gave the model a basic coat with mineral red, sanded it, and on top of that I added a coat of green (a mix of Humbrol 38 and 36, it comes surprisingly close to the real tone) with a flat, soft brush,for a slightly uneven, streaky look.

Some areas were later treated with a slightly different mix of the Humbrol colors, and some anti rust primer added at specific areas. Even though there are some areas where the paint gathered into a bumpy surface, the look I achieved is quite convincing!

Beyond the new T2b front grill, as mentioned above,many other things on the exterior were printed as decals at home. This includes the license plates, but also many stickers on the front and back end of the bus. Photographs of the original bus were the basis, and the result is good for the 1:43 scale.

Finally, the model received a coat with Italeri's Semi Gloss acrylic varnish, which creates a good finish that comes close to the original bus, which is/was also never really shiny.

Well, I hate building cars, and the bus was actually not an exception. But I took it as a challenge, and, after all, creating an individual present (with an emotional hook) is always a good motivation.

In the end I must be satisfied with the result, but the model became not as "good" or close to the real world bus as I had hoped for - but this might be crabbing on a very high level. But as long as you do not take a close look, the result is quite convincing, and I hope that the bus model will be well received.

Two Thoughts by Neil Noland

1

From the May 2016 trip to Thailand and Cambodia:

Ta Keo was the first “lesser” temple we visited. It’s quite near Ta Prohm (just northwest of it). It was built in the Khleang style from the late 10th (975 A.D.) to the early 11th century. This temple is similar to Bakheng and Pre Rup in that it’s a bit of a “temple mountain.” (I didn’t have the heart to climb to the top, though it’s really not terribly high; I was just exhausted from the heat.) It was commissioned by Jayavarman V and later worked on by Jayaviravarman. The current restoration to Ta Keo is being funded in large part by the government of the People’s Republic of China.

It’s an interesting temple in that it’s built entirely of sandstone. It’s also an incomplete temple. Construction was stopped just as the carvings were begun. Currently, I think it’s quite photogenic in part due to its location and also because it’s purely sandstone. I would imagine this temple photographs extremely well in both early-morning or late afternoon light. We were here in mid- to late-morning, so didn’t see it at its visual best, though I still enjoyed seeing Ta Keo all the same. You can easily and comfortably visit this temple in an hour…two, if you really want to look at every corner of the place.

Well, this is it. Save for a return flight to Bangkok on Tuesday, May 17 (a formality, really, just to pick up the return flight to China on the 18th…and no shoots on the 17th in Bangkok), Siem Reap/Angkor Wat is the last stop – and the one I was most looking forward to.

The flight over was pretty uneventful, though amusing. At Phnom Penh International Airport, we checked in at the gate, then went outside and hopped on a bus to take us to the plane…which was literally less than 100 meters away. That amused me to no end. A quick, comfortable 45 minute flight on the prop jet later – over completely black terrain; it seems the countryside is either sparsely populated, or electricity is a premium, but we may as well have been flying over a moonless ocean – brought us to Siem Reap (which, I’m glad to say, had lights). Siem Reap is the small town (and it’s basically a tourist/party kind of town where it’s great to go out at night after spending a full day in the sweltering hot sun. It’s about 10 kilometers south of Angkor Wat.

In overview, Angkor Wat is the ancient capital of the Khmer kingdom. What remains today are temples…temples…and temples. Hindu temples. Buddhist temples. They were also a people who were animists, so some temples are reminiscent of that system, too.

The detail of the temples is also fascinating. There are more asparas here than you can shake a stick at. Of the roughly 20,000 asparas, only one is shown smiling (baring teeth, that is). It fascinates – and impresses – me that people have done such extensive research and restoration that they know this. Those are the details, though.

A macro view of the Siem Reap area is just as impressive in that these temples are a study of a civilization close to one thousand years old (yet another jaw-dropping aspect of Angkor: the longevity) and their durability. The earliest temples are over a thousand years old, and the most recent are from the 14th century. (If the guide book I bought is correct, they were all built between 790-1307.) What survives today is all original (though there have been reinforcements with stone – many foreign countries support renovations of specific temples; I recall China and India among them). It’s quite obvious to tell what’s old and what’s new in most cases. However, the restorations are all good and necessary. One last note regarding the longevity of these temples is this: If these stone temples are what remained…how impressive must the society have been who created them? (That’s to say…think of the temples, houses, and all that didn’t survive as they were built of wood; these are simply the temples built by the royals or the aristocracy.)

A tour of modern-day Angkor Wat can be done in one or two fairly vigorous days. However, if you’re looking for any classic shots, you’ll want to spend longer here. (Common sense: the more time here, the more chances for good shots.) For this trip – it may be the only time I come here, though you never know – we arrived on a Saturday night and checked into our hotel (My Home Tropical Garden Villa; $20/night)

Siem Reap feels, at first, like a small dusty outpost of a town. The center of town is about four square blocks of small dive restaurants (and a bar street) and slightly pricier restaurants. There is also a night market street, an art street…all in all, it’s quite nice and has a bit of a party feel to it in addition to the endless souvenir stands you would expect. Though we didn’t go out on Saturday night (since we didn’t get checked in until around 9:30 p.m.), we did get a chance to go on Sunday.

Sunday morning was an awfully early start. Before having left Phnom Penh, I jumped on Facebook and, by chance, found and hired a local tuktuk driver, Mao Khvan, for $25/day. He agreed to pick us up at 4:50 a.m. to catch the sunrise at Angkor Wat.

Now, a quick note on tuktuks: almost every single hotel/hostel/guesthouse probably has tuktuks available for hire. Also, when we were picked up at the airport, the taxi driver offered to drive us for the time we were there. In short…it’s a competitive market, and finding a driver for the day will be no problem. $25 may even be slightly pricy (you could probably find a driver for $15-20), however, I was so impressed with Mao’s service that, if I were to return, I’d gladly hire him again. He wasn’t rude or pushy, provides all the ice water you could possibly want to drink, and though he’s not an “official” guide, he’s very, very knowledgeable and made both days pleasant. I even had him take us to the airport the morning we left, and he brought his wife and daughter to meet us. He’s just a genuinely good and decent guy. (For anyone who goes to Angkor Wat, here’s Mao’s contact info if you want to arrange his services ahead of time: www.facebook.com/maotuktuksiemreap/?fref=ts )

Back to the actual touring itself, Angkor is geared towards tourism and they do it well. You can buy an admission ticket for either one, three, or seven days. ($20, $40, or…$60?). It’s also nice because they don’t have to be used in consecutive days (for the three and seven day passes, obviously). The three days can be used in a given week. The seven day pass, within a month.

Conventionally, two days is enough to see the “main” sites (albeit quickly) in about 8 hours each day. There’s a small loop (which we did the first morning) in which we caught the sunrise (not a great one, but…there was one, and it wasn’t terrible, by any stretch) at Angkor Wat, followed by a quick tour of the grounds – but not the temple itself. Afterwards (we were at Angkor Wat from 5:30 until 7:00 or 8:00, I’d say), we hopped back in the tuktuk and headed over to Ta Prohm, about 15-20 minutes away. Ta Prohm is famous for those who are fans of the Lara Croft Tomb Raider movies. (The first, I think. I’m not, so I don’t recall it vividly.) After those two spots – probably two of the three most famous – we went to the Khmer Country Kitchen for a rather nice, relaxing, and cheap breakfast where we spent an hour with the other two members of our group. Around 10:00, we went to our third stop: Ta Keo Temple. In 40 degree heat (roughly 104F), I was feeling a bit too exhausted to climb the somewhat steep stairs to the top of this temple, but I did enjoy the lower area just as well. From Ta Keo, we made a quick stop at two temples (they form a pair): Thommanon and Chau Say Tevoda for about 20 minutes. Between these three, I’d say we spent about an hour. Our last stop of the morning, around high noon, was the Bayon complex of Angkor Thom. Passing through Bayon’s east gate, we stopped for a few quick pictures before going to the main compound of Bayon, which I would say is the the last of the three most-recognizable places here. We spent a good hour, or a little longer, shooting here after which point we were completely spent. Mao would have gladly taken us back to Angkor for sunset, but we actually decided to call it a day around 1:00. 9 hours in high heat was more than enough.

Back at the hotel, we rested, and I enjoyed myself immensely in the swimming pool. In the early evening, we walked about 600 meters to the “happening” part of town where we wandered the various streets and had a rather nice Khmer dinner. After eating and walking off a rather good dinner, we called it a night and headed back to our room. (For what it’s worth, the afternoon sky clouded over quite a bit and I heard we didn’t miss much as far as sunsets go. Mao also told us the following morning that the sunrise was a wash, as was Tuesday morning’s. Perhaps he was just trying to make us feel good.)

Monday morning we gladly skipped the sunrise and had a late start around…10:00. After a good old-fashioned breakfast of a ham & cheese omelet, Mao came by and we spent the second full day on the large loop. The first stop of the day was at Ba Phuon, a lesser temple just north of Bayon in Angkhor Thom. This was accompanied by quick stops at the adjacent Elephant Terrace and Leper King Terrace. After about an hour in the Ba Phuon area, we rode off to the northeast and stopped at Preah Khan, which was a rather interesting ruins. Another hour or so gone, we continued along the northeastern loop, bypassing Neak Pean (which, following English pronunciation rules, could theoretically be pronounced “neck pain,” which amused me for some reason…). The next stop was a rather small temple named Ta Som on the eastern end of the outer loop. Just down the road from Ta Som, we stopped at the East Mebon temple. When it was constructed, this was an island, only accessible by boat. That, however, was centuries ago. Now, it’s just a very dry, dusty area – with the temple still standing – and it’s hard to imagine it was once surrounded by water. At any rate, it was a quick stop at East Mebon, followed by another nice meal at the Khmer Country Kitchen before we continued with the tour. The next stop on the list was due east of the restaurant (southeast corner of the outer loop, which is really slightly northeast of Angkor Wat). Pre Rup (or Bre Rup) was a fairly photogenic temple. By this point, the heat – also around 40 degrees, just like Sunday – was starting to take a toll, though we still managed to stay out and see all we could. The last “new” temple for us was Banteay Kdei, a citadel that is at the corner of where the inner and outer loop meet on the eastern side of Angkor Wat. Directly across the street from Bnateay Kdei is what should be a nice lake called Sra Srang. A long, rectangular lake, which is also across the street from the Khmer Country Kitchen, it’s now nothing but a dustbowl. Though it’s rainy season now, there’s been so little rain that the lake has completely dried up. (But, please don’t tell any “right”-thinking politicians in my country that global warming is a problem. It certainly isn’t, despite what your eyes see.) After some rather sad contemplation at Sra Srang, we went back to Angkor Wat around 4:00 and were there until 6:30 or so for sundown. However, a boomer of a thunderstorm (light rain, but heavy on thunder & lightning) came through and there wasn’t much to see. However, we did finally get to tour the interior of Angkor Wat, and found that a pretty fitting way to end the initial Siem Reap shoot. From there, we went back to the hotel where we passed out from exhaustion.

The only thing left to do was wake up on Tuesday for a quick 45 minute flight at noon to Bangkok. We concluded the trip as we started it: eating well at a Thai restaurant. Other than that, we just had a quiet night in Bangkok (no shooting at all) and a very early (3:30 a.m.) wake up call for our return flights out of Thailand. I’m definitely looking forward to seeing Thailand again soon.

Artem's Laguna Seca Blue BMW F82 M4 Heritage Edition with 18" ARC-8 Wheels in Anthracite by Apex Wheels

F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...

Front: 18x9.5" ET22 with 275/35-18 Nitto NT01

Rear: 18x11" ET44 with 305/35-18 Nitto NT01

Factory M4 Competition Package Alignment Specs

Lowered on Macht Schnell Competition Springs w/ Factory EDC

Owner:

www.instagram.com/ruskii_m4

Bastrop State Park - Service Building Group - SP.22.158_thumb by Texas State Archives

Specific date: 12/21/1934

Pencil, red pouche, red & black ink on tissue; elevations, floor plan, plot plan. LN: 32.625 X HT: 22.25

Anselm Kiefer - I Sette Palazzi Celesti by Cristian Cri

3 2

Anselm Kiefer

I Sette Palazzi Celesti

L’installazione site-specific I Sette Palazzi Celesti, realizzata per HangarBicocca in occasione della sua prima apertura nel 2004, deve il suo nome ai Palazzi descritti nell’antico trattato ebraico Sefer Hechalot – il “Libro dei Palazzi/Santuari” risalente al IV-V sec. d.C. – dove si narra il simbolico cammino d’iniziazione spirituale di colui che vuole arrivare al cospetto di Dio.

L’opera rappresenta il punto d’arrivo dell’intero lavoro dell’artista e sintetizza i suoi temi principali proiettandoli in una nuova dimensione fuori dal tempo: essi contengono infatti in sé l’interpretazione di un’antica religione (quella ebraica); la rappresentazione delle macerie dell’Occidente dopo la Seconda Guerra Mondiale; la proiezione in un futuro possibile da cui l’artista ci invita a guardare le rovine del nostro presente.

Le sette torri, del peso di 90 tonnellate ciascuna, hanno altezze variabili tra i 14 e i 18 metri e sono realizzate in cemento armato utilizzando come elementi costruttivi moduli angolari ottenuti dai container utilizzati per il trasporto delle merci. Il loro antecedente è il progetto de La Ribotte a Barjac nel sud della Francia, residenza dell’artista tra il 1993 e il 2007, composto di edifici, cunicoli e gallerie che si snodano su una vasta superficie nella campagna francese.

Anselm Kiefer

The Seven Heavenly Palaces

The site-specific The Seven Heavenly Palaces installation, created for HangarBicocca in 2004, is one of the most important works by the German artist Anselm Kiefer. It takes its name from the palaces described in an ancient Hebrew tract, the Sefer Hechalot or "Book of Palaces", which describes the symbolic path of spiritual initiation of those who wish to enter into the presence of God.

The work represents the culmination of Kiefer's entire artistic career, summing up his main themes and projecting them into a new, timeless dimension. This can be seen in the way it interprets an ancient religion (Judaism) and represents the ruins of the West after the Second World War. It also shows us a projection into a possible future, from which the artist invites us to look back at the ruins of our own present.

The seven towers, which weigh 90 tonnes each and vary in height between 14 and 18 metres – are made of reinforced concrete, using the corner units from goods containers as construction modules. Their forerunner is the La Ribotte project in Barjac, in the South of France, where the artist lived from 1993 to 2007. This consists of buildings, passageways and tunnels that wind their way across a vast area of the French countryside.

aimage011-Luzern-11161 by tisdalem2001

1

A Ride on the Rheingold, 12 March 1980

My March 1980 Eurailpass trip did not have too many specific objectives. I pretty much made up my itinerary as I went along, thinking "this might be a good idea" and doing it.

There were a few things I'd wanted to do and among them were rides on Germany's Rheingold and Le Mistral in France. Both were TEEs in 1980, 1st class only. The TEE network was not as extensivfe by 1980 as it had been a few years earlier with some TEEs having been replaced by or reclassified as Intercity trains with 2nd class as well as 1st class cars. In fact, Germany's Intercity fleet ran every hour with a diner and first class cars that came from the same pool as TEEs would use.

I'd read about the Rheingold in various publications since the 1960s. At one time, it had featured a dome car, but that was gone by 1980. It was one of the few European trains with a lounge car as well as a diner.

I''d wound up in Switzerland after starting my travels in Spain and probably decided to use the Rheingold to leave Switzerland when I got there. At the time, the Rheingold was a Geneva-Amsterdam train with through cars from Milan and Chur. The Milan car ran on the Tiziano, a Milan-Hamburg train classed an IC in Germany, and is what I rode as the Tiziano swapped directions and power in Luzern after crossing the Gotthard line.

The Rheingold trip was my first time in Germany after having been interested in Germany railways since the late 1960s when I got Marklin model trains, and I was very impressed by the 200 km/h running in placed behind a Class 103 electric as well as the overall eifficiency and level of service of the DB. I had gotten used to that level of service, if not quite the speed in several days in Switzerland, but the DB really made a strong positive impression. The Rheingold was one fo the few trains where I ate in the dining car...despite having a 1st class railpass, this was definitely a budget trip and I usually got food at grocery stores or cheap restaurants, as diners are expensive.

While waiting at Luzern for the Tiziano, the Metropolitano came through southbound. This was a Frankfurt-Milan IC train with FS 2nd class cars, DB 1st class and, in Switzerland, a Swiss diner and baggage car that looked quite a bit older than the sleek Italian and German coaches.

The trip on the Rheingold had a bit of comedy at the Dutch border...Dutch customs searched my bags. I had been on the road for close to 2 weeks since leaving my friends in Belgium and had gone through just about all of my clothes, underwear and socks in that time. I was planning to find a laundromat in Amsterdam as I'd have all day in the Netherlands, so the customs officer got a nosefull of my dirty laundry as he searched for contraband. I was thinking, "You don't smuggle drugs INTO the Netherlands, you buy them in Amsterdam and take them elsewhere!" I had nothing illegal with me, just a lot of film, cameras and dirty laundry.

The Rheingold stuck aroundd for a few more years at the TEE network turned into IC and EuroCity trains. I saw it in 1984, by which time, its cars had an extra stripe to distinguish them from the normal DB IC 1st class and dining cars.

I just checked and today there is no through Geneva-Amsterdam service. Taking a combination of TGV, and Thalys via Paris with a change of stations takes about 2 1/2 hours less time than the 1980 Rheingold did. From Basel, once again, the trip is faster, but entails several changes of trains, including one ICE and Thalys route with changes at Koln and Brussels. TGVs and ICEs do not lend themselves to having cars switched in and out.

Rolls-Royce Motor Cars' Paddington 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) |

It's Kraken, Gromit! by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

Davis Mountains State Park - East and Rear Elevations, Indian Village - SP.47.57_thumb by Texas State Archives

3

Specific date: 10/31/1934

Artist: Caldwell, W.C. Black & orange ink on tissue. LN: 33.375 X HT: 21.375.

Meeson Pae Yang "Entity" site specific installation by Phantom Galleries LA

1

-Let There be Light –

42 Nights, over 28 Light Based Installations in 25 Locations throuhout Downtown Long Beach

Self Guided walking tour map and Cell Phone Audio Tour Guide available throughout Downtown and will be downloadable at

www.DowntownLongBeachArtWalk.com

Every Night is Art Walk Night this Holiday Season in Downtown Long Beach.

December 1 – January 10, 2010

Pedestrian Viewing 5pm - 1 am Nightly

Some exhibits are 24/7 Some Exhibits can only be viewed at night.

Pedestrian viewing Art Walk and Audio Tour throughout Downtown Long Beach.

Reception: December 19 5pm-9pm

"Let There Be Light"

Curated by Liza Simone

Richard Ankrom, Kent Anderson Butler, Laddie John Dill, Nancy Braver, Enrique Chiu, Susan Chorpenning, McLean Fahnestock, Candice Gawne, Richard Godfrey, Parichard Holm, Beth King, Helen Lessick, Karen Lofgren, Justin Lui, Joella March, Eric Medine, Uudam Nguyen, Rebecca Niederlander, Christina Pierson, Astra Price, Jeremy J Quinn, Deanne Sabeck, Ben Shaffer, Klutch Stanaway, David Svenson, Kazumi Svenson, Philip Vaughan, Meeson Pae Yang.

Experimental Video Project space at the Pike. Produced by Video Earth. VideoEarth.com

Call for projects. Equipment provided.

Phantom Galleries L.A. brightens up this holiday season by enlivening the streets of Downtown Long Beach with 28 light-based art exhibitions that illuminate 23-plus vacant storefront windows along Downtown Long Beach’s Pine Avenue, East 3rd Street, The Promenade and The Pike at Rainbow Harbor.

Each exhibition and site-specific installation is accompanied by a Guide by Cell Audio Tour, allowing viewers to listen to an illuminating description of the art on view.

Trifold map and of the exhibition sites are available at various Downtown Long Beach restaurants, vendors, hotels, as well as at exhibition locales. Maps may also be downloaded from PhantomGalleriesLA.com. The exhibitions are on view 24/7, yet it is recommended 5 pm- 1am order to see all the works turned on and at its best and brightest.

Deeane Sabeck, Beth King, Candice Gawne curated by Liza Mitchell. To make an appointment contact:

Parichard Holm curated by Ten Terrell.

Laddie John Dill, Candice Gawne, David and Kazumi Svenson recommended by the Museum of Neon Art.

New Site Specific work by Nancy Braver, Laddie John Dill, McLean Fahenstock, Helen Lessick, Christina Pierson, Ben Schaffer, Philip Vaughn, Meeson Pae Yang

Highlights (more info TBA)

Returning Phantom Galleries L.A. artist Richard Godfrey’s site-specific TwentyFourSeven installation is an exciting integration of light, space, and motion. His piece, TwentyFourSeven, is in constant rotation and infuses the storefront in a vibrant hue. (on view thru March 1, 2010)

Susan Chorpenning will present Fiat Lux IV, her most ambitious installment of her series Fiat Lux (“Let There Be Light,”), three in the series presented through Phantom Galleries L.A. The dazzling new work expands 11 ft x 35 ft, and will invigorate the space with the joyous commingling of numerous brightly-colored twinkle lights, lava lamps, collored bulb and light based works, both wall-bound and strung.

Known for his iconic neon sculpture set atop the Hayward Gallery in London, Philip Vaughn will present the West Coast debut of “Color Chart 1” featuring a colorful cascade of neon tubes.

Nancy Braver will display an enchanting mobile-like piece comprised of die-cut luminous butterflies, made of mirror that float, swirl, and cast a warm glow.

Laddie John Dill, a Los Angeles native, who was born in Long Beach creates a new site speicifc work utilizing silica sand mix and neon. (more info tba)

Seven days a week, from dusk till dawn, Long Beach locals and visitors, holiday shoppers, and art-minded and art-curious alike can embark on a self-guided Art Walk and Audio Tour of Let There be Light. At each storefront, viewers can connect via cell phone with a personalized message from the exhibiting artist or curator through the Guide by Cell Audio Tour, presented in partnership with The Long Beach Redevelopment Agency.

Trifold map and of the exhibition sites are available at various Downtown Long Beach restaurants, vendors, hotels, as well as at various exhibition locales. Maps may also be downloaded from PhantomGalleriesLA.com. The exhibitions are on view 24/7, yet it is recomended 5 pm- 1am order to see all the works turned on and at its best and brightest.

Partners "The Long Beach Redevelopment Agency is proud to partner with Phantom Galleries LA, not only to revive empty storefronts along our major corridors, but also to showcase the arts and build a sense of community and culture in our Downtown," said Craig Beck, Executive Director of the Long Beach Redevelopment Agency. LongBeachRDA.org

www.DowntownLongBeachArtWalk.com

Richard Ankrom

ankrom.org

Kent Anderson Butler

www.kentandersonbutler.com

Nancy Braver

nancybraver.com/

Susan Chorpenning

www.phantomgalleriesla.com/gallery0168.htm

www.phantomgalleriesla.com/gallery0047.htm

SusanChor.com

Laddie John Dill

LaddieJohnDill.com

Refferred to by Kim Koga of the Museum of Neon Art

Enrique Chiu

enriquechiu.webs.com/

McLean Fahnestock

www.mcleanfahnestock.com/

Richard Godfrey

www.RichardGodfrey.com

Candice Gawne curated by Liza Mitchell

www.luminousartworks.com/

Parichard Holm

ParichardHolm.com

Helen Lessick

lessick.net/

Karen Lofgren

Justin Lui

www.justinlui.net/

Joella March

Eric Medine

EricMedine.com

Rebecca Niederlander

www.becster.org/artindex.html

UuDam Nguyen

www.uudam.net/

Christina Pierson

ChristinaPierson.com

Astra Price

dwapproductions.com

Jeremy J Quinn

www.rise-ind.com/jeremyquinn/

Deanne Sabeck

www.deannesabeck.com/index.htm

Ben Shaffer

Foreverever.com

KlutchStanaway.com

SolowayJonesGallery.com

Kazumi Kobayashi Svenson

David Svenson

Recommended by Kim Koga of The Neon Art Museum

Philip Vaughan

www.philipvaughan.net/sculpture.html

Meeson Pae Yang

www.meesonpaeyang.com

Experimental Video Project Space

Various Artists TBA

Made Possible by VideoEarth.com

Being Specific by Chris

2 3

Sign on small lane in Freeland, Washington (Whidbey Island).

Wonka Everlasting Gobstopper cello wrapper-1990s by JONATHAN MANKUTA

4 5

Not the specific one I'm looking for (I want a 1970s cello wrapper 2-pack), but this is a VERY cool and scarce cello wrapper from when Gobstoppers were made in the now-common smaller size. I love the look of the characters on front. If anyone has one of the older, larger 2-pack size Gobstopper cello wrappers they made in the 1970s, please contact me and I will make you reeeeally happy... :)

Artem's Laguna Seca Blue BMW F82 M4 Heritage Edition with 18" ARC-8 Wheels in Anthracite by Apex Wheels

F8X- specific wheels required for brake clearance: www.apexraceparts.com/store/wheels/arc-8-wheels/18x10-et2...

Front: 18x9.5" ET22 with 275/35-18 Nitto NT01

Rear: 18x11" ET44 with 305/35-18 Nitto NT01

Factory M4 Competition Package Alignment Specs

Lowered on Macht Schnell Competition Springs w/ Factory EDC

Owner:

www.instagram.com/ruskii_m4

aimage006-Luzern-Re6-6-Metropolitano-11679 by tisdalem2001