specific photos on Flickr

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

1

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

No. 21: What a Wind Up! by Trevor Bayliss CBE by Matthew Wells

1

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

TJ's BMW F80 M3 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 tires

Rear: 18x11" ET44 with 305/35-18 tires

Bastrop State Park - Planting Plan, Refectory and Swimming Pool - SP.22.198_thumb by Texas State Archives

Specific date: 2/20/1937

Pencil on tissue. LN: 35.25 X HT: 24

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

Lydia tweens... by pieceoflace photography

15 70

Good morning everyone and Happy Dragonfly Thursday. Featured today is the Common Whitetail (Plathemis lydia). To be more specific, immature Common Whitetails...both females as above and males in the comment section. Females look essentially the same all through their adult life while males develop a bright white abdomen when they mature. As the season progresses I hope to post a series a bit later on mature males .

The Common Whitetail is a medium size dragonfly with a body length of about 2 inches (5 cm) and is usually one of the earliest dragonflies to emerge each spring. All these photos were taken on the same day at the same place, and all the dragonflies appear newly emerged. A day or two old at most.

I hope you enjoy this series on these Whitetail tweens as some like to call immature dragonflies...and I hope you have a truly nice day.

Lacey

ISO400, aperture f/11, exposure .004 seconds (1/250) focal length 300mm

Moleskine Personal Kanban Update #17: The Date Specific Board by swimmor

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I go through spurts where I have several opgions that need to be completed on a certain date, rather than going back and forth with my calendar I have added a date specific lane in my backlog to my Moleskine Personal Kanban board. I have also color coded the two months in play, so that a quick glance will enable me into action if need be. Along with that I have added the date and color highlight to the appropriate options. Here November is orange, and December is pink, So upon opening up my moleskine the first option I look at is the one color coded in orange to see if this is the day it needs action. I have also thought about adding a small printout of a calendar month to the bottom of the page in the done column, but so far I have found that unnecessary. This date specific board has *really* helped me to not lose track of what task needs to be done by certain dates. It has been highly effective for me.

What is Personal Kanban? www.personalkanban.com/pk/personal-kanban-101/

Felix Gonzalez-Torres by Marc Wathieu

1 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

Begijnhokfkapel (Beguinage Chapel) by Eric

2

April 24, 2022 - "The beguinage in Bruges dates back to the 13th century, to 1245 to be specific, and it counts as one of the best preserved. Most of its buildings are not as old, from the 19th century, but the original layout of the Beguinage has been kept as well.

A Beguinage was a community of women who follow the example set by the apostles: poverty, simplicity and preaching. These are lay orders, who do not take binding vows. They could at any time break their vows and leave the Beguine community.

The site is particularly beautiful in spring when daffodils are sticking their heads above the grass in the central square.

The Beguines were a movement of single or widowed women who wanted to live in a pious way but outside the walls of a convent or monastery. So in many north Belgian and Dutch cities beguinages were set up where these women lived and prayed. The beguines led an industrious life, initially earning their income with looms. No vows were taken but they kept to a strict regime under a mistress who guarded the independence of the establishment. The last beguinage nun left in 1927 and since then it has been home to a community of Benedictine nuns.

As you step through the gate into the courtyard silence descends and it is as though you are in another world.

You enter the Beguinage over a small bridge and through a gatehouse dating from 1776.

There has been a church on this site since 1245 although the first burned in 1584, and the Gothic replacement - built in 1605 - was given a Baroque facelift around 1700. It is dedicated to St. Elisabeth of Hungary, the patron of quite a number of beguinages and the rather obscure St. Alexis, reputedly the son of a wealthy Roman family who chose poverty and charitable work over riches: desirable virtues with Beguines. This is still an active church with daily services led by the Benedictine Sisters who occupy the former beguinage. As with the rest of their home, silence is very kindly requested.

The altar to the right is dedicated to St Joseph. The gilded Madonna and child below is the chapel’s Medieval treasure: "Our Lady of Consolation” or “Our Lady of Spermalie ” dates to 1240.

In the corner to the left of entrance of the beguinage is a small museum which recreates the living quarters of a beguine. There is an excellent gift shop here selling a wide range of Catholic related goods.

Finding the Beguinage was like finiding a little piece of solitude in busy touristy Brugge. Once inside, the busy streets and clatter of horses on the cobbled streets are left behind to be replaced by the peaceful view of an expansive lawn planted with poplars and surrounded by groups of houses.

The beguinage is nicely located near the Lake of love." Previous text from the following website: visit-bruges.be/see/places-interest/beguinage-begijnhof

03 by ken clay

1

Status:Final

Date:Thursday 17 July 1980

Time:19:53

Type:Silhouette image of generic VISC model; specific model in this crash may look slightly different

Vickers 708 Viscount

Operator:Alidair

Registration: G-ARBY

C/n / msn: 10

First flight: 1953

Total airframe hrs:35121

Crew:Fatalities: 0 / Occupants: 4

Passengers:Fatalities: 0 / Occupants: 58

Total:Fatalities: 0 / Occupants: 62

Airplane damage: Damaged beyond repair

Location:Ottery St. Mary ( United Kingdom)

Phase: Landing (LDG)

Nature:Int'l Non Scheduled Passenger

Departure airport:Santander Airport (SDR/LEXJ), Spain

Destination airport:Exeter Airport (EXT/EGTE), United Kingdom

Narrative:

The Vickers Viscount aircraft was engaged upon a passenger charter flight from Santander (SDR), Spain to Exeter (EXT). The aircraft arrived at Santander 8 minutes ahead of schedule, at 16:22.

The aircraft commander recorded in the Technical Log a fuel state on shut down of 3178 litres and ordered a total fuel load of 5902 litres for the return flight, that is 454 litres less than the figure for full tanks. Whilst the aircraft commander was with the handling agents, the co-pilot supervised the refuelling. He requested a total uplift of 2720 litres and wrote the figures down, showing them to the senior of the two operators of the refuelling vehicle, which was not the one that had refuelled the aircraft on its earlier flight that day.

On this previous flight, intermittent contact at the external electrical supply socket caused the aircraft's refuelling valve to open and close intermittently, interrupting the refuelling process. The refuelling was therefore completed using electrical power from the aircraft batteries.

With the aircraft obtaining its electrical power from the same ground power unit as before apparently quite satisfactorily, the operators then refuelled the two sides of the aircraft one after the other, using the same hose each time. When the refueller finished pumping, its indicators recorded a total delivery of 2720 litres and the co-pilot, who had watched the operation, checked the figures and signed the delivery note accordingly. Neither pilot made a physical check of the aircraft's tanks using the dripsticks.

Both fuel contents gauges had a history of defects. A recurrent problem in the port fuel gauge was recorded in the Technical Log as a deferred defect, expressed as 'port fuel contents gauge fluctuating occasionally, ie full scale deflection; rectification being carried forward until the next check'. The starboard gauge also had a defect. The aircraft commander did not draw the co-pilot's attention to this entry, who remained unaware of it.

Before starting engines the pilots again set the flow meter totals at zero. The aircraft left Santander at 17:33 and was shortly afterwards cleared to its planned cruising level of Flight Level 180. The planned flight time was 2 hours and 9 minutes, with an expected fuel consumption of 3375 litres, leaving a reserve of 2527 litres. At 18:46 the aircraft passed over Nantes. The flow meters then indicated that 1964 litres had been consumed, which was exactly according to the navigation plan and the crew therefore recorded that at that moment 3320 kgs (4150 litres) remained in the aircraft tanks. At approximately 19:10 whilst in the area of Dinard, the fuel contents gauges began to cause them some concern. The port gauge, with various fluctuations, occasionally fell to zero, but sometimes read full. The starboard gauge gave a reading equivalent to 500 litres and continued to fall steadily as the flight progressed. The pilots reviewed the fuel situation and although uneasy, considered that in the light of the recorded uplift and the totals on the flow meters, that they must have ample fuel on board. As the aircraft approached Guernsey the aircraft commander considered diverting there in order to take on more fuel, but after further thought decided against this action. At 19:28 when the aircraft was between Guernsey and Berry Head, it received initial descent clearance and shortly afterwards was further cleared to Flight Level 40 on a direct track for the Exeter NDB. At 19:42 the crew changed frequency to Exeter approach and started to receive radar positioning for runway 26. The cloud was given as one okta at 700 feet, 5 oktas at 1000 feet, and 7 oktas at 2500 feet, with a visibility of 13 kilometres and a surface wind of 280 degrees at 7 knots.

At 19:44 the crew performed the approach checks, which included selecting flap to 20 degrees and switching on the fuel heaters. As fuel heat was selected, there was momentary flash from one of the two low pressure warning lights and after a brief discussion the crew opened the fuel crossfeed cocks, which had been closed since their pre-flight checks at Exeter.

At 19:50 the aircraft was at 2000 feet QFE, just below cloud and about 8 miles from touchdown. The flap was still at 20 degrees and the undercarriage was retracted. Suddenly both low pressure fuel warning lights illuminated and in rapid succession all four engines lost power. The aircraft commander made an immediate Mayday call to Exeter and at the same time gave a warning on the passenger address system. Knowing the local terrain, the commander turned left in the best hope of finding a suitable area for a forced landing. With the flap still set at 20 degrees, the aircraft descended on a heading of approximately 190 degrees (magnetic) along a small grassy valley studded with trees, the average elevation of which was 130 feet amsl. As the aircraft crossed the boundary of the field, the port wing struck a tree, damaging the underskin and removing the mid section of the port flap. It then touched down with the nose well up, with the stall warning in operation and the control column hard back. The rear of the fuselage struck the ground first and almost simultaneously the port wing struck a tree causing a noticeable yaw to the left as the nose pitched down. Without hitting any further obstruction the aircraft came to rest after 307 metres on a heading of 074 degrees (magnetic). The crew assisted with the subsequent evacuation, which was orderly and there were no injuries. The total flight time since take-off from Santander had been 2 hrs 20 minutes, with a fuel consumption, according to the flow meters, of 3458 litres. On examination, all fuel tanks were found to be empty.

CAUSE: "The accident was caused by the aircraft running out of fuel due to the crew's erroneous belief that there was on board sufficient fuel to complete the flight. The aircraft's unreliable fuel gauges, the company pilots' method of establishing the total fuel quantity and lack of precise company instructions regarding the use of dripsticks were major contributory factors. Meter indications on the refuelling vehicle at Santander, which cannot have reflected the quantity of fuel delivered, are also considered to have been a probable contributory factor."

Classification:

Fuel starvation

All engine powerloss

Forced landing outside airport

Sources:

» Flight International 26.07.1980 (227)

Official accident investigation report

investigating agency:Air Accidents Investigation Branch (AAIB) - U.K.

report status:Final

report number:AAIB AAR 9/1981

download report: Report on the accident to BAe Vickers Viscount 708, G-ARBY near Ottery St Mary, Devon, 17 July 1980 (AAIB AAR 9/1981)

cover

Photos

photo of Vickers 708 Viscount G-ARBY

G-ARBY was leased to Dan-Air for a period of six months and returned to Alidair in September 1977.Add your photo of this accident or aircraft

Map

This map shows the airport of departure and the intended destination of the flight. The line between the airports does not display the exact flight path.

Distance from Santander Airport to Exeter Airport as the crow flies is 807 km (505 miles).

languages: English Français Nederlands Deutsch Espanol

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TJ's BMW F80 M3 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 tires

Rear: 18x11" ET44 with 305/35-18 tires

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

1

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

The Paddington Trail by Matthew Wells

1

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) |

Felix Gonzalez-Torres by Marc Wathieu

2

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

Darcey Bussell's 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) |

Ian Botham's Sticky Wicket by Matthew Wells

1

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) |

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

TJ's BMW F80 M3 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 tires

Rear: 18x11" ET44 with 305/35-18 tires

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

1

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

TJ's BMW F80 M3 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 tires

Rear: 18x11" ET44 with 305/35-18 tires

Rhododendrons by John

3

Specific species name welcomed please...

1938 DKW ORS 250 Ladepumpe, Six Days Wales ´38 silver medal winner by Thomas T.

1

A very specific motorcycle with powerful engine, made specially for the Six Days race, only this one was made.

"La Constancia" by Regina Giménez by Latitudes | Barcelona

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The manufacturing and printing of textiles formed the basis of the industrial revolution in Catalunya. Beyond the actual fabric, it is the machinery of its production and the people who operated it—especially women—that underpins Regina Giménez’s presentation of her graphic works as part of the Compositions programme. Taking place in one of the buildings that comprises Can Trinxet, a former textile factory complex that once employed the largest workforce in L’Hospitalet de Llobregat, Giménez’s intervention comprises painted compositions that are derived from schematic representations of machines and their components. Her abstractions have been applied on transparent panels that lean against a scarred factory wall, becoming devices that reanimate the marks and memories embedded in the building. An accompanying poster evokes the clamour that once would have filled the workshop in typographic form. Giménez has titled her project “La Constancia” (2016) in tribute to the labor union that called a general strike in 1913 to protest the conditions of the female and child workers who undertook the textile industry’s most monotonous and arduous tasks. – Latitudes

Regina Giménez (Barcelona, 1966) has exhibited individually at: ‘Architecture d’aujourd’hui’, The Green Parrot, Barcelona (2015); ‘Art de foc art de badoc’, Nadala 2015 Fundació Joan Miró, Barcelona (2015); ‘Simbols Convencionals’, Museu d’Art Modern de Tarragona (2012). She has recently participated in the following group shows: Biennal de Valls, Tarragona (2015); ‘Modernitat Amagada’, Casa Capell, Mataró (2013); ‘La casa de la playa’ para ‘Cas de estudi’, Can Felipa, Barcelona (2013).

Giménez is represented by Ana Mas Projects, L’Hospitalet/San Juan (Puerto Rico) and by Galería Miquel Alzueta, Barcelona.

––

“La Constancia” (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-...

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- ).

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.

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.

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

Sport Specific Workout by Team Swimex

DR. Bambi Black - age 16-007A - Lust labs by Shiny-Moniree

4

The story of DR. Bambi Black - Book 1 - The mad scientist

Chapter 1 - The little nerd

Chapter 2 - Doctors work

Chapter 3 - Lulu Lusting

Chapter 4 - Lulu's lust

Chapter 5 - Toy factroy

Chapter 6 - The CEO of SX5

Chapter 7 - Mist making

Chapter 1 - The little nerd

Bambi Black’s creation and subsequent abilities are rooted in the advanced genetic engineering practices of the Cindergloom sector. Not born through natural reproduction, she was manufactured at Clone-Lab-42 on the planet Cindergloom. This facility specialized in creating high-intelligence, genetically modified beings designed to survive in extreme environments. Her biological development was intentionally halted to maintain a specific physical state. Through specialized DNA modification, her IQ reached 140 within a year, leading her to invent advanced technologies and decode DNA. Having become a biological anomaly herself, she was hired by Vicky Voluptuous at Lust Labs, where she was appointed as a doctor with her own laboratory. Designated as 16-001, she—like all clones—was born at age 16 with a full repository of age-appropriate knowledge uploaded to her mind.

Dr. Bambi Black serves as the Chief Executive Officer and lead researcher of Lust Labs in Protocol-984. A highly intelligent yet morally ambiguous scientist, she focuses on addressing the biological crisis of human sterility and widespread DNA degradation. Dr. Black is credited with foundational research on human sexual response and the development of the "orange mist," a substance that amplifies the powers of "Anomalies"—individuals born with unique genetic mutations. Her work is driven by the hypothesis that the genetic code of these anomalies, specifically those with high-level libido markers, holds the key to reversing the Y-Z virus that has plagued humanity for over a millennium.

Chapter 2 - Doctors work

Six years later, Dr. Bambi Black had become a renowned sexologist, developing numerous drugs to boost libido in both humans and anomalies. Passionate about the subject, she authored several erotic comics depicting women pursuing sexual encounters. Because the world of Cindergloom suffered from extremely low libido, humans were typically cloned rather than born. One of Bambi’s inventions was a "green liquid" sold in 250ml cans for 150 volts. This substance maximized libido, allowing men to reach 10 to 20 orgasms and women to experience sustained arousal for hours. Despite the drug's assistance with sexual function, none have achieved the correct genotype to conceive a child.

Bambi engaged in sexual activity with random men several times a week. After consuming a green liquid that induced intense lust, she would continue for hours each night. She subsequently tested herself at the lab, but the results remained inconclusive. Within Cindergloom, promiscuity and nymphomania were not stigmatized; many believed that frequent sexual activity might eventually save the planet, as one individual could hold the key to the perfect genome. To avoid wasting this potential, girls who completed their schooling could obtain a sex license. This permitted them to engage in sexual activity whenever and wherever they chose, including in public. Bambi did not possess a sex card license. She determined that her work in decoding the genome and eliminating the Y-Z virus would become too difficult if she became a nymphomaniac. However, she continued to create new sex toys and test them on girls with sex cards, who were known as sex dolls.

Almost all the sex dolls wore latex clothing, as latex is a well-known fetish that is considered both visually appealing and arousing. Bambi always wore latex and frequently shopped for more in her spare time. Some referred to her as a rubber or sex doll, a title she embraced.

Chapter 3 - Lulu Lusting

Dr. Bambi Black tested numerous sex dolls, all of whom exhibited nymphomania and sought more sexual activity than the city could provide. Due to their insatiable nature, Bambi required them to sign consent forms before testing. The maximum libido level was 12; exceeding this typically resulted in death from sexual overstimulation, while most subjects lost consciousness at level 8. Upon waking, many would beg for more until they fainted again. Bambi experienced her own intense nights, covering herself in latex and utilizing sex toys until she reached level 9 before losing consciousness. To trigger the correct genetic response, the body must maintain a state of twelve for at least one hour. This induces an overdrive state, allowing male sperm to initiate the synthesis of new DNA required to conceive a human child. Even if only one woman in Cindergloom possessed this capability and it occurred only once, she would retain the necessary DNA to combine with existing genetic material and preserve the human race.

Over the past few weeks threes been talk of a new sex-doll, a shiny latex fetish slutty girl named Lulu Lusting. On the day she fished school she rushed over the get her sex card with sex toys in her dripping wet and as soon as she came out the office she got a group of random big men to gang-bang her in the street and she was too horny to wait. She paid for lots of green-liquid and give it to the men. After she's been seen all over Protocol-984 masturbating with sex toys, begging to random men to fuck her not caring who about to see. when she not having gang-bangs, she walks about with vibrating dildo in her. Hearing this Bambi deemed she was the one she She went out into Protocol-984 looking for her. where looked at the hover train Station, she met a sexy hot latex human girl named Teagan Tennyson who worked on the trains. Bambi found that Teagan know most who came there so Bambi ask her to tell Lulu Lust there’s a job for her in Lust labs.

Afew days later where in lust labs The bell rang so Bambi talked on the speaker saying, I'm Bambi Black the CEO of lust labs. She saw on the CTV is was a very sexy hot latex grl, who then said down the speaker, "its you, you I'm your biggest fan" Bambi cut across her saying "I'm working right now," Lulu called Wait!!! I'm Lulu Lusting, I come for a job, You can test any kind of sex on me am happy to take it all for your research." Bambi unlocked the door saying "take the left lift down 50 floors." So Lulu did. Lulu came out in her sexy full red latex outfit saying "look how sexy i look, I'm a really big slut you known," She lifted up her latex mini-skirt showing sex toys in both holes, and virbaters on her clut. The room had lots of wires, cables and pipes, that the walls was had to see. The was all kinds of machines big and small. lots of test tubes filled with things. the room was dim and there where many kinds of sex toys everywhere to be tested on someone soon.

Bambi watch her looking at all the sex toys with excitement "But Lulu, I see your a very greedy girl. But you need to sigh the papers 1st. If you do, you will be owned by lust lubs. Let me tell you before you sign it. As your Libido is so high, we need to test its level to understand the why and how, I deem that your DNA could could be the key on fixing the DNA code the AI bots took from the humans 1,010 years ago, there for no more cloning and no more X-z zomibes running about the badlands in the north. We will move along with it bit by bit and I need the data to be under-stood. But I will make sure you will enjoy it and your will be forever cumming. Lulu then said "the feeling of getting fucked in all 3 holes at ones I love, but with your help, I wish to feel way more of the kinkiest sexual pleasure a girl could ever feel," Bambi got a pen saying "I promise to give you want you want. if you let me use you as a lab rat" Lulu signed her name saying you promised."

Chapter 4 - Lulu's lust

As soon as Lulu sign the lab papers to become a lab rat sex doll DR. Bambi Black got to work. saying "To start will need to see how high your sex drive. Bambi put Lulu into a sex machine were she lay back on a latex bed, the latex was Inflatable and latex Inflatable pillow was added, robot dildos came and took the dildos out of Lulu ass and pussy then they put the new dildos in and started to side in and out back and forth with no sign of slowing down, Lulu orgasmed hard with a greedy grin. Bambi on the holo-computers as lots of coding came up. Lulu cummed again. Bambi went on saying "I see you have an DRD4 gene, but the coding is higher then what I've seen, Mine are FOXP2 and BDNF genes, but you have one here i've not seen. Your libido level coming up as 12+, 12 is the highest it go, interesting, very interesting, Your sexual pleasure level is higher then all, but you can still walk about cumming lots and talk to people. Your dopamine reward pathways are on a loop, your fetish of latex turns you on yet you wear nothing but latex, having sex and masturbating gives you dopamine that you had is why your an slutty nymphomaniac.

Your genetic variant Sexually: Bisexual with your MHC genes, makes you very sexy pretty lets you turn your self on from your self and making you more slutty. Mutations in the CFTR gene that all clones have, you still got it but there some codes here I've not seen, seems when you where being cloned in the Protocol-984 - cloning center, there had zapped you with not just the yellow liquid but tested orange mist, and something else here to. Your Anomalie X geno Is a high rank so this means I can push you more then what would kill a human or an Anomalie X who is at a lower rank. Miss Lusting I can a sure you, you going love it here. Bambi asked what level do your sex toys always vibrate on?" Lulu who had orgasumed 20 times while Bambi talked said "Level 10," Bambi them pushed them to Level 10 and said "Them dildos will vibrate, side in and out till I turn the machine off, It will never power down or slow down. Bambi put her black latex coat on, saying "I'm clocking out now," Lulu go worried thinking the test was now over." then Bambi said "but I sure you can handle them all night long. Bambi walked out the lab putting off the lights, saying "Sweet dreams."

That night, back at home, Bambi dressed in her latex sleepwear, inserted latex dildos, and climbed into her latex bed to watch CCTV footage of Lulu. Bambi enjoyed her kink, reminiscent of the hentai comics she used to create. She contacted her boss, Vicky Voluptuous—a Rank 5 Anomaly with the "Demonic Desire" superpower—to discuss Lulu. Vicky confirmed she was watching the videos, expressed her approval, and instructed Bambi to continue the good work.

Next day Bambi went to a meeting about Lulu and to talk about her lust levels at 12 + and that Lulu is always in a state of Ecstasy who always want more, and for it the never end, and that she not need sleep. a sexy latex hottie spoke up named Teanna Temptress who was a central figure within the power structure of Protocol-984, she was a very alluring individual who was the CEO of SX5, a corporation specializing in advanced technology, robotics, and laboratory research. She asked Bambi saying "If this Lulu is as slutty as you say, Has she not stated making orange mist?" and if you can get her to then I shell fund your work most then any can." Bambi said it can be done if she had the power cells. Teanna replayed saying "I can make that happen"

Chapter 5 - Toy factroy

Next day Bambi entered in a tight black latex sleeved-mini-dress. black latex leggings, and shiny black boots, she was excited to see what kind of ahegao lulu would have. "Sorry I didn't come in yesterday; I had a meeting, mostly about you. Don't worry, though—I monitored you with my tech for 47 hours non-stop. It seems you could use a lot more, yes?" Lulu moaned a lustful yes, craving more. Bambi replaced Lulu's toys with thicker, bumpier latex dildos. She placed a large one between Lulu's breasts, extending to her mouth; Lulu happily began to lick and fellate it while her new dildos penetrated her lower orifices, fast, hard, and deep. Bambi continued working while observing Lulu. "Since you are such a naughty girl—a trait I adore— while putting her hand on her skirt feeling a virbating dildo in her - I will keep you in this orgasmic state. Your lust is charging the power cells, which I can use to create orange mist." Everyone in Cindergloom knew that orange mist was difficult to produce and strictly banned, as it could amplify an Anomaly's power, sometimes pushing them to Rank 5. At Rank 5, Anomalies are formidable; last year, an Anomaly named White-Bolt used her abilities to strike many with lightning bolts, destroying 11 CEO towers. Her power was so immense that she triggered an EMP, leaving the city without electricity for a week. Orange Mist was banned. It possesses the ability to modify technology without requiring a shutdown.

Bambi sent called in all kinds of sex bots to fuck Lulu lots. Lulu was always having an latex virbating dildio, double penetration, and mostly an triple penetrations also. Bambi only removed the dildo in Lulu's mouth once per day just for a little talk to see how she was doing. But all lulu wanted was more sex asking for her dildos to be thicker and bumper. Lulu was soo greedly-slutty, That Bambi had to make new kinds of even kinkier sex toys just to try and keep up with her lust. Bambi put in dildos covered in bumpy rubber lobes, some dildo spun inside her holes while sliding in and out. Virbators on her clut and nipples. Lulu's eyes kept roling to the back of her head, As the weeks went on Bambi was getting kinkier also as she was testing many toys on her self. Bambi stopped going out from her lab while she would do slutty things with Lulu like have Lulu licking her pussy while Bambi was modding new toys to ram into Lulu's pussy. Bambi had her own sex toy factory so she could design any sexy toy from her digital art and 3d print them.

6 weeks later and DR. Banbi Black had had Lulu Lusting in a state of never ending orgams testing all kinds of sex toys in her while always under lots of robotic latex virbating dildios, double penetration and triple penetrations. Lulu was clade on shiny black latex, like a rubberdoll, face coverd, and with more latex layers over her catsuit such as all latex, miro-mini-skirter skirt, stockings, gloves. even her her lusting holes were coated in rubber and open to let thick latex rubber dildos fuck her like crazy with not even an second rest, the sex toys were changed over so fast as one toys pulled out to with a new one put back in a second later. it to Lulu felt as if the same toys had changed within her, Lulu loved it while she moaned in her lust and greed wishing for more while she swam in her slutty greedy dreams of the most unthinkable things.

Chapter 6 - The CEO of SX5

Dr, Bambi Black heard the sound of high heel boots cat-walking into the lab and a very sexy girls voice saying "Getting any where with this whore, Docter? The sound of a whip hitting the table as Dr. Bambi Black said "Yes Lulu's lust is very high that her geno could hold the key to fixing the virus and ending the Y-Z virus." "you think I care about them lifeless zombies, I'm Teanna Temptress and I hold order in this city, I had not funded you 122 brillion volts to play with the dead, I want the mist, has it changed to red yet?" "Red said Bambi, "yes red" said Teanna, like the eyes of Vicky Voluptuous the boss of this lab, you heard of Demonic Desire?" its an old story there is a demon running lust lubs." "is that so? said Bambi, Teanna replayed saying "have you seen your boss? and the super powers of rank 5, Demonic Desire is what she was named?" I was... Teanna cut across Bambi saying, I'm in contoll of the Ai Titans, not you as I'm the CEO of the advanced technology, robotics, and laboratory corporation SX5, I have my own plan to fix this word that you, your boss and my boss not need to know about, My lab is under high lock downs, I pay you to work and shut up,

Bambi watch Teanna now next to Lulu as Teanna's gloved hand slide over Lulus smooth slippery latex lubed latex clade body and down into her pussy, "So about this sex doll Lulu" said Teanna, "Latex, extreme kinky sex, sex toys and gangbangs, double penetration and triple penetration, paizuri's, Come on Bambi look at all the orange mist she making from her lust and pleasure, I want you to push her more, I need more mist." "I got plans to, but I was waiting for you to say so 1st" said Bambi, "and I just did" Lulu heard the sounds of the high heels of Teanna walking out while Bambi then watched Teanna walking out saying, I latex hottie like me always gets what ever she wants." Bambi head her high heels going out down the hall till she was gone.

More about: Bambi

Name: Bambi Black

Her parents: None, Bambi was a lab clone.

Race: Anomalie - born with powers

Superpower: Very high IQ

Clone place: Protocol-984 - clone-lab-42

Planet: Cindergloom

Universe: 17Z9

Multiverse: 0018

Superverse: 002

Age in image: 16 - was cloned and born age 16 but had been 16 for 7 years making her a full age of 23, But she has not aged due to her DNA modded coded. So her age is put as 16-007A = meaning shes been 16 for 7 years due to being an Anomalie.

Height : 5,1

Hair colour: Brown

Eye colour: Light-blue

Favourite Colours: Black and white

Sexually: Changes based on what drugs she takes.

License: Lab license

Job: works at Lust labs

Libido: Changes based on what drugs she takes.

Personality: Always hard at work trying to come up with new ideas, not fearful in testing out new theorys and will sometimes go too far to get what shes looking for.

Favourite fashion: Shiny latex outfits,

1925 Rolls Royce Silver Ghost 02 by Glenister

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The Rolls-Royce Silver Ghost refers both to a car model and to one specific car from that series.

Originally named the "40/50 h.p." the chassis was originally produced at Royce's Manchester works moving to Derby in July 1908 and between 1921 and 1926 at Springfield, Massachusetts factories. Chassis no. 60551, registered AX 201, was the car that was originally given the name "Silver Ghost." Other 40/50 hp cars were also given names but the Silver Ghost title was taken up by the press and soon all 40/50s were called by the name, a fact not officially recognised by Rolls-Royce until 1925 when the Phantom range was launched.

The Silver Ghost was the origin of Rolls-Royce's claim of making the "Best car in the world" – a phrase coined not by themselves, but by the prestigious publication Autocar in 1907.

In 1906, Rolls-Royce produced four chassis to be shown at the Olympia car show, two existing models, a four cylinder 20hp and a six cylinder 30hp, and two examples of a new car designated the 40/50 hp. The 40/50 hp was so new that the show cars were not fully finished and examples were not provided to the press for testing until March 1907.[2]

The car at first had a new side-valve, six-cylinder, 7036 cc engine (7428 cc from 1910) with the cylinders cast in two units of three cylinders each as opposed to the triple two cylinder units on the earlier six. A three speed transmission was fitted at first with four speed units used from 1913. The seven-bearing crankshaft had full pressure lubrication and the centre main bearing was made specially large to remove vibration, essentially splitting the engine into two three cylinder units. Two spark plugs were fitted to each cylinder with, from 1921, a choice of magneto or coil ignition. The earliest cars had used a trembler coil to produce the spark with a magneto as an optional extra which soon became standard - the instruction was to start the engine on the trembler/battery and then switch to magneto. Continuous development allowed power output to be increased from 48 bhp (36 kW) at 1,250 rpm to 80 bhp (60 kW) at 2,250 rpm. Electric lighting became an option in 1914 and was standardised in 1919. Electric starting was fitted from 1919 along with electric lights to replace the older ones that used acetylene or oil.

During World War I development of the Silver Ghost was suspended, but the chassis and engine were supplied for use in a range of Rolls-Royce Armoured Cars.

The substantial chassis had rigid front and rear axles and leaf springs all round. Early cars only had brakes on the rear wheels operated by a hand lever with a pedal operated transmission brake acting on the propeller shaft. The footbrake system moved to drums on the rear axle in 1913, but from 1923, four-wheel, servo-assisted brakes became optional.[3]

Despite these improvements, by the early 1920s the performance of the Silver Ghost's competitors had improved to the extent that its previous superiority had been eroded. Sales declined from 742 in 1913 to 430 in 1922, and the company decided to launch its replacement which was introduced in 1925 as the New Phantom. After this, older 40/50 models were called Silver Ghosts to avoid confusion.

In all, a total of 7874 Silver Ghost cars were produced from 1907 to 1926 including 1701 from the American Springfield factory, many of them still running to this day.

Prague Jan 2015 (6) 027 - Tram in Little Quarter Square by Mark Schofield

We had a trip to Prague in January – for Jayne’s birthday - we don’t buy Christmas or birthday presents, we travel instead. We left snowy England for a very, very dull and grey Czech Republic. Yet again I was on a photographic downer looking at the weather forecast, grey is the colour that haunts me. Fortunately it was dull grey and not burnt highlight inducing bright grey.With the grey sky acting like a big diffuser I was going to have deep shadow and contrast to deal with. We had three very short spells of broken cloud which gave us a bit of sun and colour, which I managed to more or less anticipate so we managed to be in decent locations every time – generally somewhere high.

We had been upgraded to a five star hotel, apparently our original choice was flooded. We got compensation and five star hotel upgrade– a first for me. The Art Nouveau Palace has a beautiful interior, with beautiful rooms, the breakfast room was fantastic, as was the breakfast it has to be said. We were able to have an early breakfast so were out on foot just after eight. It was very cold – and dull! We spent the whole week well wrapped up. It drizzled for a day, but never really wet us, it snowed for a day, again we didn’t get wet and the snow didn’t settle. We walked 65 mile, spending plenty of time checking buildings and their interiors out – and coffee shop and bar interiors it has to be said. Although it was dull and sometimes wet I decided that the Camera was staying in my hands for the whole trip. Whenever I put it in my backpack for one reason or another I regret it.

Again, I didn’t look at any photographs of Prague before we got there, I like to just walk and discover, with the DK guidebook in my pocket (which is full of photos it has to be said). We like to get off the beaten track and see the grittier side of the places we visit – within reason! Prague has an incredible tram network, over 1000 trams – with many of them Tatra Eastern Bloc machines. The system seems chaotic but in reality it is incredible with one of the largest networks and highest usages in the world. The trams and cars frequently share the same road space with very little in the way of drama, none of the inexplicable and pathetic constant horn blowing one finds in many countries. Once it became apparent that buildings with a grey blanket as a background were going to be a bit un-inspirational I decided that the trams would be a good focal point instead. Where I have photographed one of the older trams against a background without clues it is easy to imagine that the photos were taken fifty years ago.

The train network also provided photo opportunities. The rolling stock ranges from old Eastern Bloc to very modern double decker’s and pendolinos. There are three stations although we visited the main station and Smichov. The main station interior is art deco and has been renovated by a private company. The exterior and the platforms are very rundown with a grim eastern bloc 1950’s feel –but it works! We discovered to our amusement that we could just walk across multiple lines, no health and safety, just keep your eyes open and don’t walk under a train – you’ll make a mess. Smichov station was grim, it didn’t help that it snowed all day and was grey and bitter. We felt like we were in a 50’s film set in Russia, broken concrete platforms and dereliction. With both stations there was another world underneath them. The underground Metro is running seamlessly and efficiently away beneath your feet. I didn’t have any problems taking photos anywhere but I was very open and obviously a tourist, I didn’t act covertly or suspiciously. There was only one occasion I was stopped and that was in a shopping centre – full of CCTV cameras filming everyone else!

We discovered old and beautiful- and very large- shopping centres hidden away in quite a few places. Brass framed windows and doors, shops thriving, there was a massive camera shop with thousands of second hand cameras, too much to look at. Many of the landmark buildings prevent photography, some make a small charge, some encourage it, the DK guide book gives a good indication regarding camera use. Nothing stops many people though, they just shoot away regardless, usually wanting a picture that includes their self. Prague is surrounded by low hills and has a fair few towers that you can pay a few pounds to go up, so viewpoints are plentiful. I think we visited most of them. I read about the Zizkov Tower, which looks like a Soviet rocket on the horizon and we headed straight for it - after crossing the rail lines! Set in a quiet residential area, there wasn’t a soul about. Two beautiful girls on reception and we parted with a few pounds, into the lift and were on the observation deck with no one else up there. There are fantastic views over the city, but! It is through two layers of not very clean glass so you go for the view rather than sharp panoramas. Still a fascinating place, with a nice café bar and very clean toilets – there are toilets everywhere, usually manned with a fee. Places are well staffed compared with home were three students are supposed to run a 20 screen multiplex cinema.

Graffiti was prominent, no matter how grand the monument, some moron would have daubed it. How do they get away with it in a 24 hour city centre with a strong police presence? The place is very clean, constantly being swept. What did surprise me, was that many buildings, that looked grand and built of stone, from a distance, were actually rendered with very low quality brickwork concealed. When restored the building look very impressive, others are missing the outer render from ground level to a fair height.

I need to cut this short really, I like to put a background story to the photos and although it would be better to individualise it to a specific photo or group of photos I don’t have the time to do that. I do try to give specific detail in the title bar after I have uploaded, this is time consuming enough although I’m pretty proficient at it by now. There are many things I would like to write that should be of interest to anyone thinking of going to Prague but I’ll have to let the pictures do the talking. As usual I am unlikely to be selective enough with my uploads, I’m not very good at leaving photos out so I just upload and be damned.

It's Kraken, Gromit! by Matthew Wells

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

Chelsea's Special One 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) |

Sport Specific Workout by Team Swimex

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

Blake's BMW F82 M4 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 and 275/35-18 tires

Rear: 18x11" ET44 with 305/35-18 tires

Tires: Nitto NT01

Felix Gonzalez-Torres by Marc Wathieu

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

Riserva naturale orientata "Laghetti di Marinello" (Patti Me) by Luigi Strano

Between the promontory and the sea lies the nature reserve of the Laghetti di Marinello with its everchanging landscape following the seasons and the tides. A thin spit of sand hides four characteristic salt water lakes, caused by the sea flowing into the bay. The formation of the lagoon area dates back to about 100 years ago, between 1865 and 1895 , due to specific tectonic processes and also to the unique weather and sea conditions exist along this strip of coast. The lagoon area is located within the " Natural Reserve lakes of Marinello " established in 1998 and operated by the Province of Messina.Within the reserve , which covers about 380 hectares, there are a wide variety of environments : it goes from lacustrine to brackish coastal marine sands , the steep slopes and areas overlooking the sea . It is also a lovely natural cave : Cave Woman Villa , difficult to reach because overlooking the sea , within which are formations of stalactites , stalagmites and columns. An old legend tells that in this cave there lived a witch enchantress ( as the sorceress Circe of Homer ) that if after luring sailors to her singing sublime liberate devouring it . If the prey escaped the witch vented his immense rage against the walls of the cave affossandovi , with all its force , the fingers of his hands. The name of the sorceress was Donna Villa and only a few would be able to escape ! In terms of the impending Shrine of the Black Madonna is located in a sandy area that draws a long spit of sand that juts into the Tyrrhenian Sea to the east. In order to appreciate the good form it is convenient to go up to the shrine from where one has a unique overview: In addition to the long sandy bar you can clearly see the lakes of Marinello. To reach them you have to get to the town of Oliver, and from there head north towards Marinello. The car is left at the entrance of the Natural Reserve lakes of Marinello, and then you can take a walk to find their own lonely corner of the beach. Keep in mind the distance, the sand bar has variable size, depending on the currents and seasons, and you can travel up to about 2 km to reach the tip!

Sono spettacolari laghetti marini intrappolati da lingue di sabbia proprio sotto l’altissima rupe culminante, nella parte più alta, con la meravigliosa Tindari. Il numero dei laghetti varia a seconda della stagione e delle maree.Sono raggiungibili a piedi dal paese di Marinello passeggiando nel litorale sabbioso. Sul colle dirimpetto, su un fianco del capo, un sentiero conduce alla grotta della Maga (foto, detta anche Donna Villa), che secondo la leggenda attraeva i marinai con il suo canto e la sua bellezza per poi divorarli. Il 17 Agosto del 310, proprio in questa caverna, morì papa Eusebio, esiliato in Sicilia da Massenzio. Per entrare alla grotta bisogna attraversare un piccolo sentiero da contrada Rocca Femmina. Si tratta di una cavità naturale collocata a 76 metri sul livello del mare, costituita da tre piccoli e quasi inaccessibili atri o caverne. All'interno si trovano bellissime formazioni stalattite e stalagmitiche di vario colore (a conferma che nei periodi di scioglimento dei ghiacciai essa è stata sott'acqua) ed un pozzo profondo circa 3 metri. Nelle pareti sono presenti un'infinità di microfori, creati dai litodomi (molluschi marini), mediante erosione; secondo la leggenda questi fori sarebbero stati provocati dalle unghie della maga, che così si sarebbe sfogata ogni volta che non riusciva ad attirare il navigatore di passaggio.La macchia mediterranea è composta da euforbia, canne, mirto, capperi e fichi d’India. La fauna da molluschi in acqua e uccelli migratori attorno.La riserva naturale orientata Laghetti di Marinello è un'area protetta istituita nel 1998 e affidata in gestione alla provincia di Messina. Si estende su oltre 400 ettari.L'area lagunare di Marinello è sottoposta a molte variazioni morfologiche del territorio che, modificando la costa, creano laghetti del litorale salmastri.Il trasporto sulla costa di sabbia e ghiaia è dovuto all'approfondimento del fondale marino, dovuto all'azione, in questo caso, del Mar Tirreno.

La riserva naturale orientata Laghetti di Marinello è un'area protetta istituita nel 1998 e affidata in gestione alla provincia di Messina. Si estende su oltre 400 ettari. L'area lagunare di Marinello è sottoposta a molte variazioni morfologiche del territorio che, modificando la costa, creano laghetti del litorale salmastri. Il trasporto sulla costa di sabbia e ghiaia è dovuto all'approfondimento del fondale marino, dovuto all'azione, in questo caso, del Mar Tirreno.

La flora più intressante è costituita da :

Hyparrhenia hirta(barboncino mediterraneo);

Helichrysum italicum (elicriso);

Ruppia maritima (fieno di mare);

Echinops spinosissimus (cardo-pallottola vischioso);

Dianthus rupicola (garofano delle rupi);

Brassica incana (cavolo biancastro);

Lonicera implexa (caprifoglio mediterraneo).

Tra le specie dell'ittiofauna segnalate nella riserva merita una menzione il ghiozzetto macrocefalo (Millerigobius macrocephalus) un piccolo ghiozzo che vive a modeste profondità sui fondali fangosi del laghetto "Verde". Altre specie ittiche presenti sono l'anguilla, il latterino capoccione, il cefalo bosega, il ghiozzo nero, il ghiozzetto minuto, la bavosa pavone e il pesce ago, a cui si aggiungono, negli ambienti a salinità marina, il grongo, la spigola e la mormora.

2019-07-09 @14.43.50.07 ~ 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.

Lake District National Park, Windermere, Cumbria, England. by PHOTOGRAPHY by DM & DBM.

3 1

Windermere (sometimes tautologically called Lake Windermere to distinguish it from the nearby town of Windermere[a]) is a ribbon lake in Cumbria, England, and part of the Lake District. It is the largest lake in England by length, area, and volume, but considerably smaller than the largest Scottish lochs and Northern Irish loughs.

The lake is about 11 miles (18 km) in length and 1 mile (1.6 km) at its widest, has a maximum depth of 64 metres (210 ft), and has an elevation of 39 metres (128 ft) above sea level. Its outflow is the River Leven, which drains into Morecambe Bay. The lake is in the administrative council area of Westmorland and Furness and the historic county of Westmorland, with the lake forming part of the boundary between the historic counties of Westmorland and Lancashire. It has been one of the country's most popular places for holidays and summer homes since the arrival of the Kendal and Windermere Railway's branch line in 1847. The Freshwater Biological Association was established on the shore of Windermere in 1929 and much of the early work on lake ecology, freshwater biology and limnology was conducted here.

Etymology

The word 'Windermere' is thought to translate as "'Winand or Vinand's lake'... The specific has usually been identified with an Old Swedish personal name 'Vinandr', genitive singular 'Vinandar'"... although "the personal noun is of very restricted distribution even in Sweden." Another possibility is that it refers to a "Continental Germanic personal noun, 'Wīnand'...Since this name could not have been current until the 12th century, the fact that the Old Norse genitive singular '-ar-' has been added to it, it would suggest that Old Norse was still a living language in the area at that time." Alternative spellings may be 'Wynhendermere' and 'Wynenderme' The second element is Old English 'mere', meaning 'lake' or 'pool'. It was known as "Winander Mere" or "Winandermere" until at least the 19th century.

Its name suggests it is a mere, a lake that is broad in relation to its depth, but despite the name this is not the case for Windermere, which in particular has a noticeable thermocline, distinguishing it from typical meres. Until the 19th century, the term "lake" was, indeed, not much used by or known to the native inhabitants of the area, who referred to it as Windermere/Winandermere Water, or (in their dialect) Windermer Watter. The name Windermere or Windermer was used of the parish that had clearly taken its name from the water. The poet Norman Nicholson comments on the use of the phrase 'Lake Windermere': "a certain excuse for the tautology can be made in the case of Windermere, since we need to differentiate between the lake and the town, though it would be better to speak of 'Windermere Lake' and Windermere Town', but no one can excuse such ridiculous clumsiness as 'Lake Derwentwater' and 'Lake Ullswater."

The extensive parish included most of Undermilbeck (that is, excepting Winster and the part of Crook chapelry that lay west of the Gilpin, which were part of Kirkby Kendal parish), Applethwaite, Troutbeck and Ambleside-below-Stock, that is, the part of Ambleside that lay south of Stock Beck. The parish church was at Bowness in Undermilbeck.

Geography

Windermere is long and narrow, like many other ribbon lakes, and lies in a steep-sided pre-glacial river valley that has become deepened by successive glaciations. The current lake was formed after the Last Glacial Maximum during the retreat of the British and Irish Ice Sheet some time between 17,000 and 14,700 years ago, just before the start of the Windermere Interstadial. The lake water was sourced from the meltwater of retreating ice in the catchment, which receded up the Troutbeck valley and up the valleys that now contain the rivers Rothay and Brathay. There were at least nine ice retreat phases, indicated by buried recessional moraines. The lake has two separate basins – north and south – with different characteristics influenced by the geology. This consists of hard volcanic rocks in the north basin and softer shales in the south.

The lake is drained from its southernmost point by the River Leven. It is replenished by the rivers Brathay, Rothay, Trout Beck, Cunsey Beck and several other lesser streams. The lake is largely surrounded by foothills of the Lake District which provide pleasant low-level walks; to the north and northeast are the higher fells of central Lakeland.

There is debate as to whether the stretch of water between Newby Bridge and Lakeside at the southern end of the lake should be considered part of Windermere, or a navigable stretch of the River Leven. This affects the stated length of the lake, which is 11.23 miles (18.07 km) long if measured from the bridge at Newby Bridge, or 10.5 miles (16.9 km) if measured from Lakeside[citation needed]. The lake varies in width up to a maximum of 1 mile (1.6 km), and covers an area of 14.73 km2 (5.69 sq mi). With a maximum depth of 66.7 m (219 ft) and an elevation above sea level of 39 m (128 ft), the lowest point of the lake bed is well below sea level.

There is only one town or village directly on the lakeshore, Bowness-on-Windermere, as the village of Windermere does not directly touch the lake and the centre of Ambleside is one mile (1.6 km) to the north of Waterhead. The village of Windermere is about 20 minutes' walk from Millerground, the nearest point on the lakeshore. It did not exist before the arrival of the railway in 1847. The station was built in an area of open fell and farmland in the township of Applethwaite. The nearest farm was Birthwaite, which gave its name to the station and the village that began to grow up near it. In about 1859, the residents began to call their new village by the name of Windermere, much to the chagrin of the people of Bowness, which had been the centre of the parish of Windermere for many centuries. Since 1907 the two places have been under one council and, although there are still two separate centres, the area between is largely built up, albeit bordering on woodland and open fields. Windermere railway station is a hub for train and bus connections to the surrounding areas and is 1+1⁄4 miles (2 km) from the Waterbus jetty. There is a regular train service to Oxenholme on the West Coast Main Line, where there are fast trains to Edinburgh, Glasgow, Manchester Airport, Birmingham and London.

Islands

The lake contains eighteen islands. By far the largest is the privately owned Belle Isle opposite Bowness.[15] It is around a kilometre in length, and 16 hectares (40 acres).[citation needed] Its older name was Lang Holme, and 800 years ago it was the centre of the manor of Windermere and later, in effect, of a moiety of the barony of Kendal.

The other islands or "holmes" are considerably smaller. The word "holme" or "holm" means small island or islet and comes from Old Norse holmr (as in Stockholm). The island of Lady Holme is named after the chantry that formerly stood there and in former centuries was sometimes called St Mary Holme or just Mary Holme. The remaining islands are Bee Holme (the insular status of which depends on the water level), Blake Holme, Crow Holme, Birk or Birch Holme (called Fir Holme on Ordnance Survey maps), Grass Holme, Lilies of the Valley (East, and West), Ling Holme (a rocky hump with a few trees and a growth of ling), Hawes Holme, Hen Holme (also rocky and sometimes known as chair and Table Island from some old flags or slabs of stone that were formerly found there), Maiden Holme (the smallest island, with just one tree), Ramp Holme (variously called Roger Holme and Berkshire Island at different times in its history), Rough Holme, Snake Holme, Thompson Holme (the second largest), Silver Holme.

The Lake District, also known as the Lakes or Lakeland, is a mountainous region and national park in Cumbria, North West England. It is primarily famous for the Cumbrian Mountains, its lake and coastal scenery, and for its literary associations with William Wordsworth and other Lake Poets, Beatrix Potter, and John Ruskin.

The Cumbrian mountains, or fells, include England's tallest mountains: Scafell Pike (978 m (3,209 ft)), Helvellyn (950 m (3,120 ft)), Skiddaw (931 m (3,054 ft)), and Cross Fell (893 m (2,930 ft)), which all have a topographical prominence of more than 600m. The region contains sixteen major lakes. They include Windermere, which with a length of 18 km (11 miles) and an area of 14.73 km2 (5.69 square miles) is both the longest and largest lake in England, and Wast Water, which at 79 metres (259 ft) is the deepest lake in England.

The Lake District National Park was established in 1951, and covers an area of 2,362 km2 (912 square miles), the bulk of the region. It was designated a UNESCO World Heritage Site in 2017.

National Park

The Lake District National Park includes all of the central Lake District, though the town of Kendal, some coastal areas, and the Lakeland Peninsulas are outside the park boundary. The area was designated a national park on 9 May 1951, a month after the Peak District, the first UK national park. It retained its original boundaries until 2016 when it was extended by 3% in the direction of the Yorkshire Dales National Park to incorporate areas land of high landscape value around the Lune Valley.

The national park received 18.14 million tourist visitors in 2022. This equates to 29.15 million tourist days, counting visits of greater than three hours. It is the largest of the thirteen national parks in England and Wales and the second largest in the UK after the Cairngorms National Park. Its aim is to protect the landscape by restricting unwelcome change by industry or commerce. The area of the national park, with the exception of the 2016 extension, was designated a World Heritage Site in 2017 as a cultural landscape. This was the fourth attempt to list the park, after two attempts in the 1980s and one in 2012 failed.

The park is governed by the National Park Authority, which is based at offices in Kendal. It runs a visitor centre on Windermere at a former country house called Brockhole, Coniston Boating Centre, and Information Centres. The Park Authority has 20 members: six appointed by Westmorland and Furness Council, four by Cumberland Council, and ten by the Secretary of State for Environment, Food, and Rural Affairs.

Human geography

The precise extent of the Lake District was not defined traditionally, but is slightly larger than that of the National Park[citation needed], the total area of which is about 2,362 square kilometres (912 sq mi). The park extends just over 51 kilometres (32 mi) from east to west and nearly 64 kilometres (40 mi) from north to south, with areas such as the Lake District Peninsulas to the south lying outside the National Park.

Settlement

There are only a few major settlements within this mountainous area: the towns of Keswick, Windermere, Ambleside, and Bowness-on-Windermere are the four largest. Significant settlements close to the boundary of the national park include Carlisle, Barrow-in-Furness, Kendal, Ulverston, Dalton-in-Furness, Whitehaven, Workington, Cockermouth, Penrith, Millom and Grange-over-Sands; each of these has important economic links with the area. Other villages are Coniston, Threlkeld, Glenridding, Pooley Bridge, Broughton-in-Furness, Grasmere, Newby Bridge, Staveley, Lindale, Gosforth and Hawkshead. The economies of almost all are intimately linked with tourism. Beyond these are a scattering of hamlets and many isolated farmsteads, some of which are still tied to agriculture;[citation needed] others now function as part of the tourist economy.

Communications

Roads

The Lake District is very nearly contained within a box of trunk routes and major A roads. It is flanked to the east by the A6 road, which runs from Kendal to Penrith (though the National Park extension approved in 2015 is east of the A6); across its southern fringes by the A590, which connects the M6 to Barrow-in-Furness, and the A5092, and across its northern edge by the A66 trunk road between Penrith and Workington. The A595 (linking the A66 with the A5092) forms the park boundary from Calder Bridge to Holmrook, then crosses the coastal plain of the park until turning inland at the Whicham Valley, forming much of the park boundary again until joining the A5092 at Grizebeck.

Besides these, a few A roads penetrate the area itself, notably the A591 which runs north-westwards from Kendal to Windermere and then on to Keswick. It continues up the east side of Bassenthwaite Lake. "The A591, Grasmere, Lake District" was short-listed in the 2011 Google Street View awards in the Most Romantic Street category. The A593 and A5084 link the Ambleside and Coniston areas with the A590 to the south whilst the A592 and A5074 similarly link Windermere with the A590. The A592 also continues northwards from Windermere to Ullswater and Penrith by way of the Kirkstone Pass.

Some valleys which are not penetrated by A roads are served by B roads. The B5289 serves Lorton Vale and Buttermere and links via the Honister Pass with Borrowdale. The B5292 ascends the Whinlatter Pass from Lorton Vale before dropping down to Braithwaite near Keswick. The B5322 serves the valley of St John's in the Vale whilst Great Langdale is served by the B5343. Other valleys such as Little Langdale, Eskdale and Dunnerdale are served by minor roads. The last of these is connected with the first two by the Wrynose and Hardknott passes respectively; both of these passes are known for their steep gradients and are together one of the most popular climbs in the United Kingdom for cycling enthusiasts. A minor road through the Newlands Valley connects via Newlands Hause with the B5289 at Buttermere. Wasdale is served by a cul-de-sac minor road,[a] as is Longsleddale and the valleys at Haweswater and Kentmere. There are networks of minor roads in the lower-lying southern part of the area, connecting numerous communities between Kendal, Windermere, and Coniston.

Railways and ferries

The West Coast Main Line skirts the eastern edge of the Lake District and the Cumbrian Coast Line passes through the southern and western fringes of the area. A single railway line, the Windermere Branch Line, penetrates from Kendal to Windermere via Staveley. Railways once served Broughton-in-Furness and Coniston (closed to passengers in 1958) and another ran from Penrith to Cockermouth via Keswick (closed west of Keswick in 1966 and completely in 1972). Part of the track of the latter is used by the improved A66 trunk road.

The Cumbrian Coast line has three stations within the boundaries of the national park (and additionally Drigg, about a third of a mile from the park boundary). The line gives railway enthusiasts and others a flavour of a pre-Beeching railway line, with features like manually operated level crossing gates, as well as giving a good connection to the steam railway into Eskdale and providing access for cyclists and serious walkers to the Western Fells.

The narrow gauge Ravenglass and Eskdale Railway runs from Ravenglass on the west coast up Eskdale as far as Dalegarth Station near the hamlet of Boot, catering for tourists. Another heritage railway, the Lakeside and Haverthwaite Railway, runs between Lake Windermere and Haverthwaite, and tourists can connect at Lakeside with the boats up the lake to Bowness.

A vehicle-carrying cable ferry, the Windermere Ferry, runs frequent services across Windermere. There are also seasonal passenger boats on Coniston Water, Derwent Water, and Ullswater.

Footpaths and bridleways

There are many paths over which the public has a right of way, all of which are signposted at their origin on public roads and at some other points. Within the area of the National Park in 2012 there were 2,159 km (1,342 mi) of public footpaths, 875 km (544 mi) of public bridleways, 15 km (9 mi) of restricted byways and 30 km (19 mi) of byways open to all traffic. There is also a general "right to roam" in open country, which includes approximately 50% of the national park.

Many of these tracks arose centuries ago and were used either as ridge highways (such as along High Street) or as passes for travelling across the ridges between settlements in the valleys. Historically these paths were not planned for reaching summits, but more recently they are used by fell walkers for that purpose. The Coast to Coast Walk, which crosses the north of England from the Irish Sea to the North Sea, traverses the national park from west to east.

Bridleways are intended for horse riding and walkers, with cyclists also permitted to use them. Cyclists must give way to all other bridleway users. Motor vehicles are only allowed on "byways open to all traffic" (green lanes) but in practice Traffic Regulation Orders have been brought in on several prohibiting motor traffic, although a system of permits operates on Gatesgarth Pass.

Land ownership

Most of the land within the national park is in private ownership, with about 55% registered as agricultural land. Landowners include:

Individual farmers and other private landowners, with more than half of the agricultural land farmed by the owners.

The National Trust owns around 25% of the total area (including some lakes and land of significant landscape value).

The Forestry Commission and other investors in forests and woodland.

United Utilities (owns 8%)

Lake District National Park Authority (owns 3.9%)

Physical geography

The Lake District is a roughly circular upland massif, deeply dissected by a broadly radial pattern of major valleys which are largely the result of repeated glaciations over the last 2 million years. The apparent radial pattern is not from a central dome, but from an axial watershed extending from St Bees Head in the west to Shap in the east. Most of these valleys display the U-shaped cross-section characteristic of glacial origin and often contain long narrow lakes in bedrock hollows, with tracts of relatively flat ground at their infilled heads, or where they are divided by lateral tributaries (Buttermere-Crummock Water; Derwent Water-Bassenthwaite Lake).[b] Smaller lakes known as tarns occupy glacial cirques at higher elevations. It is the abundance of both which has led to the area becoming known as the Lake District.

Many of the higher fells are rocky, while moorland predominates lower down. Vegetation cover in better-drained areas includes bracken and heather, although much of the land is boggy, due to the high rainfall. Deciduous native woodland occurs on many of the steeper slopes below the tree line, but with native oak supplemented by extensive conifer plantations in many areas, particularly Grizedale Forest in the generally lower southern part of the area. The Lake District extends to the sea to the west and south.

The highest mountain in England, Scafell Pike (978m/3210'), has a far-reaching view on a clear day, ranging from the Galloway Hills of Scotland, the Mourne Mountains in Northern Ireland, the Isle of Man, and Snowdonia in Wales.

Cumbrian Mountains

Lake District is located in the Lake DistrictScafell PikeScafell PikeScafellScafellScafellScafellHelvellynHelvellynSkiddawSkiddawHigh StreetHigh StreetGrasmoorGrasmoorConiston Old ManConiston Old ManGreat GableGreat GableKendalKendalPenrithPenrithKeswickKeswickAmblesideAmblesideCockermouthCockermouthWindermereWindermereGrasmereGrasmere

Major fells and towns shown within the National Park

Lake District

The mountains (or 'fells') of the Lake District are known as the "Cumbrian Mountains", "Cumbrian Fells" or "Lakeland Fells". The four highest fells exceed 3,000 feet (914 m). These are:

Scafell Pike, 978 m (3,209 ft)

Scafell, 965 m (3,166 ft)

Helvellyn, 951 m (3,120 ft)

Skiddaw, 931 m (3,054 ft)

Northern Fells

The Northern Fells are a clearly defined range of hills contained within a 13 km (8 mi) diameter circle between Keswick in the southwest and Caldbeck in the northeast. They culminate in the 931 m (3,054 ft) peak of Skiddaw. Other notable peaks are Blencathra (also known as Saddleback) (868 m (2,848 ft)) and Carrock Fell. Bassenthwaite Lake occupies the valley between this massif and the North Western Fells.

North Western Fells

The North Western Fells lie between Borrowdale and Bassenthwaite Lake to the east and Buttermere and Lorton Vale to the west. Their southernmost point is at Honister Pass. This area includes the Derwent Fells above the Newlands Valley and hills to the north amongst which are Dale Head, Robinson. To the north stand Grasmoor, highest in the range at 852 m (2,795 ft), Grisedale Pike and the hills around the valley of Coledale, and in the far northwest is Thornthwaite Forest and Lord's Seat. The fells in this area are rounded Skiddaw slate, with few tarns and relatively few rock faces.

Western Fells

The Western Fells lie between Buttermere and Wasdale, with Sty Head forming the apex of a large triangle. Ennerdale bisects the area, which consists of the High Stile ridge north of Ennerdale, the Loweswater Fells in the far northwest, the Pillar group in the southwest, and Great Gable (899 m (2,949 ft)) near Sty Head. Other tops include Seatallan, Haystacks and Kirk Fell. This area is craggy and steep, with the impressive pinnacle of Pillar Rock its showpiece. Wastwater, located in this part, is England's deepest lake.

Central Fells

The Central Fells are lower in elevation than surrounding areas of fell, peaking at 762 m (2,500 ft) at High Raise. They take the form of a ridge running between Derwent Water in the west and Thirlmere in the east, from Keswick in the north to Langdale Pikes in the south. A spur extends southeast to Loughrigg Fell above Ambleside. The central ridge running north over High Seat is exceptionally boggy.

Eastern Fells

The Eastern Fells consist of a long north-to-south ridge, the Helvellyn range, running from Clough Head to Seat Sandal with the 950 m (3,118 ft) Helvellyn at its highest point. The western slopes of these summits tend to be grassy, with rocky corries and crags on the eastern side. The Fairfield group lies to the south of the range and forms a similar pattern with towering rock faces and hidden valleys spilling into the Patterdale valley. It culminates in the height of Red Screes overlooking the Kirkstone Pass.

Far Eastern Fells

The Far Eastern Fells refers to all of the Lakeland fells to the east of Ullswater and the A592 road running south to Windermere. At 828 m (2,717 ft), the peak known as High Street is the highest point on a complex ridge that runs broadly north-south and overlooks the hidden valley of Haweswater to its east. In the north of this region are the lower fells of Martindale Common and Bampton Common whilst in the south are the fells overlooking the Kentmere valley. Further to the east, beyond Mardale and Longsleddale is Shap Fell, an extensive area consisting of high moorland, more rolling and Pennine in nature than the mountains to the west.

Southern Fells

The Southern Fells occupy the southwestern quarter of the Lake District. They can be regarded as comprising a northern grouping between Wasdale, Eskdale, and the two Langdale valleys, a southeastern group east of Dunnerdale and south of Little Langdale, and a southwestern group bounded by Eskdale to the north and Dunnerdale to the east.

The first group includes England's highest mountains: Scafell Pike in the centre, at 978 m (3,209 ft) and Scafell one mile (1.6 km) to the southwest. Though it is slightly lower, Scafell has a 700 ft (210 m) rockface, Scafell Crag, on its northern side. This group also includes the Wastwater Screes overlooking Wasdale, the Glaramara ridge overlooking Borrowdale, the three tops of Crinkle Crags, Bowfell and Esk Pike. The core of the area is drained by the infant River Esk. Collectively these are some of the Lake District's most rugged hillsides.

The second group, otherwise known as the Furness Fells or Coniston Fells, have as their northern boundary the steep and narrow Hardknott and Wrynose passes. The highest are Old Man of Coniston and Swirl How which slightly exceed 800 m (2,600 ft).

The third group to the west of the Duddon includes Harter Fell and the long ridge leading over Whitfell to Black Combe and the sea. The south of this region consists of lower forests and knolls, with Kirkby Moor on the southern boundary. The southwestern Lake District ends near the Furness peninsula and Barrow-in-Furness, a town which many Lake District residents rely on for basic amenities.

Southeastern area

The southeastern area is the territory between Coniston Water and Windermere and east of Windermere towards Kendal and south to Lindale. There are no high summits in this area which are mainly low hills, knolls and limestone cuestas such as Gummer's How and Whitbarrow. Indeed, it rises only as high as 333 m (1,093 ft) at Top o' Selside east of Coniston Water; the wide expanse of Grizedale Forest stands between the two lakes. Kendal and Morecambe Bay stand at the eastern and southern edges of the area.

Valleys

The main radial valleys are (clockwise from the south) Dunnerdale, Eskdale, Wasdale, Ennerdale, the Vale of Lorton, and Buttermere valley, the Derwent Valley and Borrowdale, the Ullswater valley, Haweswater valley, Longsleddale, the Kentmere valley, those converging on the head of Windermere - Grasmere, Great Langdale and Little Langdale, and the Coniston Water valley. The valleys break the mountains up into blocks, which have been described by various authors in different ways. The most frequently encountered approach is that made popular by Alfred Wainwright who published seven separate area guides to the Lakeland Fells.

Only one of the lakes in the Lake District is called by that name, Bassenthwaite Lake. All the others such as Windermere, Coniston Water, Ullswater and Buttermere are meres, tarns and waters, with mere being the least common and water being the most common. The major lakes and reservoirs in the National Park are given below.

Bassenthwaite Lake

Brotherswater

Buttermere

Coniston Water

Crummock Water

Derwent Water

Devoke Water

Elter Water

Ennerdale Water

Esthwaite Water

Grasmere

Haweswater Reservoir

Hayeswater

Loweswater

Rydal Water

Thirlmere

Ullswater

Wast Water

Windermere

Woodlands

Below the tree line are wooded areas, including British and European native oak woodlands and introduced softwood plantations. The woodlands provide habitats for native English wildlife. The native red squirrel is found in the Lake District and a few other parts of England. In parts of the Lake District, the rainfall is higher than in any other part of England. This gives Atlantic mosses, ferns, lichen, and liverworts the chance to grow. There is some ancient woodland in the National Park. Management of the woodlands varies: some are coppiced, some pollarded, some left to grow naturally, and some provide grazing and shelter.

Coast

The Lake District extends to the coast of the Irish Sea from Drigg in the north to Silecroft in the south, encompassing the estuaries of the Esk and its tributaries, the Irt and the Mite. The intertidal zone of the combined estuaries includes sand, shingle and mudflats, and saltmarsh. The dune systems on either side of the estuary are protected as nature reserves; Drigg Dunes and Gullery to the north and Eskmeals Dunes[31] to the south. South of the estuary, the coast is formed in low cliffs of glacial till, sands, and gravels.

The district also extends to the tidal waters of Morecambe Bay and several of its estuaries alongside the Furness and Cartmel Peninsulas, designated on M6 motorway signposts as the "Lake District Peninsulas", and the southern portions of which lie outside the park. These are the Duddon Estuary, the Leven Estuary, and the western banks and tidal flats of the Kent Estuary. These areas are each characterised by sand and mudflats of scenic and wildlife interest. The coast is backed by extensive flats of raised marine deposits left when the relative sea level was higher.

Wonka Everlasting Gobstopper cello wrapper-1990s by JONATHAN MANKUTA

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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... :)

Returning to the SCAD Museum in Savannah, Georgia - April, 2017 by JR P

www.flickr.com/photos/ugardener/albums/72157666600655501

HANK WILLIS THOMAS

'Blind Memory' and 'Freedom Isn't Always Beautiful'

Feb. 21 - Aug. 20, 2017

The SCAD Museum of Art presents "Blind Memory," a site-specific installation by Hank Willis Thomas in the museum’s Jewel Boxes exhibited concurrently with his exhibition "Freedom Isn’t Always Beautiful" in the Walter O. Evans Center for African American Studies.

Four new works in the exhibition explore the history of the museum complex as a railway depot and its relationship to the agricultural and labor practices of the past. Through the display of commodities that were exported from Savannah during "The Weeping Time" — a two-day period in March 1857, when 436 men, women and children were auctioned at a racetrack in the city (notable for being the largest sale of human beings in the history of the U.S.) — Thomas calls attention to suppressed or forgotten incidents that were nonetheless instrumental in shaping our contemporary social and political reality.

Thomas fills each of the four Jewel Boxes on the façade of the museum with an agricultural product — tobacco, cotton, rice and indigo — produced on nearby plantations by the labor of enslaved individuals. Each box also features an additional layer of archival documents and symbols related to this history. "Blind Memory" is a further iteration of Thomas’ practice exploring the interrelated concerns of the representation of race, the dialectic between images and text and the genealogy of historic iconographies relevant today.

The SCAD Museum of Art continues to explore Thomas’ work through "Freedom Isn’t Always Beautiful," a concise overview of the artist’s socially engaged practice. Composed of works from 2003 to the present, the exhibition explores the artist’s interrelated concerns regarding representations of race, the dialectic between images and text, and the genealogy of historic iconographies and their continued relevance.

Thomas employs stark contrasts, both formal and conceptual, to examine concepts of personhood, agency and commodification. The series "I Am A Man," 2009, uses the iconic Civil Rights Movement slogan as a starting point to explore the descriptive limitations of the phrase, while also paying homage to its original use. "I Am A Woman," "Am I A Man," "I Am Many" — these variations create semiotic slippages and nuances of meaning that reassert the affirmation of humanness and humanity at the core of the phrase's original use. Inscribed on signs carried by protestors during the sanitation workers strike in Memphis, Tennessee, in 1968, "I am A Man" can be traced further back to anti-slavery campaigns of the 18th century that asked "Am I Not A Man And A Brother?"

Through the use of reflective or shifting imagery and materials, including mirrors, holograms and lenticulars, "Freedom Isn't Always Beautiful" investigates the act of spectatorship and complicity. Seeing oneself reflected in the surface of the works implies participation and collusion in what is being represented. In works, such as "His Truth Is Marching On" and "Come Walk In My Shoes And I Will Show You Change," Thomas mines archival images, featuring cut outs from black and white vintage photographs by Spider Martin, taken during the Selma to Montgomery Civil Rights uprising and marches in Alabama, in 1965.

Works such as "Liberty," "From Cain't See in the Morning til Cain't See at Night" and "Icarus" tackle the theme of sport. These artworks draw a correlation between slavery and sport in terms of the commodification of black bodies. The artist also comments on labor, and the implicit stereotypes evident in the representation of such bodies in the media. Continuing his interrogation of modern messaging, Thomas appropriates the language and format of advertising to subvert its intended messages. In the work "Caesar’s Visa," a neon sign flashes between advertising slogans to reveal new readings and wordplay. "Wonder Woman" and "All Power to the People" engage with political messaging and propaganda, both past and contemporary. Manufactured in the form of oversized lapel pins and referencing significant political and social movements that emerged in the 1960s, the pins transcend their significance as tokens of personal political belief, to become amplified and monumental, perhaps even memorials of what they represent.

About the artist:

Hank Willis Thomas is a conceptual photo artist working primarily with themes related to identity, history and popular culture. He cofounded For Freedoms, the first artist-run super PAC. Thomas is a member of the Public Design Commission for the city of New York and has exhibited throughout the U.S. and abroad including at The International Center of Photography, Public Art Fund and Studio Museum in Harlem, New York; The Guggenheim Museum Bilbao, Spain; Musée du quai Branly, Paris, France; and Cleveland Museum of Art, Ohio, among others. Thomas’ artwork is in numerous public collections including the Museum of Modern Art, Solomon R. Guggenheim Museum, Whitney Museum of American Art and Brooklyn Museum, New York; High Museum of Art, Atlanta, Georgia; and National Gallery of Art, Washington, D.C.

LIVENS PROJECTORS POSITION DESTROYED BY GERMANS (1917?) by juju1418

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Quite an unusual postcard about an English position of Livens searchlights.

These tubes buried in the ground fired large cylinders filled with gas in order to make a layer of gas at the targeted place.

It was behind English lines. The Germans therefore had to gain a lot of ground to be able to capture this area.

Text: "Englische Stellungen mit Unterirdische Röhren zum Gas Abschießen"

Traduction:"English positions with underground tubes for firing gas"

REF: 8-20-8

Small Business Summit 2006 by rayramon

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Who: Small business owners seeking growth through the marriage of best business practices and technology

Why: Strengthen your competitive edge and make your business soar, by successfully applying the right technology to support the right business practices

What: A full-day conference with a unique interactive structure that will provide answers to help you with your specific business situation

Gain insight from experts in technology, sales, finance and marketing who specialize in helping small businesses make it all work together

Learn from small business owners who have achieved exceptional growth through an effective marriage of business savvy and technology

Exchange ideas with experts and peers.

Charles Hand, President, New York Metro Region, Verizon Wireless

Scott Vaccaro, Regional VP, Enterprise Rent-A-Car, NYC

Lisa McCarthy, Intuit Professional Advisor and Accounting Resource LLC

Harry Brelsford, President, SMB Nation

Small Business Summit 2006 by rayramon

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Who: Small business owners seeking growth through the marriage of best business practices and technology

Why: Strengthen your competitive edge and make your business soar, by successfully applying the right technology to support the right business practices

What: A full-day conference with a unique interactive structure that will provide answers to help you with your specific business situation

Gain insight from experts in technology, sales, finance and marketing who specialize in helping small businesses make it all work together

Learn from small business owners who have achieved exceptional growth through an effective marriage of business savvy and technology

Exchange ideas with experts and peers.

Charles Hand, President, New York Metro Region, Verizon Wireless

Scott Vaccaro, Regional VP, Enterprise Rent-A-Car, NYC

Lisa McCarthy, Intuit Professional Advisor and Accounting Resource LLC

Harry Brelsford, President, SMB Nation

Balmorhea State Park - Furniture for Indian Village (Chest of Drawers) - SP47-91 by Texas State Archives

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Specific date: 10/14/1936

Draftsman: Jones, J.C. 1 smudged signature. LN: 36.88 X HT: 24.55

At the Highline by Linus Gelber

On Sunday and Monday nights for the next couple of weeks, downtown's Business As Usual includes a site-specific open-air fusion of Shakespeare and the lore of the Meatpacking District, which is a small and storied neighborhood on the far west side of Manhattan, south of 14th Street.

Little West 12th Night is a set of converging, narrative walking tours which whisk groups of theatergoers through the parks and streets of the area, passing around bits of neighborhood trivia - a Nabisco plant in what is now the Chelsea Market developed the Oreo cookie in 1912, for example; the basements of the now-fashionable shops and fancy restaurants along Washington Street once housed a notorious spectrum of gay clubs, some with leather rooms and the like. And so forth.

Along the way the tours meet a series of neighborhood characters, like the temperamental Sebastian, who arrives wet from an unexpected dip in the Hudson and in need of dry clothes, and the lovelorn Orsino, who tends a mobile shrine to his great unrequited love, Olivia. Haughty Malvolio snubs his way around town, and shrill Viola is parted from her possessions and in search of her missing brother, Sebastian. Olivia, for her part, grieves for the loss of her father and brother, and keeps to her rooms in the Standard Hotel, high above the streets.

The show doesn't so much tell the story of Twelfth Night as happen across it. The four tour groups, each of which starts from a different location, weave through the neighborhood, occasionally crossing paths and more often dodging past each other on a tight schedule as the characters dance in and out of the story. We aren't told the tale of Twelfth Night in the way an audience would normally hear it; rather, we stumble past characters from the play who are experiencing their moments, in their own contexts.

For the finale, the four tour groups meet under the Highline to look on as the players sort out their various fates. This shot is handheld, shot at night with available light, and thus the soft focus. Orsino sprawls in the foreground, and Olivia, clutching Sebastian's sketchbook, holds court. (That's Sebastian on the left.) Tour guides Mariah and Toby are on the steps. As this scene unfolds, pedestrians wander past, and sometimes through, the action: they are baffled, delighted, unconcerned, annoyed, or oblivious.

"Pantalones Rotos" by Wilfredo Prieto by Latitudes | Barcelona

Conceived by Wilfredo Prieto as his project for the Composiciones programme, “Pantalones rotos” (Torn Jeans), 2012, is realised by the horses of the Guàrdia Urbana de Barcelona. The action-sculpture takes place at the Mounted Unit’s stables, a historic venue next to the city zoo that is not normally open to the public and whose exercise paddock is overlooked by the twin towers of the Torre Mapfre and Hotel Arts. In his work Prieto makes reference to an image which appears on the tag of every pair of classic Levi’s denim jeans—two horses trying in vain to break a pair of the reinforced trousers. Since their invention in 1873, Levi Strauss & Co.’s famous copper-riveted denim has become synonymous with the working people of the western United States—cowboys, lumberjacks, and railroad workers. Yet in “Pantalones rotos”, this symbol of the American frontier myth has been already torn apart with bathos as two harnessed horses each drag one half of a torn pair of jeans. – Latitudes

Wilfredo Prieto (Sancti Spiritus, Cuba, 1978) pursued art studies at the Instituto Superior de Arte (Higher Institute of Fine Arts ISA), graduating in 2002. Prieto’s recent solo exhibitions include: ‘Ping Pong Grid’, Museo Nacional de Bellas Artes, Havana, Cuba (2015); ‘Speaking Badly about Stones’, S.M.A.K, Ghent, Belgium (2014); ‘Incidences from the Private to the Public and from the Public to the Private’, NMAC Foundation, Cádiz, Spain (2013); ‘Leaving Something to Chance’, Sala de Arte Público Siqueiros, México (2012); ‘Balancing the curve’, Hangar Bicocca, Milan, Italy (2012); ‘Amarrado a la pata de la mesa’, Centro de Arte 2 de Mayo (CA2M), Móstoles, Madrid (2011); and has participated in group shows such as ‘Under the same sun: Art from Latin America Today’, Guggenheim Museum, Nueva York (2014); ‘Coup d’éclat, En résonance’, Biennale d'art contemporain de Lyon, Francia (2009); ‘Untitled’, 12th Istanbul Biennial, Turquía (2009). Prieto has been awarded the Cartier Award (Frieze Art Fair, London, 2008) and the UNESCO Prize for the Promotion of the Arts (2000).

––

“Pantalones rotos” (2012/2016) 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-...

FTBP: Salt & Peppa by Emiliano Olague

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For this specific image, I wanted to take two different, yet similar objects, and place them carefully in a way that seemed messy, but allowed the image to properly showcase each of the packets. I spent a lot of time looking for opposite yet similar objects until I came across some simple salt and pepper packers, and decided this is what I would use for this specific shot. I laid them out carefully across a counter, aimed my desk light towards me, and shot the picture. I guess this goes to show anything could be turned into artwork if I hard enough. Parts of the photo almost look out of focus, but my goal was to at least keep half of the image nice and sharp. Was that a good decision?

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