View allAll Photos Tagged specific
AERIAL BOUNDARIES by Loris Cecchini (setting)
Site-specific installation for the courtyard of Palazzo Strozzi in Florence
curated by Franziska Nori
30 April to 1 July 2012
photo © Martino Margheri
Cynthia Minet’s Unsustainable Creatures is a new installation of sculptures for the Culver Center for the Arts atrium space. Part of an ongoing project of illuminated life-size sculptures of domesticated animals, a pair of oxen and a camel are made from repurposed and recycled plastic objects, containers and toys. Lit from within by custom LEDs, the pieces relate in a site-specific way to the Culver Center building’s former life as a department store.
Visit culvercenter.ucr.edu for more information
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
New cycling specific iWatch available now at Blazing Saddles
108 Likes on Instagram
6 Comments on Instagram:
georgthegreat: @greatrock looks safe
alancolville: Love it!
petescullion: Is that that Flava Flave edition @greatrock? :-)
gilly_1981: Doubles as a nose scratcher on the trails..
sassie001: @ryanbradshaw85
instagram.com/mtbtalk.co.uk: Neat, an MTB iWatch! So I can face time my Nan whilst shredding gnar with the lads!
Repost
www.youtube.com/watch?v=NuhKGL_XyU4 ** Desamark ** www.desamark.com/
Source/Repost=>
desamark707.weebly.com/desamark/you-can-use-a-mobile-spec... **DavidKarlos / David Karlos **DesaMark** desamark707.weebly.com/
The process, I call it "Image-Specific Framing", draws all its elements from within one given original image. The result, a self-framing, casual portrait.
This one, with all its implied glints, is very mod! Settings, and the subjects' personalities, dictate the design direction. The framing concept evokes a cut-glass or a glass-mosaic inlay theme.
This quality print was done in a custom size, about 14 inches wide by 16 inches high. Anything can be done from that proportion... locket size to wall size.
I match my print with a custom, beveled glass mounting to tie in with the glass theme. Assembly is with a clip kit.
Not for everyone, obviously. Appreciators usually have a bit of a theatrical flair.
You may comment on the casual portrait if it pleases you, but the framing concept is really what is on display.
Each effort is unique, one-of-a-kind. Quite jewel-like!
Go to Page 789 in the Internet Archive
Title: Loudon's encyclopædia of plants : comprising the specific character, description, culture, history, application in the arts, and every other desirable particular respecting all the plants indigenous to, cultivated in, or introduced to Britain
Creator: Loudon, J. C. (John Claudius), 1783-1843
Creator: Loudon, Mrs. (Jane), 1807-1858
Creator: Don, George, 1798-1856
Creator: Wooster, David, 1824?-1888
Publisher: London : Longman, Brown, Green, and Longmans
Sponsor: Wellcome Library
Contributor: Wellcome Library
Date: 1855
Language: eng
Description: Includes index
Bibliography: p. [vii]-xiv
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
Chihuly was invited to create a temporary, site specific land art installation for Artpark, a multidisciplinary arts venue in Lewiston, New York, in 1975. Together with his collaborator, artist Seaver Leslie, Chihuly placed glass in the landscape, situating multicolored panes of glass in the landscape. Single panes, pairs, and even large-scale window-like grids were all employed in an ephemeral installation that changed as the artists relocated the panels or glass—situated in the landscape and exposed to the elements—broke apart. More than 40 years later, Chihuly revisits this project and his interest in minimalist exploration of color and light in the landscape in his Koda Studies, reimagined for the unique surroundings of The New York Botanical Garden.
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2023. N. Bernacchio et al., "Lo sbancamento della Velia nel 1932"; in: I Martedì da Traiano - Ciclo di conferenze in occasione della mostra 1932, l’elefante e il colle perduto (24/01-28/02/2023). Video & foto di: Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024). S.v., Documentazione archivistica storica integrativa sugli scavi e gli studi della collina della Velia anni '30; in: RARA 2023 (07/2009 bis 01/2023). wp.me/pbMWvy-3Jm
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52661629811
___
** Nota: tutte le fotografie in questo post sul blog e il successivo album FLICKR (se non specificato da altre fonti) sono citate dalla fonte originale di: Video = Mercati di Traiano Museo dei Fori Imperiali / Fb (24 e 31/01/2024). **
** Note: All photographs in this blog posting and the subsequent FLICKR album (unless specified from other sources) are cited from the original source of: Video = Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024). **
___
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662120668
1). ROMA - N. Bernacchio et al., "Lo sbancamento della Velia nel 1932"; in: I Martedì da Traiano - Ciclo di conferenze in occasione della mostra 1932, l’elefante e il colle perduto (24/01-28/02/2023). Video & foto di: Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662120683
Buongiorno! Ecco la registrazione della prima videoconferenza dei Martedì da Traiano incentrati sulla mostra in corso.
Nella conferenza che ha aperto il nuovo ciclo dei Martedì da Traiano i curatori ci illustrano il proprio lavoro: il perché della mostra, come è stato definito il percorso allestitivo e come sono stati scelti gli oggetti da esporre, fino alle nuove acquisizioni che le ricerche condotte in questa occasione hanno prodotto, senza dimenticare i molteplici aspetti legati alla comunicazione e alla didattica.
Vi aspettiamo più tardì per il secondo appuntamento!
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662072270
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662072295
Fonte / source, Video & foto:
--- Roma, Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.facebook.com/MercatiTraianoForiImperiali/videos/92823...
--- Roma, I Martedì da Traiano / Ciclo di conferenze in occasione della mostra 1932, l’elefante e il colle perduto. Mercati di Traiano Museo dei Fori Imperiali (24/01-28/02/2023).
www.mercatiditraiano.it/it/mostra-evento/i-marted-da-trai...
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52661629636
--- Roma - 1932, l’elefante e il colle perduto (08/04/2022 - 05/03/2023) - Mercati di Traiano Museo dei Fori Imperiali (04/2022 - 03/2023).
Una selezione di circa 100 opere, tra reperti archeologici, progetti grafici, oggetti d’arte e video, alcuni esposti per la prima volta, racconta la storia della perduta Velia e del “suo” elefante. Prorogata al 5 marzo 2023.
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662120923
A 90 anni dalla scoperta, sono stati restaurati i resti fossili di elefante (Elephas antiquus) trovati alla base della collina Velia. L’intervento ha costituito l’occasione per proporre un insieme di opere, che gettano luce su un settore dell’area archeologica centrale interessato negli anni Trenta del Novecento da distruzioni e trasformazioni urbanistiche profonde.
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662120948
Un centinaio di queste opere, tra cui reperti archeologici, progetti grafici e opere d’arte, interamente provenienti dalle collezioni capitoline, alcuni dei quali identificati in occasione di recenti ricerche ed esposti al pubblico per la prima volta, compongono questa mostra.
Foto: ROMA – N. Bernacchio et al., “Lo sbancamento della Velia nel 1932”; in: I Martedì da Traiano – Ciclo di conferenze in occasione della mostra ‘1932, l’elefante e il colle perduto’ (24/01-28/02/2023). Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52661915789
Mercati di Traiano Museo dei Fori Imperiali (04/2022 - 03/2023).
www.mercatiditraiano.it/it/mostra-evento/1932-l-elefante-...
Foto: ROMA – La presentazione innovativa e creativa della conferenza per i bambini; in: N. Bernacchio et al., “Lo sbancamento della Velia nel 1932.” Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52661629851
1.1). ROMA - La presentazione innovativa e creativa della conferenza per i bambini; in: N. Bernacchio et al., "Lo sbancamento della Velia nel 1932"; in: I Martedì da Traiano - Ciclo di conferenze in occasione della mostra 1932, l’elefante e il colle perduto (24/01-28/02/2023). Video & foto di: Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
Foto: ROMA – La presentazione innovativa e creativa della conferenza per i bambini; in: N. Bernacchio et al., “Lo sbancamento della Velia nel 1932.” Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662072540
Foto: ROMA – La presentazione innovativa e creativa della conferenza per i bambini; in: N. Bernacchio et al., “Lo sbancamento della Velia nel 1932.” Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52662072555
Foto: ROMA – La presentazione innovativa e creativa della conferenza per i bambini; in: N. Bernacchio et al., “Lo sbancamento della Velia nel 1932.” Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/52661915929
2). ROMA - Documentazione archivistica storica integrativa sugli scavi e gli studi della collina della Velia anni '30; per: N. Bernacchio et al., "Lo sbancamento della Velia nel 1932"; in: I Martedì da Traiano - Ciclo di conferenze in occasione della mostra 1932, l’elefante e il colle perduto (24/01-28/02/2023). Video & foto di: Mercati di Traiano Museo dei Fori Imperiali / Fb (24 & 31/01/2024).
Foto: ROME – Dr. Claudio Parisi Presicce, the Via Dell’ Impero: Exhibit – “1932, the Prehistoric Elephant and the Lost Velia Hill.” The Markets of Trajan & the Museum of the Imperial Fora in Rome (8 April thru 20 May 2022); in: RARA 2022 (08/04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51991110596
Foto / PDF = Umberto Croppi et al., “Via dell’impero. Nascita di una strada, demolizioni e scavi: 1930-1936. Scavi archeologici, sterri e demolizioni per l’apertura di via dell’Impero.” Roma: Comune di Roma (22/07/2009): 1-5
www.flickr.com/photos/imperial_fora_of_rome/52661129627
2.1). ROMA - Umberto Croppi, Umberto Broccoli, Claudio Parisi Presicce & Maria Elisa Tittoni, "Via dell'impero. Nascita di una strada, demolizioni e scavi: 1930-1936. Scavi archeologici, sterri e demolizioni per l’apertura di via dell’Impero. Roma: Comune di Roma (22/07/2009): 1-5 (in PDF) = RARA 2023: Rieditato e rivisto da M. G. Conde (2009 e ancora 2023), Washington DC, USA (31/01/2023)
--- PDF = Umberto Croppi et al., Roma: Comune di Roma (22/07/2009): 1-5 wp.me/pbMWvy-3Jm
Fonte / source:
--- RARA 2023 / Documentazione archivistica storica (2009/2023).
romaarcheologiaerestauroarchitettura.wordpress.com/
Foto: Arch. Italo Gismondi, La Domus di eta imperiale ritrovata (e distrutta) sulla Velia durante gli scavi per realizzione di Via Dell` Impero; in: Giuseppina Pisani Sartorio, Archeologia Viva, No. 6 (1986) (RARA 2022 [Materiali d’archivio] 29/05/2011).
www.flickr.com/photos/imperial_fora_of_rome/52203119511
3). RARA 2023. ROMA - Il Colle Velia e la Via Dell’Impero, Arch. Italo Gismondi, 1931-33: Mostra “1932, l’elefante e il colle perduto.” Museo dei Fori Imperiali / Fb (05/07/2022) & I. Gismondi, in: Giuseppina Pisani Sartorio, Archeologia Viva, No. 6 (1986). wp.me/pbMWvy-2Ta
Foto: Antonio Munoz & Italo Gismondi, Così nacque via dell’Impero: “Ipotesi di sistemazione del muro di contenimento di Villa Rivaldi su progetto di Antonio Muñoz (disegno di S. De Angelis). Museo di Roma, MR-42232” [c. 1930?], in: Pier Federico Caliari (2017); in: RARA 2022 (07/04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51987489977
--- RARA 2023. ROMA - VIA DELL’ IMPERO e “1932, L’ELEFANTE E IL COLLE PERDUTO”; in: Museo di Fori Imperiali (07/04/2022).” ROMATODAY (07/04/2022). S.v., Vedi anche: Roma e l’era pliocenica e i resti di elefante scoperti sul Campidoglio (fine del XIX secolo?), il Foro Romano ([ = una zanna di un ippopotamo] c. 1900-07?), la Velia (1932) e il Foro di Cesare (1941?). Anche: Antonella Aquiloni, Museo Paleontologico Montevarchi (AR) & Fb (30/10/2021) & Dott.ssa Rossella Rea, La Repubblica (10/10/2009): 1 & 27 wp.me/pbMWvy-2Am
Foto: Antonella Aquiloni, “Roma – Montevarchi: restauro e ritorno.” Il Museo per restaurare un Elephas antiquus rinvenuto nei Fori Imperiali nel 1932. Museo Paleontologico Montevarchi (AR) & Fb (30/10/2021).
www.flickr.com/photos/imperial_fora_of_rome/51659368228
--- RARA 2023. ROMA - Antonella Aquiloni, “Roma – Montevarchi: restauro e ritorno.” Il Museo per restaurare un Elephas antiquus rinvenuto nei Fori Imperiali nel 1932. Museo Paleontologico Montevarchi (AR) & Fb (30/10/2021). wp.me/pbMWvy-2aM
Foto: Roma – I Fori Imperiali, la Velia duranta ti periodo pliocenico & ‘L` Elephas Antiquus’; in: IL GIORNALE D’ITALIA (06/07/1932): 3 & (24/05/1932): 3
www.flickr.com/photos/imperial_fora_of_rome/51784422691
--- RARA 2023. Roma – I Fori Imperiali, la Velia duranta ti periodo pliocenico & ‘L` Elephas Antiquus’; in: IL GIORNALE D’ITALIA (06/07/1932): 3 & (24/05/1932): 3. S.v., Roma – Il Sottosuolo dei Fori e ‘L’ Elephas Antiquus’ Della Via Dell’ Impero [05/1932]; in: “Tra elefanti e bufali, Roma era come la savana.” GEDI WATCH / You-Tube (25/11/2021) [05:35]. S.v., Dr. Antonella Aquiloni, Museo Paleontologico Montevarchi (AR) & Fb (30/10/2021) & IL MESSAGGERO (26/05/1932). wp.me/pbMWvy-2kj
Foto: ROMA – Il Sottosuolo dei Fori e ‘L’ Elephas Antiquus’ Della Via Dell’ Impero; in: IL GIORNALE D’ ITALIA (24/05/1932): 3 & IL MESSAGGERO (26/05/1932): 5.
www.flickr.com/photos/imperial_fora_of_rome/51418823412
--- RARA 2023. ROMA - IL GIORNALE D’ ITALIA (24/05/1932): 3 & IL MESSAGGERO (26/05/1932): 5; Alessandra Tomassetti (2008) = A. M. Colini / F. di Cesare: “Mandibola di Elefante Antiquus” (1932). ANCHE: LA REPUBBLICA (10/10/2009): 27 & Sotterranei del Vittoriano & lo scheletro di un elefante preistorico,” Il Giornale (20/05/2002): 31. wp.me/pbMWvy-1Rd
Foto: Roma, I Fori Imperiali & Via Dell’ Impero (1930-32); in: Comune DI ROMA / SIMARTWEB (04/2022).
www.flickr.com/photos/imperial_fora_of_rome/51991671005
4). RARA 2023. ROMA - Dr. Claudio Parisi Presicce, the Via Dell’ Impero: Exhibit – “1932, the Prehistoric Elephant and the Lost Velia Hill.” The Markets of Trajan & the Museum of the Imperial Fora in Rome (8 April thru 20 May 2022), (08/04/2022). wp.me/pbMWvy-2Az
Foto: ROMA – “Dalle casse chiuse per 70 anni nuovi tesori della vecchia Roma. Il Venerdi La Repubblica (18/12/2009): 106 (in PDF); in RARA 2023 / Archivio (26/11/2011).
www.flickr.com/photos/imperial_fora_of_rome/4195082962
PDF = ROMA – Il Venerdi La Repubblica (18/12/2009): 106 (in PDF); in RARA 2023 / Archivio (26/11/2011). wp.me/pbMWvy-3Jm
Foto 1a : ROMA – “Fori Imperiali, il mistero delle 500 casse. Bronzi, mosaici, affreschi e persino una tela di lino: riemergono i reperti catalogati nel ’39. Ora in caveau.” Corriere Della Sera (12/09/2010): 3; in: RARA 2023 / Archivio (13/09/2010).
www.flickr.com/photos/imperial_fora_of_rome/4988366532
Foto 1b : ROMA – “Fori Imperiali, il mistero delle 500 casse. Bronzi, mosaici, affreschi e persino una tela di lino: riemergono i reperti catalogati nel ’39. Ora in caveau.” Corriere Della Sera (12/09/2010): 3; in: RARA 2023 / Archivio (13/09/2010).
Remains of a specific medieval fortress, which was built into four basalt towers, which are the remains of an ancient volcano. It was a guard castle with a large tower, which stood high above the landscape with a great outlook at the delta of Elbe river, an important trade route at that time. The original wooden castle stood at least in the 11th Century, and was modified to a stone castle sometimes in the 12th Century. It was expanded in the late 14th Century, attacked in 1444 and damaged, improvized repairs have been done but in the next year another enemies burned the castle down and killed all the men defending it (they were buried under the castle in a mass grave, which is still there). The castle is mentioned as abandoned in 1515, but the buildings under the core were used until WW2. Most of the stone walls sacked down the hill, creating still visible debris fields, today the basalt towers are pretty well accessible, and it is possible to climb to the highest point and have a beautiful look around the landscape.
In specific, Holy Week is the week just before Easter that extends from Palm Sunday until Holy Saturday and marks the last week of Lent. It has earned the name 'Holy', according to the Orthodox Church, due to the significant events that take place for Christianity in regard to the sufferings of Jesus Christ.
Saturday evening is filled with the anticipation of celebrating Easter Sunday. In some areas, people begin to gather in the churches and squares in cities, towns and villages by 11pm for the Easter liturgies. A few minutes before midnight, all the lights are turned off and the priest exits the altar holding candles lit by the Holy Light, which is distributed to everyone inside and outside the church. At midnight, the priest exits the church and announces the resurrection of Jesus. Many people carry large white candles called lambada, and the church bells toll as the priests announce “Christ is Risen!” at midnight. Each person in the crowd replies with a similarly joyous response.
The capital of the Republic of Cyprus is also its cultural heartbeat.
Nicosia is the capital and largest city on the island of Cyprus, as well as its main business centre.
There is one thing the photograph must contain, the humanity of the moment.
We are making photographs to understand what our lives mean to us.
The best thing about a picture is that it never changes, even when the people in it do.
The camera is an instrument that teaches people how to see without a camera.
I really believe there are things nobody would see if I didn’t photograph them.
Abiti da Sposa Gonfio Pizzo Strapless Non specificato Lunghezza A Terra Organza Ball Gown
www.modame.it/abiti-da-sposa-gonfio-pizzo-strapless-non-s...
specific heat and mechanical equivalent experiment class 11 and class 12 for karachi board and Aga Khan Board 2023
for more visit
www.youtube.com/channel/UC9lkG1mvSf0ybJpMfHpKpXw?sub_conf...
'Cabalga, cabalga, cabalga' es una intervención site specific que ha realizado Teresa Solar (Madrid, 1985) para el programa #AbiertoxObras que tiene lugar en la antigua cámara frigorífica del que fue el matadero de Legazpi.
Solar presenta aquí una gran cabalgata de formas escultóricas similares, arcos continuos que varían en tamaño y simbología y que dejan entrever la geografía creativa de la artista. El significado de la instalación emerge no tanto de la individualidad de cada objeto como de su relación con el conjunto.
La artista reflexiona así acerca de la idea de tránsito y crecimiento, con una pieza que se sitúa entre la disposición morfológica razonada de los museos de anatomía y el almacén accidental y caótico de un parque de atracciones: "un paisaje vacilante que crece más como las ramificaciones caóticas de un arbusto que como las ramas definidas de un árbol genealógico", según sus palabras.
El trabajo de Teresa Solar se materializa en obras audiovisuales y escultóricas, en las que los lenguajes de las dos disciplinas se conectan e interactúan. Muchos de los elementos que utiliza, como decorados y atrezzo para sus películas, funcionan posteriormente como esculturas y viceversa. Teresa Solar explora por tanto la doble naturaleza de estas formas, a través de la mirada parcial de la cámara y, posteriormente, con una nueva entidad en la sala.
Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que invita a artistas a realizar una pieza de nueva producción incentivando el carácter experimental de la creación contemporánea a través de planteamientos que exploran la relación entre el arte y el lugar que lo acoge, la antigua cámara frigorífica del Matadero.
Del 16 de febrero al 29 de julio de 2018. De martes a viernes de 16 a 21 horas. Sábados, domingos y festivos de 11 a 21 horas. Entrada libre.
MAAM = Museo dell’Altro e dell’Altrove di Metropoliz_città meticcia.
Dal primo numero di FART (Fabbrica dell'ARTe) - www.museomaam.it/media/fart01.pdf:
VERONICA MONTANINO. La sua “Stanza dei Giochi” inagura di fatto la lunga lista degli interventi ambientali promossi dal MAAM. Tra le sue opere site specific ricordiamo anche “Momirabilia”, il grande assemblaggio bianco realizzato per “Cattedralehouse”, e “Gaia e Urano”, opera “in comunione” con Franco Losvizzero.
VM: “L’invito rivoltomi da Giorgio de Finis a lavorare al MAAM l’ho accolto con grande curiosità perché mi dava l’opportunità, non comune, di prendere parte ad un’utopia concreta. Ero già convinta che l’arte fosse una pratica utopica di per sé, perché propone sempre un’esperienza di non adeguamento all’ordine costituito delle cose. Ma nel progetto di Giorgio de Finis utopico è non soltanto pensare che l’arte possa incidere sulla realtà circostante e sul tessuto sociale, ma soprattutto il credere ad un’opera d’arte “collettiva”. Ciò che mi è apparso subito chiaro, infatti, era che ogni intervento doveva funzionare come tassello di un’immagine complessiva più ampia, che il significato più vero, quello a cui il suo ideatore mira, sarebbe emerso alla fine nell’immagine d’insieme”.
Vladimír Turner
Site- specific installation
Prague 2014
Dividing vacant lot into three separate parcels. Each parcel has got it's color. Pedestrians are pushed to walk strictly on a beaten paths. Situation suggests citizens of Vršovice neigborhood in prague to think about the public space, it's non/commercial value and future.
Organized by 4+4 Days In Motion
NYC artist Christina Watka installs site-specific work for Felicity House in NYC.
Image Source: Uprise Art
Going for long solo walks without any specific destination during Coronavirus pandemic.
Berlin
June-2020
Photo specific details to come. For more information on student trip to India, visit bit.ly/1ne7Z5q.
Photo by Gigi Giannella, Hackney Downs. 10 minutes dance being performed in different locations in the world in memory of Gill Clarke from 11.45am 27th November 2011. Initiated by Rosemary Lee and Lauren Potter.
Welcome to my Amazon, here are the latest and most fashionable mobile phone shell ：http://www.amazon.com/iPhone-DAYIMM-August-Alsina-Transparent/dp/B014ZFF7BC/ref=sr_1_1?ie=UTF8&qid=1445993041&sr=8-1&keywords=Sweet+iphone+6+case
Photographic documentation of "The Fear of Loss", a site-specific performance piece choreographed by Nadine Joseph with score by Daniel Nubian. The piece was performed by Nadine Joseph and Daniel Nubian in the men's toilet at Wits Theatre, University of the Witwatersrand, Johannesburg, South Africa. 14 May 2015. Shot on Nikon D800 with a single Nikkor 24mmf1.4 lens.
Vladimír Turner
Site- specific installation
Prague 2014
Dividing vacant lot into three separate parcels. Each parcel has got it's color. Pedestrians are pushed to walk strictly on a beaten paths. Situation suggests citizens of Vršovice neigborhood in prague to think about the public space, it's non/commercial value and future.
Organized by 4+4 Days In Motion
No specific ID, but a fascinating looking creature, beautiful plumose antenna. If anyone can offer an ID I'd be very grateful.
Limited edition site-specific artist's book created for Padua's City Hall. Edition of 1000. Pencil drawing and offset print. Available for sale on ETSY: www.etsy.com/listing/127185491/in-comune?ref=shop_home_ac...; Edizione di libro d'artista site-specific realizzata per il Municipio (Palazzo Moroni) di Padova. Edizione bilingue (italiano e inglese) di 1000 copie. Disegno a matita e stampa tipografica. In vendita su ETSY: www.etsy.com/listing/127185491/in-comune?ref=shop_home_ac...
Alison Saar, Born Los Angeles, CA 1956
Rouse, 2012, wood, bronze, paper, antler sheds, and stamped ceiling tin,
The word "rouse" means to awaken and animate, and this sculpture evokes the self-awakening and personal transformation we often experience when encountering a turning point in life. Alison Saar made Rouse when her daughter left for college. The artist began thinking about "being menopausal . . . moving into new territory in my work . . . ready to let this other part of me mature and come out and be realized."
The massive antlers cradle a delicate, translucent adult figure in a fetal position, like a creature preparing to emerge from its cocoon. Scattered on the ground below are antlers that suggest a root network and, as the artist notes, mark "the passage of time to bring a child to adulthood."
“When I’m working with specific ideas, information from cultures outside of my own, I seek to understand them through my own personal experience in relation to everything I feel: my pain, my understanding of love or anger, what I hope for and dream about.”
–– Alison Saar, 1995
Alison Saar’s sculptures and installations are rooted in her interests in materiality and histories of art, religion, and spirituality from a global range of communities, including the African diaspora and Indigenous peoples, among others.
Saar was raised by the accomplished artists Betye and Richard Saar, whose distinct careers shaped her artistic development. Saar’s father, a classically trained art conservator at the Los Angeles County Museum of Art (LACMA), encouraged her to read books on Michelangelo, which influenced the solid and muscular physicality of her sculpted figures. Her mother’s artwork—assemblages of found objects that explore spirituality, folklore, and Black experience—fostered Saar’s interests in self-taught, African, Mexican, Native American, East Indian, and Asian art. In 1963, Saar moved with her parents to Laurel Canyon, a semirural enclave in Los Angeles, where she began the intensive engagement with found materials that proved crucial to her artistic practice, foraging for objects that she viewed as having “memory and spirit and a sense of that history.”
From 1974 to 1978, Saar attended Scripps College in Claremont, studying art of the African diaspora with Dr. Samella Lewis while making abstractions that attempted to, in her words, “evoke spirit through color and a very ethereal form.” In 1981, she received her MFA from the Otis Art Institute in Los Angeles, carving her first wooden figurative sculptures for her thesis. A year later, Saar moved to New York City and began the Studio Museum in Harlem’s Artist in Residence program in 1983. There, Saar constructed larger-than-life sculptures of women and men from salvaged tin ceiling tiles and wood. In 1991, Saar began bronze-casting public artworks, creating figurative statues that responded to their sites through layered cultural and historical references.
In the 1990s, Saar became a mother and began integrating this new experience into her work. She collaborated with her mother on works and shifted her subject matter to be “very female.” This mode culminated in Rouse (2012, SAAM), made when her daughter left for college. During this period, Saar also addressed current events such as the AIDS epidemic, Hurricane Katrina, and racial violence, creating an array of works that “attempt to distill bigotry to its essence in order to dispel it.” In the years following President Barack Obama’s election, she continued to probe racism through works that recast historical Black literary characters from racial stereotypes to autonomous subjects, such as in Reapers (2021, SAAM).
Imbuing urban and rural detritus with personal and cultural references, Saar’s career-long engagement with figuration takes “the ordinary” and goes “with it into the surreal.” As she once stated, “I’ve always treated the body as a courier for ideas, and within this shell we can understand and feel an experience better than a cerebral understanding.”
Authored by Gabriella Shypula, American Women’s History Initiative Writer and Editor, 2024.
____________________________________
"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
..
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
La Delice Pastry Shop and Candy Store Chocolate specific on 3rd Avenue and 27th Street Kips Bay New York City - 03/30/2017 - NYC - Mystery Magic Chef outside mannequin Superchef Comicbook super hero comic book comics standee Halloween stand up store stores popup Bake Bakery Easter candy store entrance Pop n Fresh Mannequins dummy wax sculpture standees butler domestic hat uniform chocolate 2017 Mysterious
more to specific Mr BECKHAM...
"ehh.. itu Davib Beckham kan milah.. yelah..aku konpem..Beckham tue.."
"omak nie.. gilokan sangat la si Beckham tue.. cakap macam pompuan, buek malu yo.."
"alamak... kantoi aku.. Beckham turun KLCC....hishh..."
Picture by Gigi Giannella. Queens Crescent Market, Kentish Town, London. 3rd December 2011. Part of Space for Change exhibition. Performance: Fumi Tomioka and Katsura Isobe
Well, it's a start. Three hours of non-smokingness in the middle of tobacco country. Sign on a low-quality Mexican restaurant, Benton, Kentucky.
Error And Omission Insurance Quotes For Insurance Brokers
Whenever you are searching for Errors and Omissions agents, there are specific points that you must consider if you are planning to find the correct individuals to sell you insurance plan. Since several people make pricey errors with regards to selecting the right Errors and Omissions insurance plan, we have created one small post which you can use like a guideline.
1. Search specifically for E&O insurance agents
Your regional insurance plan guy may not be the best individual to offer you Errors and Omissions insurance plan. The majority of insurance providers would not be exclusively dedicated to Errors and Omissions, but instead will have numerous real estate as well as injury agents. Errors and Omissions insurance coverage is a particular set of skills. An insurance agent must appear in and check out your workplace, your workers, the type of customers which you interact and some other factors prior to he may evaluate the degree of danger which you might encounter. Having the degree of danger, he could after that figure out your insurance premiums.
2. Search as well as contrast
Whenever you are looking at shopping around, you must deal with E&O agents similar to any other agents. There are a few who are inexpensive, however that doesn't imply that they are bad; other people are costly however this doesn't imply that they are excellent. The best errors and omissions insurance broker is the person who offers you the widest insurance for the ideal cost. It means that you must obtain rates from many prior to you hire one of them.
3. Examine legal history
You should by no means purchase any type of insurance policy, whether E&O or P&C without examining the length of time it requires an insurer to pay insurance claims. Errors and Omissions is an element of insurance which can't wait; it's not similar to automobile insurance or home insurance which you could wait a couple of weeks before pay out. E&O needs quick reply - your insurance provider must avail funds instantly to fund your defense and court expenses. When you have to pay for compensation, the cash must be available instantly.
The easiest way to figure out if an organisation is litigious is to go online. Sign in online forums where individuals talk about these kinds of subjects and request them who's excellent and who isn't excellent. You may also ask the errors and omissions agents whom you talk with the span of time they require to come through whether this is agreed in the agreement which you sign with them.
4. See the terms and conditions
What gets many people into difficulty with regards to all sorts of insurance plan is the contract details. They don’t analyse it carefully enough to make certain that what's written is what they are searching for. Should things get wrong later on, it will be difficult to get restitution. Read through each and every document in the Errors and Omissions insurance plan that you select.
Real estate and Casualty Agents are among the leading Errors and Omissions agents, and they have the attributes which we have outlined here. To get your quest for the best insurance agent brief, give them a call or send them an email immediately for a quotation.
Error And Omission Insurance Quotes For Insurance Brokers
Error And Omission Insurance Quotes For Insurance Brokers wsd.dli.mt.gov/local/livingston/pages/exit.asp?url=errors...
detail of "Constellation" by artist nayland blake, a site-specific installation that rises 5 floors at the new (1996), main san francisco public library. names of 160 authors, et al, are illuminated and reflected. fabrication by rocket science. the installation wall is on the right in this photo: www.rocsci.com/gallery/22library_wall_JPG.html
To Share a Photo on Social Media:
1. Click on the set you would like to browse
2. Click on a specific photo
3. Click on the square with an arrow coming out on the ride lower side of the screen
4. Click on the Facebook icon in the popup window
4. Follow instructions in pop-up window
To Download a Photo:
1. Click on the set you would like to see (Awards, Pre/Post Race, Finish, etc.)
2. Click on a specific photo from the set
3. Click the three bubbles on the right side of the screen which is next to the square with arrow coming out.
4. Click the photo sizes you would like and then click download.
Site-Specific Series, presented by Guelph Contemporary Dance Festival
Photo by Dawn Owen, for the Ontario Arts Council and the Ministry of Culture at the spOtlight festival, June 2009. www.spOtlightfestival.ca
______
Série propre au site, présenté par Guelph Contemporary Dance Festival
Photo de Dawn Owen, prise au festival En vedette en juin 2009, pour le Conseil des arts de l’Ontario et le ministère de la Culture. www.festivalenvedette.ca
"Stone and Silk" és una peça site-specific de la cia.Siberia/Paloma Muñoz que interactua directament amb l'arquitectura: el pati d'armes i el terrat del Castell de Montjuïc.
Dijous 15 d'octubre de 2020 a les 18.45h al Castell de Montjuïc
Una coproducció de l’Ajuntament de Barcelona (programa Creacio i Museus) amb la col·laboració de Graner, el Castell de Montjuïc, el Festival Grec de Barcelona i la Biennal del Pensament 2020.
Fotografies de Nora Baylach (La Vertical)
Site Specific Series
Two Unit Birdhouse
-Mortise and tenon joinery
-Slopped roof
-Entrance roof
-Water intake for plumbing
-Passive ventilation
-Made from FlatCor - 100% recycled and formaldehyde-free material
-Weatherproofed with non-toxic and non-hazardous sealant
Intended for:
Black-Capped Chickadee
Song Sparrow
White-Throated Sparrow
House Sparrow
American Golfinch
Titmice
Wrens
And many others...
Project Swarming Time is a site-specific installation spread out across several locations on Market Street. With minimal intervention, the facades, corners, and empty walls of buildings are studded with hundreds of clock mechanisms. The clock mechanisms appear as if swarming through public spaces in transition. These mechanisms only contain a second hand, and are devoid of the typical hour and minute hands of a clock. The solitary, ticking second hands remind us of the fragility of the present. Each ticking clock represents a life force struggling to sustain itself in the urban environment. Collectively, they symbolize the camaraderie and endeavor of humankind to rise above the past. The anticipation of the future and the nostalgia of the past are blurred as the constant ticking of hundreds of red second hands brings us back to the present. (image courtesy Big Car)
In specific, Holy Week is the week just before Easter that extends from Palm Sunday until Holy Saturday and marks the last week of Lent. It has earned the name 'Holy', according to the Orthodox Church, due to the significant events that take place for Christianity in regard to the sufferings of Jesus Christ.
Saturday evening is filled with the anticipation of celebrating Easter Sunday. In some areas, people begin to gather in the churches and squares in cities, towns and villages by 11pm for the Easter liturgies. A few minutes before midnight, all the lights are turned off and the priest exits the altar holding candles lit by the Holy Light, which is distributed to everyone inside and outside the church. At midnight, the priest exits the church and announces the resurrection of Jesus. Many people carry large white candles called lambada, and the church bells toll as the priests announce “Christ is Risen!” at midnight. Each person in the crowd replies with a similarly joyous response.
The capital of the Republic of Cyprus is also its cultural heartbeat.
Nicosia is the capital and largest city on the island of Cyprus, as well as its main business centre.
There is one thing the photograph must contain, the humanity of the moment.
We are making photographs to understand what our lives mean to us.
The best thing about a picture is that it never changes, even when the people in it do.
The camera is an instrument that teaches people how to see without a camera.
I really believe there are things nobody would see if I didn’t photograph them.