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PHOTOS: BARRY PRIEST
Contact Young Actors Company (CYAC) working with Grupo XIX on their new site-specific theatre performance, Memoria da Chuva (Memories of the Rain) at MOSI (Museum of Science and Industry.
The performances will take place Thursday 27 August to Saturday 29 August 7pm & 8:30pm (Thu-Fri). 1pm, 3:30pm & 7pm (Sat).
Tickets: £8/5 (Limited FREE tickets for FreeAct members).
Booking: 0161 274 0600 / www.contact-theatre.org
Whispers echo through the dark cavernous halls of an old Victorian warehouse as fragmented stories stored away from the age of steam wait to be retold…
An atmosphericsite-specific show performed at The Museum of Science & Industry’s 1830 Warehouse, directed by Grupo XIX de Teatro (Hysteria, Victoria Baths).
The 1830 Warehouse, Museum of Science & Industry, Liverpool Road, Castlefield, Manchester M3 4FP.
@algonquinoutfit : @_campingfamily My wife and I were on a canoe trip the year there was a deer mouse explosion! We had a "carpet" of… t.co/zTKL1UlS3y (via Twitter twitter.com/algonquinoutfit/status/867171420169752576)
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
SITE SPECIFIC VIDEO PROJECT
In reinterpreting the simple human activity of walking as a filmed event, the STREET WALKS SERIES picks up on the juncture between the real and the potential for staged fictions, as reframed through the cameras lens and asks one to consider the city streets as theatricalised spaces, everyday action as a potent form of performed narrative and the local architecture, a continuous scenography to the daily activities of the general population - Situating the viewer/participant between the boundaries of the personal, the public and the private. Filmed at walking speed from a moving vehicle, a distinct approach to the way the city's topography is conventionally witnessed is generated. Highlighting the characteristics of the urban composition in juxtaposition to the filmed body.
Originally began in Hamburg as part of a scenography for a dance performance, other versions have been produced in Berlin, Hakodate (Japan) and Kuopio (Finland) and have been presented either as outdoor site-specific projections or stand alone installation gallery works.
The process to production is deeply embedded within a socially organized idea where native residents are invited to take a walk as they are filmed. Through such a simple encounter an interesting and diverse set of understandings are seamlessly tapped into, as streets that hold significant memories and historical relationships seem to become the chosen routes and through their screening, a validating exposure of the local environment is produced.
(HGM 1663 M, Heisey Glass Museum, Newark, Ohio, USA)
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"1401 Empress" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Alexandrite" refers to a famous and desirable type of colored glass that Heisey produced, with neodymium oxide (Nd2O3) as the coloration agent. The color of the glass changes under different lighting conditions.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
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From Bredehoft (2004):
Alexandrite: 1929-1935. A dichromatic glass showing lavender with ruby tints under natural and incandescent light and a strange green-lavender under fluorescent light. Purportedly Heisey's most expensive production color.
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From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
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Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
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Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
heiseymuseum.org/gallery/heisey-alexandrite/
and
www.20thcenturyglass.com/glass_encyclopedia/neodymium_glass/
Zehra Sonya
"Red Clouds"
Site-Specific Installation
Arab Catholic Scouts
Jerusalem Show VII: Fractures, Details
curated by Basak Senova
organized by Al Ma'mal
part of Qalandiya International II
Photo by Issa Freij
This specific set of tracks went straight through a wetland. But now that they are no longer in use, nature has taken back over. The low-lying area is flooded almost every month of the year, and even has many small hardwood type trees growing in it.
I have seen everything in this vernal from Spotted Salamander, and Marbled Salamander breeding activity. To Upland Chorus Frogs breeding in it, and even Eastern Painted Turtles occupying it in the warmer months.
Site-specific collaboration/installation with Katrine Hildebrandt for Twelve Chairs Shop|Studio in Boston, MA. Photo by Katrine Hildebrandt.
--Phobia. Common specific phobia. An intense fear of something that poses little or no actual danger.
As far back as I can remember the thought, sights or sounds of birds has sent me cowering in a corner feeling decidedly sick to my stomach (ornithophobia). Oh yes, I can intellectualise the concept of pretty looking and sounding birds but in my mind’s reality they are evil vicious creatures out to get me: rats with legs and beaks at best.
Fast forward 30 years of avoiding the vile creatures, to the first bird picture in my Flickr stream. OK, it was taken from at least 30 foot away using the longest zoom I could lay my hands on at the time but instead of flinching and feeling sick I looked at it through the viewfinder, took the picture and even edited it when I got home. It’s not the kind of picture I will go back to look at again and again, but it so far has survived many ‘cullings’.
Since that first picture there has been many more and I am finding it much easier to view, take or edit bird photographs. I guess it’s fair to say that I am re-ordering my emotional response to the sight of birds: something I didn’t have the ability to do pre-camera. I use a completely different response framework where the links to emotion run alongside those that register Interestingness.
Failed attempt for site-specific installation in drought water reservoir near Ardales- El Chorro in South Spain. This beautiful natural scenery is known for its unique rock mountains, rivers and big water reservoirs. I have been travelling in south Spain during January 2022 seeing how dry this region is. I found out that this drought blocks of clay in the bottom of one of the reservoirs serves as construction puzzle-like bricks. My goal was to build an igloo in which I would stay overnight. Igloo as Eskimo traditional architecture transferred to drought landscape was meant to serve as a monument to desertification which is one the effects on climate change. My amateur construction skills and weather conditions spoiled my attempt. I did not have enough energy to retry it as my igloo was on opposite side of the river with liquid sands and I had no more energy to carry tons of clay and repair it.
El Chorro, Spain 2022
A site-specific adaptation inspired by Interior by Maurice Maeterlinck for the Banqiao 435 art zone in Taipei, Taiwan. Adapted and co-directed by Orly Noa Rabinyan & Evan T Cummings.
As part of In Transit, a day-time site-specific promenade happening of ESP-I & WWLab Taipei 2016.
Photographer: Mickey Tibes.
יצירה מקורית בהשראת ״אינטריור״ של מטרלינק בבימויה של אורלי רביניאן, יצירה תלויית מקום לפארק האמנות בטייפה, טאיוואן
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
Founded in 1997, the Buffalo Transportation Pierce Arrow Museum houses a large collection of classic cars, motorcycles, and other historic automobile-related artifacts, with a specific focus on the Pierce-Arrow Motor Car Company, which operated in Buffalo between 1901 and 1938. The museum was initially located in a one-story former commercial building on Michigan Avenue, opening in 2001 to coincide with the centennial of the Pan-American Exposition. The museum was expanded in 2011-2012 to feature a new two-story postmodern-style wing that houses a reproduction of a filling station designed by Frank Lloyd Wright for the Tydol company, which had been intended to be built in Buffalo. The museum is filled with a collection that includes cars dating between 1903 and the 1960s, with several examples of automobiles manufactured in Buffalo by the Pierce-Arrow Motor Car Company, as well as bicycles, fuel pumps, automobile memorabilia, horse-drawn carriages, motorcycles, and a reconstruction of a filling station designed by Frank Lloyd Wright in 1927 for the Tydol Gas Company. The building itself is relatively simple, with the original section having a red brick exterior, limestone trim, a low-slope roof enclosed by a parapet, blind window openings infilled with darker brick cladding, and a barrel vaulted roof at the rear, with the cladding on this building having been replaced during the 2011-2012 renovation to closely match the addition. The 2011-2012 addition is two stories in height, with a large interior atrium housing a filling station exhibit, with a clerestory on the roof, red brick cladding, a large curtain wall facing Seneca Street, a primary entrance featuring a semi-circular parapet with a metal wheel with spokes embedded into the wall above the door, and cement block cladding on the Carroll Street sides of the building. The museum has a constantly rotating collection on display, and occasionally hosts special events.
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
Photographic techniques capture electromagnetic wavelengths beyond human vision, revealing features invisible to the naked eye. These signals are processed into interpretable forms using methods like color mapping.
Pink lacks a specific electromagnetic wavelength, while grey poses a limitation due to its representation of only intensity—a blend of light and dark without spectral specificity. Imaging techniques reliant on spectral variation produce identical results for greyscale images unless non-visible data is present. Deviations from this uniformity may indicate errors, misinterpretations, or unknown phenomena.
Contention persists over analytical debates, including dismissible claims like Van Allen belt dangers and contested evidence of lunar mirrors. The precision of laser reflections targeting a moving 3x3-foot marker on the Moon highlights technical skill but often fails to resolve skepticism. For instance, a 0.1° shift moves a laser spot 670 km across the Moon's surface.
Forensic analysis (2022, 2023) of Apollo 11–17 photographs assessed authenticity claims. Images of humans in space, Earth, and the Moon's distant views were validated, but Moon landing visuals showed variations, suggesting diverse techniques may have replicated certain elements.
PEMi (Photoelectromagnetic Image) software enhances forensic analysis by differentiating natural and artificial light sources, revealing hidden features. Each PEMi-ID links to original sources, ensuring traceability and comparison.
Further exploration is available:
Lehti, A. (2024). The Silence of Inquiry: Forensic Reflections Reveal a Crisis of Perception. figshare. doi.org/10.6084/m9.figshare.28078982
Credits
2022-2025 © Andrew Lehti
1961–2023 © NASA, ESA
Software: PEMi (GitHub: andylehti/PEMi.git)
Explore PEM-I: pemimage.streamlit.app
CC BY-SA 4.0 License: creativecommons.org/licenses/by-sa/4.0/
Research:
Lehti, Andrew (2024). Cognitive Psychology and the Education System. figshare. Collection. doi.org/10.6084/m9.figshare.c.7532079
CC BY-SA 4.0
This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License. To view a copy of this license, visit creativecommons.org/licenses/by-sa/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.
Healthcare Specific custom build exhibition stand design for Boehringer Ingelheim at ERS, Berlin by b2 Exhibition Specialists
The following card was made for 3 specific challenges in mind. The first challenge is the Challenge over at the Simon Says Stamp Monday Challenge Blog, where the theme this week is, "EMBOSSING". You can check it out here:
www.simonsaysstampblog.com/mondaychallenge/
The next challenge is the Simon Says Stamps Wednesday Challenge Blog, where the theme this week is also "EMBOSSING". You can check it out here:
www.simonsaysstampblog.com/wednesdaychallenge/
Finally the last challenge blog is the Word Art Wednesday Blog, Challenge #97 where the theme is "ANYTHING GOES". You can check it out here:
www.wordartwednesday.blogspot.com/
Thanks for taking the time to look at my designs. All comments are welcome and appreciated. Good luck to everyone who joins in all the fun. Have a wonderful and blessed day.
Matadero Madrid presenta Visita guiada, una intervención site specific que ha realizado Elena Alonso (Madrid, 1981) para el programa Abierto x Obras, que tiene lugar en la antigua cámara frigorífica del que fue el matadero de Legazpi. La propuesta de la artista parte de la idea de encontrarnos en una cámara aislada, donde no existe apenas comunicación entre el interior y el exterior, y del concepto de conservación, que ha estado ligado a este espacio a lo largo de su historia.
Tras sucesivas visitas a la nave, la artista comenzó a fijarse en toda la información visual que había quedado plasmada en paredes y techos. Lo que más llamó su atención fueron una serie de agujeros repartidos por la cubierta de las naves laterales, clausurados en la última reforma.
La intervención propone un recorrido por la nave utilizando como guía un pasamanos. Una línea trazada en el plano como un dibujo, que en esta ocasión toma forma escultórica. Su elaboración con distintos materiales, como madera, cemento, corcho, escayola pintada o cobre, pone de manifiesto el interés de la artista por la artesanía y el diseño, y ofrecen al visitante el deleite a la vista y al tacto de los materiales trabajados.
En la penumbra de la nave encontramos esta particular guía que nos lleva a descubrir una nueva perspectiva del espacio. Los agujeros han sido reabiertos, por ellos entra la luz y se vislumbra otra galería superior, antes oculta a la mirada del visitante.
En esta intervención artística hallamos un juego de contrastes, de impedimentos y de posibilidades. En cierta manera, recuerda a las cuevas visitables donde el recorrido nos va mostrando la particular geomorfología que conserva en su ambiente antes estático. En este caso, la cuidada elaboración del pasamanos contrasta con la brutalidad del espacio.
El pasamanos es a su vez una guía y una barrera, una línea que sortea y adorna la arquitectura de la nave. Una pieza que podemos ver y tocar, y que nos lleva a descubrir un lugar inesperado sobre nuestras cabezas, pero que solo podemos llegar a entrever desde la distancia.
Elena Alonso (Madrid, 1981) Licenciada en Bellas Artes y Máster en Arte, Creación e Investigación por la Universidad Complutense de Madrid, ha realizado también estudios en Suecia y Helsinki. Desarrolla su trabajo principalmente mediante el dibujo, relacionándolo con otras disciplinas como la arquitectura, la artesanía o el diseño, y prestando especial atención a las problemáticas vinculadas a la afectividad con el entorno. Ha expuesto de forma individual en el Museo ABC (El espacio alrededor, 2016); Espacio Valverde (Canto Blando, 2016; Composición de lugar, 2014; La tapadera, 2012); en la Sala de Arte Joven de la Comunidad de Madrid (2011); y en la Cable Factory de Helsinki (Paredes de piel, 2007).
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. Una sala de más de 800 metros cuadrados que todavía conserva su aspecto original y las huellas de un incendio sucedido en los años 90. Un espacio característico por su estructura diáfana de arcos volados y columnas. Desde 2007, Abierto x Obras ha acogido las intervenciones de artistas como Daniel Canogar, Jannis Kounnellis, Román Signer, Carlos Garaicoa, Fernando Sánchez Castillo, Jordi Colomer, Los Carpinteros, Cristina Lucas, Eugenio Ampudia o Darya von Berner, entre otros.
NORMAN ROCKWELL
"Without thinking too much about it in specific terms, I was showing the America I knew and observed to others who might not have noticed. My fundamental purpose is to interpret the typical American. I am a story teller."
-Norman Rockwell
No other artist has been able to capture the essence of the American experience like Norman Rockwell. Even in the early stages of his career, the aspect that distinguished his work was that it was about the Everyman, providing a chronicle of the simple joys, awkward moments and trying circumstances that give our lives depth. While history was in the making all around him, Rockwell chose to fill his canvases with the small details and nuances of ordinary people in everyday life. He once said himself, “Without thinking too much about it in specific terms, I was showing America I knew and observed to others who might not have noticed.” Taken together, his many paintings capture the essence of the American spirit.
EARLY LIFE
Norman Perceval Rockwell was born in 1894 in New York City, and he always knew he wanted to be an artist. Though he drew throughout his childhood, he enrolled in his first art classes at the age of 14. Just two years later, halfway through his sophomore year, he quit high school in order to enter art school full time. Entering the Art Students League, he studied under the great illustrator Thomas Fogarty, whose instruction would have tremendous influence over the young artist.
Rockwell’s talent shined bright early, and he found success at a young age. He completed his first commission for a series of Christmas cards before he was 16. By 17, he illustrated his first children's book, and soon after received his first assignment for Boys' Life magazine. He was on his way.
A RISING STAR
By the age of 19, Rockwell was named Art Director for Boys’ Life magazine, and his career was officially launched. He moved to New Rochelle with his family in 1915, where he rented a studio with fellow illustrator Clyde Forsythe. It was in New Rochelle where Rockwell met some of the greatest illustrators of his age - J.C. and Frank Leyendecker and Howard Chandler Christy were among the many residents. In particular, Rockwell came to idolize J.C. Leyendecker – he would refer back to his predecessor’ works time and again in the decades that followed.
It was the golden age for illustrators, when the ultimate prize was considered the cover of the Saturday Evening Post, the nation’s most popular magazine that reached millions of American homes. Rockwell landed his first Post cover at the young age of 22 – over the next few decades, he would complete 321 covers for the legendary magazine.
AMERICA’S GREATEST ILLUSTRATOR
His work with the Post had skyrocketed his reputation, and the young artist attained the rank of national celebrity by the age of 30. In 1930, he married his second wife, Mary Barstow, and the family soon after expanded to include three sons. They moved to Arlington in 1939, where Rockwell hoped to find new inspiration in the wake of the Great Depression. Rockwell’s work began to reflect the small-town, rural life that surrounded the family in Arlington. His scenes became much less posed, as he abandoned the Post’s trademark circle in favor of more detailed and humorous scenes. Using his friends and neighbors as models, his illustrations began display the genuine, unmistakable sentimentality that makes Rockwell's art stand out from all others.
From World War II soldiers to Rockwell’s famed Four Freedoms series, he never strayed from difficult topics, but always painted them with an optimistic air. In his iconic Willie Gillis series of Saturday Evening Post covers, for instance, Rockwell championed "the plight of an inoffensive, ordinary little guy thrown into the chaos of war." The series of 11 total covers followed the story of a young private during World War II. Comic yet still patriotic, it introduced the American wartime public to a young soldier who they came to know and love as if he were their own friend, brother or son. In fact, Willie Gillis was so beloved that many wrote letters to the Post enquiring after his well-being – in spite of the fact he was a creation of Rockwell’s imagination. The final painting in the series shows Willie in a safe, postwar college environment, peacefully studying under the presumed auspices of the G.I. Bill.
Willie Gillis is just one example of the characters that Rockwell brought into people's lives and homes every week through his highly popular magazine covers. Though he ended his career with the Post in 1963, his images endure in the collective consciousness of the American people. Idealistic and innocent, his paintings evoke a longing for a time and place that existed in his rich imagination - and in the hopes and aspirations of the nation.
LASTING LEGACY
In 1969, the Norman Rockwell Museum, known as the Home for American Illustration, was constructed in dedication to Rockwell’s work. Today, fans of his work travel to Stockbridge, Massachusetts to admire the world’s largest collection of original Rockwell art. Rockwell's distinguished career earned him the Presidential Medal of Freedom in 1977, the highest honor bestowed upon an American civilian. One Norman Rockwell painting, Working on the Statue of Liberty, was displayed in the Oval Office at the White House during the administrations of Bill Clinton, George W. Bush, and Barack Obama. Beloved by generations, his legacy only continues to grow.
Rockwell once stated, "I don't want to paint for the few who can see a canvas in a museum, for I believe that in a democracy art belongs to the people." Rich or poor, young or old, male or female, anyone could personally identify with each painting he composed. Both technically superb and emotionally powerful, Rockwell's paintings capture the resilience and beauty that is the American spirit.
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
SPECIFIC INFO:
GENERAL INFO: St. Patrick's Parade day at P.J.'s Lager House, Corktown, Detroit, Sunday, March 13, 2011. Photographs by Donna Terek, 313-598-0179
Specific location not disclosed because of vulnerability to human disturbance.
San Luis Obispo Co., CA
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.
Cyprus is an island in the Eastern Basin of the Mediterranean Sea. It is the third largest island in the Mediterranean and the world's 80th largest island by area.
Site specific installation designed and produced by SOFTlab for the Frankfurter Kunstverein.
Group Exhibit:
The Systemized World
Curated by:
Photo: Marius Watz
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
Aus der Serie „Denudation“.
Site-specific Performance und Intervention
Hohe Tauern, Großvenediger August 2014
Video, Fotografie und Installation
Performance: Andrea Nagl & Markus Wintersberger
Fotografie / Video: Andrea Nagl & Markus Wintersberger
Nagl ~ Wintersberger 2014 / 2015
This intra-specific display is known interchangeably as the piping display (because of the loud calls that accompany it) and the cocked tail display. "All oystercatchers are predominantly monogamous and breed in summer. During the piping courtship display, two birds utter a single piped note while walking, running, or flying closely parallel, turning often. This display may be joined by nearby pairs for a piping "tournament" and is also used as a mate greeting or territorial display" (Grzimek's Animal Life Encyclopedia 2004). Semiahmoo County Park, Blaine, WA. Padden Creek Estuary, Bellingham, WA.
Site specific performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
Shoreham Sculpture Trail
with The London Group
and Friends. A weekend of site specific art by over 70 artists spread around the village of Shoreham, Kent.
One of the largest sculptire trails the UK has ever seen. Featuring 30 London Group members and invited artists, including many prominent UK sculptors. 76 artists will be exhibiting over 200 sculptures in 26 gardens. The astonishing diversity of the exhibits ranges from the monumental to the ephemeral with works in metal and stone, with interactive work and performance and the Trail will be particularly unusual in the number of site-specific works. The idyllic village of Shoreham Kent, a gem just on the edge of London, is a beautiful place to visit just for itself and in June the gardens of all sizes, many on the river, will be at their best - visitors couldn't wish for more perfect surroundings in which to view sculpture. Most artists will be present to meet visitors during the trail and many will be giving talks. The Trail is curated by London Group President Susan Haire.
Closeup from a specific area in high resolution. The colors are from www.nasa.gov/image-feature/global-mosaic-of-pluto-in-true... with a slightly increased color intensity.
Target: Pluto
Spacecraft: New Horizons
Instrument: Long Range Reconnaissance Imager (LORRI)
Credit:
NASA/Johns Hopkins University Applied Physics Laboratory/Southwest Research Institute
site specific art, Mo on tour, Canada Ki San, Oil Barrel Totem Pool, modern storry telling, Mirko Siakkou-Flodin
Shoreham Sculpture Trail
with The London Group
and Friends. A weekend of site specific art by over 70 artists spread around the village of Shoreham, Kent.
One of the largest sculptire trails the UK has ever seen. Featuring 30 London Group members and invited artists, including many prominent UK sculptors. 76 artists will be exhibiting over 200 sculptures in 26 gardens. The astonishing diversity of the exhibits ranges from the monumental to the ephemeral with works in metal and stone, with interactive work and performance and the Trail will be particularly unusual in the number of site-specific works. The idyllic village of Shoreham Kent, a gem just on the edge of London, is a beautiful place to visit just for itself and in June the gardens of all sizes, many on the river, will be at their best - visitors couldn't wish for more perfect surroundings in which to view sculpture. Most artists will be present to meet visitors during the trail and many will be giving talks. The Trail is curated by London Group President Susan Haire.
(HGM 5092 M, Heisey Glass Museum, Newark, Ohio, USA)
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"1404 Old Sandwich" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Amber: A pale shade of amber and also a deeper amber was produced on occasion from the 1920s on, primarily for the Fred Harvey Restaurants of the Santa Fe Railroad. In 1951, Heisey listed amber in their catalogs and called it Sultana. Sultana was a medium to deep amber.
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From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
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Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
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Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
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