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This site-specific video installation is about removing people from their terrestrial urban experience and placing them, for just a few moments, at the zenith of the over and the nadir of the under, which is to say, above the clouds and below the sea.
This installation took place in Harlem, New York, from October 11th, 2012 – October 28th, 2012. It was produced in partnership with Chashama and the New York Foundation for The Arts' Curatorial Program.
For more info: www.ericcorriel.com/art/The-Over-And-The-Under
Thanks to Flickr user Reverend Sam (www.flickr.com/photos/reverendsam/) for letting me use one of his pics (www.flickr.com/photos/reverendsam/4291550764/) as a layer in the clouds video.
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 performances by BA Drama students at "The Collection" and "Usher Gallery".
Date: 9 May 2015
Time: 11am -3pm
photo by Fenia Kotsopoulou
Edited Webb Space Telescope image of the Sombrero Galaxy (M104) in infrared. Color/processing variant. (Of note are that all space telescope (and ground telescope that use digital images (eg, all of them) use various colored filters to gather light a specific frequencies and then combine several images with different filters to create color images. The colors are generally assigned to look "nice" and not necessarily what humans would see if they could actually see these with their naked eyes. (Most astronomical objects that people see through telescopes appear black and white.) So, the colors you see were assigned by a person (or committee) to look nice or to bring out salient scientific information. This is especially true with images taken with filters outside the range of what humans can see - eg, infrared, X-ray, ultraviolet, etc.)
Original caption: The NASA/ESA/CSA James Webb Space Telescope recently imaged the Sombrero galaxy with its MIRI (Mid-Infrared Instrument), resolving the clumpy nature of the dust along the galaxy’s outer ring. The mid-infrared light highlights the gas and dust that are part of star formation taking place among the Sombrero galaxy’s outer disk. The rings of the Sombrero galaxy produce less than one solar mass of stars per year, in comparison to the Milky Way’s roughly two solar masses a year. It’s not a particular hotbed of star formation. The Sombrero galaxy is around 30 million light-years from Earth in the constellation Virgo. [Image description: Image of a galaxy on the black background of space. The galaxy is a very oblong, blue disk that extends from left to right at an angle (from about 10 o’clock to 5 o’clock). The galaxy has a small bright core at the centre. There is an inner disk that is clearer, with speckles of stars scattered throughout. The outer disk of the galaxy is whiteish-blue, and clumpy, like clouds in the sky. There are different coloured dots, distant galaxies, speckled among the black background of space surrounding the galaxy.]
FIGHT SPECIFIC ISOLA Mural y documentos. 2014 BERT THEIS + ISOLA ART CENTER Milano, Italia.
No hace mucho tiempo, Isola era un antiguo barrio industrial y "pulmón verde" en una zona céntrica de Milán. Una de esas antiguas áreas donde conviven parques y jardines junto a viejas fábricas y galpones industriales. El barrio está ubicado muy cerca de la estación central de trenes, y con el paso del tiempo la población ha crecido debido a la migración hasta convertirse en un centro de diversidad multicultural donde conviven trabajadores con gente de clase media, artesanos, comerciantes, artistas e intelectuales (y por supuesto, también algunos criminales…). Isola, que significa isla en italiano, ha venido viviendo desde los últimos 20 años un desarrollo urbano basado en intereses comerciales y especulación inmobiliaria, emprendimientos que obviamente tenían poco interés por las necesidades reales del barrio y de la comunidad local.
Buscando dar respuesta al salvaje proceso de gentrificación, artistas, curadores, filósofos y activistas de Milán -y distintas partes el mundo- decidieron crear un espacio para experimentar estrategias innovadoras como una forma de resistencia a la transformación urbana, regenerando el tejido social y promoviendo una cultura alternativa.
Durante los últimos diez años Isola Art Center funcionó como una plataforma experimental abierta para el arte contemporáneo con sede en el barrio. Sus proyectos auto gestionados y "sin presupuesto” se sostuvieron gracias a la energía, el entusiasmo y la solidaridad, de vecinos, activistas y artistas que ensayaron el uso de nuevos términos como ´cubo sucio´ (en oposición al White Cube), “Centro Disperso” y “Fight Specific” (parodiando el site-specific).
Sin embargo la lucha cultural de Isola Art Center no impidió (por desgracia) que el gobierno de la ciudad de Milán realizara la demolición de su centro cultural ubicados en la “Stecca degli Artigiani" para la construcción de un inmenso rascacielos, apropiándose también de toda el área verde y los parques de los alrededores.
En la exposición presentamos “Degradazione, Speculazione, Demolizione” una obra ready-made de un mural un mural pintado los muros del el barrio de Isola durante los años 80, junto a la imagen original y un libro que documemta la experiencia llevad adelante por los artistas intentando responder a la presión constante del desarrollo neoliberal y la gentrificación
Cayuga Park in San Francisco was made famous by its amazing sculpture-filled gardens, created by the groundskeeper, Demi Braceros. I took these photos in 2008, seeking to document all the sculptures, shortly after Demi retired. Now, three years later, most of the sculptures have disappeared or been dismantled, and the gardens have fallen into a sad state of disrepair. I had no idea how glad I would be to have this visual documentation of what was once there.
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...
(HGM 967 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1236 Eagle" 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.
"Cobalt" refers to a type of colored glass that Heisey produced. It is also known as "Stiegel Blue".
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):
Stiegel Blue: 1932-1941. Commonly called cobalt blue. Heisey's has exceptionally good color.
-----------------------------------
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.
-----------------------------------
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.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Treptow. Aus der Serie „DRAF (Deutsch russisch amerikanische Freundschaft)“
Site-specific Performance und Intervention
Sowjetisches Ehrenmal im Treptower Park, Berlin 2015
Video, Fotografie und Installation
Performance: Markus Wintersberger
Fotografie / Video: Andrea Nagl
Nagl ~ Wintersberger 2015
13 Sep 2020 10.17am
Ms. Not Panther: That's not exactly correct.
Neighbor: I know.
Ms. Not Panther: To be specific, you went further up the driveway and was checking the flowers, and I followed you back here.
Neighbor: That's correct.
Ms. Not Panther: Have you checked the mailbox?
Neighbor: I have. There is no -
Ms. Not Panther: No letter from your ex-neighbor who isn't my ex-neighbor.
Neighbor nodded.
Ms. Not Panther: I didn't even check your mailbox and I know it. He isn't going to put any biscuits into the letter and post it to you so no point for me to check anyway.
Neighbor nodded.
Ms. Not Panther: Although in the past when you received biscuits samples, you would give them to me - when I visit you.
Neighbor nodded again.
Ms. Not Panther: Time flies huh. A few hours after this picture was taken, probably your ex-neighbor sent a picture of me with the flowers on the side, a picture taken about a year ago. Time flies and time that flew away does not come back. Time is not like the birds. They fly away then they fly back. And as long as they look identical, I won't be able to tell which one didn't come back, although you can't say that I have that one that didn't come back in my stomach.
Neighbor: I wasn't thinking about that.
Ms. Not Panther: But you made me talk about it. So since time flies, have your relationship with your ex-neighbor got off from the ground yet?
Neighbor: Got off from the ground?
Ms. Not Panther: As in, have you talked? Argued? Discussed? Looked and as if you understand each other without talking?
Neighbor: None of the above.
Ms. Not Panther: Holy Molly!!! So it is still underground?
Neighbor: Well, I think it's in the background. But background or underground, what's the difference?
Ms. Not Panther: Well, my owners do a lot of vege gardening. So I got to know a bit too. If underground, sowing seeds - can't be too deep, else can't germinate. And also need moisture. If the relationship starts under the ground like seeds, at least there is still a chance for something to pop out from the ground, sprout, they say. Your English not too good, so I don't have to speak too good English to you else you also don't understand.
Neighbor: True. So what about background?
Ms. Not Panther: My owners don't sow seeds in the background? You could see their wonderful vegetables and herbs are all in the foreground - right in front of the house!
Neighbor: .. .
Ms. Not Panther: So what do I have in my background?
Rosemary: Stone Wall. A wall that only sometimes allow some tough plants to grow from its cracks. Otherwise, nothing grows.
Stone Wall: The purpose of me, isn't to encourage plants to grow within me. I am supposed to stand and hold the garden bed behind me, as a separator between the driveway and the raised garden bed.
Ms. Not Panther: Sounds like a purpose.
Stone Wall: That is my purpose. Probably there is more to my purpose but I can only explain in terms of what your neighbor could explain.
Ms. Not Panther: Ya, I know she is quite dumb. (And Ms. Not Panther looked at me to check if I would be upset by her comment)
Neighbor: No, I don't disagree.
(Everyone fell silent.)
Ms. Not Panther: By the way, was it him who sent the so@p girls referring to us yesterday of posting day?
Neighbor: I think it was him who sent that message although I thought the so@p girls he was referring to are JA and JC.
Ms. Not Panther: Weren't us! We don't have Js!
Neighbor: Ya, weren't us. JC was creating m u d and relating to situations happened so many years ago -
Ms. Not Panther: How many years in numbers - just to be black and black?
Neighbor: More than forty years ago. Those years comparing to these years situation are so different now. Different solutions need to be applied.
Asking a more narrow question, for Diamond Solitaires, for example, reveals the exact cards held to the investigating gumshoe. The other players still only get a number.
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.
@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
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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)
-----------------------------------
"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.
-----------------------------------
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.
-----------------------------------
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.
-----------------------------------
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.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
heiseymuseum.org/gallery/heisey-alexandrite/
and
www.20thcenturyglass.com/glass_encyclopedia/neodymium_glass/
Lake Norman Yacht Club was incorporated in 1961, even before the lake filled, with 25 charter members. Our 27-acre site surrounds a sheltered cove adjacent to a large expanse of Lake Norman. This specific spot, convenient to many Carolina cities, was chosen because, "we knew there would never be 100 sailors in Charlotte." In 1986 we purchased our grounds from Duke Power Company to insure the Club's longevity at a reasonable cost to the membership.
From the beginning, LNYC has promoted sailboat racing in a family atmosphere. Fleets include: Optimist Dinghy, Sunfish, Laser, Thistle, Highlander, Flying Scot, San Juan 21, Ultimate 20, Lightning, Multi-Hulls, J/24, J/80, Soverel 33 and cruisers. From April into November there are around 25 weekend days of scheduled, organized club racing with up to three races per day. The Cruiser fleet also races on several winter days, often with boats from Lake Norman marinas. In 2008 there were 42 weekends of scheduled activities, including the club series and various invitational regattas.
LNYC enjoys a national reputation for organizing and conducting well-managed races. We are a national leader in our number of US Sailing certified Judges, and Club Race Officers. They share their expertise by conducting seminars throughout our region, including training race management personnel for the '96 Olympics. In 1999, the club received the St. Petersburg Award from US Sailing for Excellence in Race Management, one of US Sailing's highest awards.
The Club regularly hosts several regattas open to all sailors. Our grounds boast two ramps, several floating docks, over 30 slips, and a 2-ton boat hoist giving most of our fleets the ability to host invitational regattas. Many national competitions have and continue to be conducted by the Club. Our spacious grounds make it easy to accommodate many extra boats and tents. The club has hosted the prestigious Championship of Champions Regatta, as well as the Mallory and Adams regattas. Most fleets host well-attended one-design regattas every year. Several members have won national championships. Our safety record is excellent and to that end we own several radio-equipped powerboats specifically for race management.
Course: Contemporary Trends and Practices
Student level: Junior, art major
Assignment: Site-Specific Installation
Assignment Description:
Change the way we experience an existing environment through addition / juxtaposition.
(Student filled a bathroom sink with jello)
To Share a Photo on Social Media:
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3. Click on the square with an arrow coming out on the ride lower side of the screen
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To Download a Photo:
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These aren't in any specific order, they're just my favorite people on Flickr. All of you guys are my inspirations, you all are wonderful artists. :)
2. Complementary,
3. Leaf,
4. [126],
5. 197 / 365,
10. day one hundred and forty nine.,
11. This house smells of Ghosts,
12. Get me off this ride,
13. I Love This Face,
15. Untitled,
16. Untitled,
17. I'm Human,
18. Untitled,
19. .6285,
20. Untitled
Created with fd's Flickr Toys.
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
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.
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.
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
This specific area reflects Peto's Italianate and Arts and Crafts style, featuring a formal stone-paved floor with a distinctive sunburst or circular brick inlay surrounding the central pot.
Healthcare Specific custom build exhibition stand design for Boehringer Ingelheim at ERS, Berlin by b2 Exhibition Specialists
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
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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.
Photo specific details to follow. For more information about student trip to India, visit here bit.ly/1ne7Z5q.
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 location not disclosed because of vulnerability to human disturbance.
San Luis Obispo Co., CA
City Park
(more pictures you can see by clicking on the link at the ende of the side!)
Photo: Vienna City Park plan - Flower - Lake
City Park Plan - Flower - Lake Ltd. © Vienna - specific
The Viennese City Park stretches from the park ring in the first district of Vienna up to the Haymarket in the third district of Vienna and is a of both tourists and local citizens well-visited park in Vienna. Its area is 65,000 m².
History
Yet in the Biedermeier the Water Glacis was a popular entertainment venue before the Karolinenstadttor (city gate). As part of the by the demolition of the city wall happened remodeling in the Ringstrasse, the project of a public park has been promoted on that site by the then Mayor of Vienna, Andreas Zelinka. This park was designed in the style of English gardens by the landscape painter Josef Selleny, the plannings were carried out by the city gardener Rudolf Siebeck. On 21th August 1862 the city park was opened as the first public park in Vienna.
Vienna River flows through the city park
The Wien River flows through the city park, Vienna © concrete
"Wien" (Vienna River) in the city park
On the right bank of the river Wien (Wienfluss) was 1863 the so-called children's park, today mainly characterized by paved playgrounds and sports facilities, which over the Karoline bridge (Karolinenbrücke) (since 1918 Stadtparkbrücke), built in 1857, with the on the left bank situated town park is connected.
In the years 1903-1907 was in the parking area after the regulation a by Friedrich Ohmann and Josef Hackhofer planned Vienna river engineering structure with the river gate, pavilions and river banks built, which is one of the sights in the park.
In earlier times visitors of the park for the stay in placed chairs had to pay fees that were collected by the chair women (the so-called Sesselweiber).
Attractions in the park
Kursalon
The Kursalon
The water Glacis was a spa pavilion in which healing waters for drinking cures were served. To that affect, in the years 1865 to 1867 for the city park also the Kursalon was built according to plans of Johann Garben. This historicist imposing home in the style of the Italian Renaissanceg is located at the John street (Johannesgasse) and has a large terrace in the park:
After the opening on 8th May 1867 were originally forbidden pleasures. As this concept was not adopted, yet on 15th October in 1868 was taking place the first concert of Johann Strauss (son) whereupon became the Kursalon a popular dance and concert venue in particular at the time of the Strauss brothers. Today, the Kursalon after a renovation phase is again venue for balls, concerts, clubbings and conferences and houses a café-restaurant.
Photo: Johann Strauss monument in the city park; © RM
Monuments
With the gilded bronze statue of Johann Strauss (son) stands in the city park one of the best known and most frequently photographed monuments in Vienna. It was on 26th June 1921 unveiled and is framed of a marble relief by Edmund Hellmer. The gilding was removed in 1935 and in 1991 applied again. Other monuments there are, for example, of Franz Schubert, Franz Lehar and Robert Stolz and Hans Makart, the City Park is in monuments and sculptures the richest park in Vienna.
The dairy (Meierei)
The former milk bar was built as part of the Wienflußverbauung (Vienna river engineering structure) according to plans by Friedrich Ohmann and Josef Hackhofer from 1901 until 1903. After suffering heavy damages during the Second World War the building was extended in the reconstruction. Today is in the dairy after another annex a restaurant.
Planting
The planting of the city park is characterized by a great diversity of species and is, as possible, focused on a year-round flowering. Through an avenue to the ring road noise and exhaust gases are filtered. Some trees are protected, such as a ginkgo, a crown of thorns (Honeylocust, Christusdorn), cottonwood tree and Caucasian wingnut.
Site specific installation designed and produced by SOFTlab for the Frankfurter Kunstverein.
Group Exhibit:
The Systemized World
Curated by:
Photo: Marius Watz
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