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Finding specific buildings in Japan is hard. You only have a number to go by. Thats why these little road-side maps were a lifesaver for me when looking for where I had to go for my interviews!
Site specific installation designed and produced by SOFTlab for the Frankfurter Kunstverein.
Group Exhibit:
The Systemized World
Curated by:
Photo: Marius Watz
SPECIFIC INFO: Haf Life played Santarchy at PJ's Lager House.
GENERAL INFO: Lager House, Saturday, Dec.18, 2010. Photographs by Donna Terek, 313-598-0179
SOMETHING PERSONAL is a one-to-one site-specific composition - I change it’s shape depending on the space and location I perform it at. It is based on live acoustic surround (using some live amplification, and involving existing sounds of surrounding area). There is only me and one listener in the room when I perform the piece on various instruments I own or I find at the performance place. The piece starts when the listener enters the space and closes his/her eyes (listener is asked to sit with closed eyes throughout the performance). The idea of this project is focused on ‘opening’ people’s ears for the sounds around them, and on creation of a very special aural experience through music performance, as well as creation of personal experience in perception of music.
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.
Sacred Path -- 1998,
Richard Mayhew,
Warm yellows blend and cut through greens and blues, illuminating a narrow path into the unknown. Shadowy indigo trees rise into a lilac sky framed by yellow clouds that complement the field below. Richard Mayhew often referred to his dream-like paintings as "mindscapes" that represented "the inner soul on the canvas."
From an early age in New York state, Mayhew was exposed to landscapes painted by the 19th-century artists of the Hudson River School. His own nontraditional approach to landscapes, however, was inspired by his Native and African American ancestors' connections to the land. Rather than detailing specific locations, Mayhew used unnatural colors to invent scenes rich in emotional depth and atmosphere.
________________________________
With Passion and Purpose
Gifts from the Collection of Larry D. and Brenda A. Thompson
June 7 - October 5, 2025
Locations East Building, Mezzanine — Gallery 214
See standout works by Black artists from the past century, newly gifted to the Nation.
For over four decades, Larry D. and Brenda A. Thompson have championed the work of Black artists. They have supported exhibitions and scholarship as they built a remarkable collection that spans 100 years of Black creativity in America.
This exhibition celebrates the recent and promised gifts of 175 works from the Thompsons to the National Gallery—the largest group of objects by Black artists to enter our collection at one time. Explore more than 60 paintings, sculpture, drawings, and prints organized in sections around themes of music and abstraction, figuration and portraiture, civil rights and social politics, as well as landscape and transcultural connections and influences.
Works range from a captivating portrait by Beauford Delaney and lyrical abstractions by Mildred Thompson to a towering allegorical woodcut by Alison Saar and an intricate sculpture of found objects by vanessa german. Enjoy works by renowned artists—Jacob Lawrence, Archibald Motley, and Kara Walker—and discover artists you may not yet know, such as Camille Billops, Vivian Browne, Moe Brooker, and Alonzo Davis.
www.nga.gov/exhibitions/passion-and-purpose
.
"In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.
The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.
The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.
Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.
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With Passion and Purpose: Black Collectors Complicate Western Art Culture
on artessay
Shantay Robinson
Alison Saar
Sweeping Beauty,1997
3-color woodcut on Okawara Natural Paper
overall: 193.04 × 83.82 cm (76 × 33 in.)
National Gallery of Art, Promised Gift of Larry D. and Brenda A. Thompson
© Alison Saar. Courtesy of L.A. Louver, Venice, CA
In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.
The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.
The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.
Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.
Radcliffe Bailey
NY Rail (Transportation), 1993
cut-and-pasted offset printed paper and painted paper, acrylic paint, and blue crayon on wove paper
sheet: 45.8 x 58.9 cm (18 1/16 x 23 3/16 in.)
National Gallery of Art, Gift of Larry D. and Brenda A. Thompson
2023.145.14
Radcliffe Bailey, who passed away in 2023 and is known for telling Black American narratives through his artwork, is represented here by the six separate paintings that make up his NY Rail. Like Jacob Lawrence’s Migration Series, this artwork depicts the migration of Black people from the south and the Caribbean to parts of the United States. For NY Rail (Transportation), Bailey uses an archival photograph of Black people boarding a train, overlayed with a grid of colorful acrylic paint and a depiction of tree limbs with leaves. In NY Rail (Boats Arriving), he paints three and a half row boats, with the word “Mississippi,” “Jamaica,” and “Cuba” written on the sides of them, telling where and how Black people migrated. The background is in coordination with the other paintings in the series, as they incorporate the orange, blue, yellow, and green painted horizontal stripes depicting water and the landscape. In other artworks, NY Rail (Bird of Death) and NY Rail (Death of Infant), the artist illustrates the unfortunate trials faced during the migration. Though optimism drove the migrants, they still faced challenges that led to death in Northern cities, from mob violence to unhealthy environments in ghettos.
Without the stewardship of Black art collectors from the beginning of the early twentieth century when Black art burgeoned due to the New Negro Movement, commonly known as the Harlem Renaissance, the preservation of Black art would not have happened, and the art would be lost. During the early twentieth century, instead of exhibiting in downtown New York museums and galleries, Black artists exhibited their work in libraries, churches, and private homes. In 1921, the 135th Street Branch of the New York Public Library in Harlem held its first exhibition by African American artists. The library became a focal point for the Harlem Renaissance. Today, the library is known as the Schomburg Center for Research in Black Culture, after Arturo Alfonso Schomburg, who was fundamental to the movement and in 1926 contributed his collection of more than four thousand books to the library for $10,000 furnished by the Carnegie Corporation. Black American artists were excluded from the art establishment largely until the mid to late twentieth century when postmodern conceptual art started to become popular. Because of this exclusion, museum collections around the country lack art that represents historical Black narratives. But today, museums are beginning to acquire art that fills the historical gaps in their collections through the generosity of collectors like the Thompsons, University of Georgia emeritus trustees, who have been collecting art since 1980. In 2011, they donated one hundred artworks to the Georgia Museum of Art, and in 2008, they gifted thirty nine artworks to the David C. Driskell Center at the University of Maryland, College Park. Collectors Walter O. and Linda Evans, who hold one of the largest collections of Black art, gifted the Telfair Museums thirty artworks; Seteria and Najee Dorsey, founders of Black Art in America, gifted the Columbus Museum fifteen artworks; and Constance E. Clayton, an educator and civic leader who collected Black art over fifty years, gifted the Pennsylvania Academy of Fine Art more than seventy artworks.
Without Black art collectors, so much of the artwork by Black artists would be forgotten. With the loss of the physical art, the impalpable sensibilities of Black life throughout varied stages of history would not be preserved. Black collectors have cared for their collections and also contributed to the dissemination of the art and ideas through gifts to institutions that benefit from the inclusion of Black history. These Black collectors who steward Black art are making judgments on what should be preserved in a field that is dominated by western culture’s Eurocentric gaze. And though Black collectors have gifted historically Black institutions, including Clark Atlanta University, Hampton Unviersity, and Howard University, with artworks throughout African American art’s history, it is notable that the Thompsons are Black collectors making a profound contribution to one of the most highly regarded collections in the United States—the National Gallery of Art.
Shantay Robinson, educator and art writer, lives in Northern Virginia. Her work has appeared regularly in ARTnews, Smithsonian Magazine, Black Art in America, and other notable publications where she primarily writes about Black Art. She holds a PhD in Writing and Rhetoric from George Mason University."
hopkinsreview.com/features/with-passion-and-purpose-shant...
Specific Design Assessment
-Signs directing people through and around buildings act as wayfinding elements, connecting people from one side of the plaza to the other.
Relevant Land Use Code Sections
20.25A.160.D.3.e - Signage (identify circulation routes)
site-specific-dance gala on modern chinsese lifestyles from Dressing, Eating, Living to Travelling in Shanghai Times Square.
Every year, there is a specific day absent from the calendar that always comes as a surprise to everyone. It usually happens towards the end of a cold winter, when snow melts as fast as pieces of clothing. On this particular day, you feel something different in the air when you go out. Is it the smell? Is it the light? It can't be just the temperature. On that special day, you know winter checked out of the room and left the door wide open for spring to nose in. So much of us has been stored away during all those chilly weeks that it tends to burst out on this unique day, and celebrate the passing of seasons. Then, not only will you witness tons of people going out and enjoying the sun, but you will also feel the hunger for that dose of summer that your morale is waiting for, and go lie down in the grass of the first park you cross.
There was however a very disturbing thing in my mind today, first day of sprummer (spring-summer), on the 23rd of February!!??
— at Green Park.
♥Details about this Specific Listing:
Reminds me of reflective, shiny glass ornaments, with twinkle and sparkle.
This one of a kind pair of shiny glass pearl earrings are so cool. A variety of greens including celadon, aqua and pale lime teal green in a variation of hues.
Spectacular!
They are cascading on twisted antiqued brass tone wire (28 gauge) and suspended on matching simple ear wires.
Only pair of their kind!
♥Please note: Due to the fine gauge of the 28 gauge wire, these earrings are fragile and mustn't be crushed or slept in other wise, the wire lengths will bend. If an accidental scrunching does happen, carefully straighten out the wire.
TOTAL LENGTH: about 68mm long
(25.4mm = 1 inch)
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
ORDER ACTOR TO YOUR LIVING ROOM! A site-specific performance made from Ibsen's Hedda Gabler. We give the opportunity to our audince to „order” us to their home. So we can play our performance time by time in an other space. (with Balázs Varga)
City Park
(more pictures you can see by clicking on the link at the end 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.
Specific settings for items like fish or wine.
For current Electrolux products, visit ajmd.us/aJf9Zz
Easy access to specific policy information about the individual vacation rentals. Easy Street Pet Friendly Vacation Rentals » | Visit Firestorm Creative Studios » Destin Website Design
ORDER ACTOR TO YOUR LIVING ROOM! A site-specific performance made from Ibsen's Hedda Gabler. We give the opportunity to our audince to „order” us to their home. So we can play our performance time by time in an other space. (with Balázs Varga)
dSatellite is a site-specific architectural structure that extends the mission of DFLUX (www.dflux.org), a Detroit-based research studio and residency program, further into its community. DFLUX engages its local neighborhood and the general public with creative actions, research, and workshops. In so doing, they hope to reveal and create emergent and sustainable cottage industries. dSatellite was created with the intention of providing future DFLUX participants and local residents with an outpost to engage in various field research. Constructed with foraged building materials, dSatellite merges both the physical and conceptual characteristics of the DFLUX Residency site and a typical nature blind used by naturalists, scientists, photographers and hunters. dSatellite is currently deployed in a completely razed residential neighborhood of Detroit currently referred to as the "field" by local residents and "Renaissance Zone" by real estate developers. A dense urban forest, rich with wildlife, has grown there, only crumbling roads and alleys, debris piles, and public utilities remain as signs of past use.
dSatellite was created during a research residency at DFLUX in Detroit, MI in collaboration with Joseph G. Cruz (http://josephgcruz.com)
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
The specific name cynosura is a Greek name for the Pole Star, more frequently called Polaris. Cynosura means tail of the dog. More broadly, cynosure means something that strongly attracts attention or guides. Perhaps something on this dragonfly resembles a dog's tail.
Adults dragonflies are between 36-44 mm. Identification of this species, is tricky. Some individuals have large basal spot on hindwings, like Mantled Baskettail, E. semiaquea, but spot does not extend to hindwing. Clear-winged form of Common Baskettail may be indistinguishable in the field from E. costalis and E. spinigera. With some exceptions, Epitheca can be a difficult genus to work with in the field in terms of identifying species, but given this individuals markings and the range of the various members of the genus, E. cynosura is the most likely identification.
Found throughout eastern North America at lakes, ponds, marshes, and slow-moving rivers. One of the first dragonflies of spring. May fly as early as January in southeastern states. Flight extends to August, but most are about in spring, flight usually lasting about five weeks. May to August in Canada. Additional fall flight in Florida.
Predatory on other insects as all dragonflies are. May feed in swarms on such prey as winged termites.
Males patrol a patch of shoreline, about 3-10 meters long (as this individual did). Peak patrolling is in late afternoon.
Yn ystod ail flwyddyn eu Diploma Estynedig Lefel 3 yn y Celfyddydau Perfformio, bydd myfyrwyr yn ymgymryd ag uned o'r enw Perfformiad safle-benodol sy'n ei wneud yn ofynnol iddynt greu gwaith sydd i'w gyflawni mewn amgylchedd nad yw'n theatraidd. Mae perfformiadau safle-benodol blaenorol wedi cynnwys hanes glan y môr Aberystwyth a'r llynedd, fel rhan o ganmlwyddiant Dylan Thomas, straeon lleol am fywyd Dylan a Caitlin yng Nghei Newydd, Ceredigion rhwng 1944-45. Eleni, maent yn mynd allan i'r bryniau i berfformio 'Tales Along The Way' yn Llanddewi Brefi ac yn Soar-y-Mynydd ar ddydd Gwener 22 o Fai. Cymerodd y myfyrwyr eu hysbrydoliaeth gychwynnol o’r teithiau cerdded mae pererinion wedi eu cymryd o Ogledd Cymru i Eglwys Llanddewi Brefi dros y canrifoedd, yn ogystal â'r teithiau cerdded y mae pobl wedi eu cymryd i Gapel bach Soar-y-Mynydd yn ystod rhan gynnar yr Ugeinfed Ganrif. Mae'r ddau safle yn dal i fod yn ganolfannau crefyddol pwysig heddiw. Gan ddefnyddio barddoniaeth RS Thomas, emynau Ann Griffiths a thestun wedi ei sgriptio ar gyfer y perfformiad, mae'r myfyrwyr wedi creu perfformiad sy’n seiliedig ar symudiad yn bennaf ac sydd wedi ysbrydoli gan straeon lleol. Yna caiff straeon a chlecs eu gwau o’r rhain wrth iddynt ddilyn rhai o'r llwybrau a gymerwyd ers talwm.
In the second year of their Level 3 Extended Diploma in Performing Arts, students have a unit called Site-Specific performance that requires them to make work to be performed in a non-theatrical environment. Previous Site-Specific performances have included the history of Aberystwyth seafront and last year, as part of the Dylan Thomas centenary, local stories of Dylan and Caitlin’s life in New Quay, Ceredigion between 1944-45. This year, they go out into the hills to perform ‘Tales Along the Way’ in Llandewi Brefi and at Soar-y-Mynydd on Friday, the 22nd of May. The students took their initial inspiration from the walks that pilgrims have taken from North Wales to the church of Llandewi Brefi over many centuries as well as the walks that people did to the little chapel of Soar-y-Mynydd during the early part of the 20th Century. These two sites are still important religious centres today. Using the poetry of R.S. Thomas, hymns by Ann Griffiths and text scripted for the performance, the students have created a primarily movement based performance inspired by local stories from which tales and gossip is woven as they follow some of the routes taken in days gone by.
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
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2015 Arches Resolution 5k
Cindy Sherman uses specific things, objects and or self portraits portray the message in her photographs. To portray a highlight of my summer i used glitter to represent the parties and the atmosphere at parties. Also, i used my body to represent how natural the atmosphere is at parties.
Aus der Serie „Denudation“
Site-specific Performance und Intervention
Hohe Tauern, Großvenediger Juli 2015
Video, Fotografie und Installation
Performance: Markus Wintersberger
Fotografie / Video: Andrea Nagl
Nagl ~ Wintersberger 2015
(more pictures you can see by clicking on the link at the end 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.
Z10 | Maasvlakte (Stormvogel) - Maasvlakte (Stormvogel) | i.s.m. Specific | Hondenetappe | 10-08-2017 | Foto's: Stichting De Noordzee
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.
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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.
In this photograph I had my roommate hold the mug in front of her as if she is enjoying a cup of hot chocolate in her cozy pajamas. The cup looks really big at this angle and portrays that the mug is the important object in the image. I also used natural light from outside to give this image beauty.
Ambling out of Jaisalmer train station in late morning, we were immediately accosted by the throngs of drivers – mostly working for specific hotels – who were trying to pick us up. Since I’d booked a room at the Roop Mahal, this wasn’t an issue. It took a minute to find the guy, but he was there to drive us the whole 1-2 km to the hotel, which was at the base of the fort on the west side.
The biggest reason to come to Jaisalmer, the Golden City (since most places are primarily built of sandstone) is to see the fort, which is on a bit of a hill overlooking an otherwise flat desert. As it’s in the desert, the temperatures in the day, even in late September, were close to 40 degrees Celsius (a little over 100F).
According to Lonely Planet India, the fort was built in 1156 by the Rajput ruler Jaisal and reinforced by subsequent rulers. It “was the focus of a number of battles between the Bhatis, the Mughals of Delhi and the Rathores of Jodhpur.”
Nowadays, it’s a living fort. Jaisalmer Fort has plenty of residents, restaurants, souvenir stands, havelis (old-style housing with ornate architecture: carved stone doorways, lattice screens, balconies, and turrets). The havelis are often hotels now, and almost every hotel here has a rooftop restaurant to enjoy the surrounding view. Our hotel, the Roop Mahal, also had a rooftop restaurant where I ate a few times. The food was…not great, but certainly not bad.
In addition to the havelis, there are also quite a few temples. Specifically, there are seven Jain temples (that you can tour for 150 rupees/15 RMB/$2.50USD). These temples were visually quite attractive inside – some more than others – and also had plenty of worshippers coming in and out. I was impressed by the intricacy of the details and sandstone carving, the intimacy of the art, and the way natural light was used in the temples. I don’t believe tripods were allowed inside the temple, which made a lot of shooting quite difficult, but not impossible. The only other rule is that you have to take your shoes off outside and pay someone (usually about 100 rupee) to “watch” your shoes.
After having a meal in the fort (and, excitedly, finding a spice shop where I bought the first of many Indian spices to bring back to China with me), my travel partner arranged for us to go out to the desert and ride camels. (The hotelier also offered something similar, but was a bit expensive.)
Later in the day, around 5:00, if I recall correctly, a guy came to pick us up at the hotel in a jeep and four of us – me, my travel partner, and two Israeli women – started our drive out to Sam, about 50 km west of Jaisalmer (and less than 100 km – maybe less than 50 – from the Pakistani border to the west).
En route, we had to make a few required stops (per our drivers). The first place was so forgettable that I can’t even recall the name of it or what it was. The second place was just to see a small village (really, two buildings) and a whole lot of kids running up to you begging for money in exchange for pictures.
After that, we finally made it out to the desert, where we rode camels for about half an hour and then stopped at a rather random place where we were eventually given a home-cooked Indian meal, vegetarian, that consisted of dal, naan, and a few curries. It was delicious, and had to be eaten completely in Indian style (no utensils of any kind).
While watching the sunset and the subsequent moonrise, we eventually bade our Israeli friends farewell (as they were spending the night in the desert) and headed back to town. Along the way, I caught a glimpse of a late night cricket match, and it was the only time during this trip I’d see that. When we got back to the hotel, we just needed to wait there for an hour or two before they were kind enough to drive us to the train station around 11:00 p.m. so we could catch our midnight train to Jodhpur…the Blue City.