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(c) 2005 - 2010 Michael Kuentz Photography [Logic Media LLC]
Chosen Images from specific client model portfolios
Under Today Site Specific Performance Goyder Lane, Alice Springs, 17-18 May 2007
Photo Alexandra Gillespie
Manhattan-based artist Christina Watka installs site-specific wisteria installation in Upper West Side home. Interior Design by Homepolish, photo by Claire Esparros.
CAUTION: Although no specific mention has been seen for this species, there is a report that Corydalis species are potentially toxic in moderate doses.
MEDICINAL USES: Analgesic, Antianxiety, Antidepressant, Antiseptic, Antispasmodic, Antitussive, Cancer, Cardiotonic, Hallucinogenic, Hypotensive, Sedative
The tuber is antispasmodic, hallucinogenic and also slows the pulse. It is harvested in the spring before the plant comes into flower and dried for later use. The plant should only be used under the guidance of a trained herbalist, it is used in the treatment of Parkinson's disease and other neurological disorders. One report says that the plant is cultivated for its medicinal uses in Sweden, but gives no more details. The following reports are for C. yanhusuo which, according to one authority, is the correct name for this species. It is treated as a separate species here. The tuber is analgesic, antiseptic, antispasmodic and sedative. The root has traditionally been used to lower pain and strengthen the circulation. It also has sedative properties and is used in the treatment of a wide range of ailments. Various extracts from the plant have shown antitussive, cardiotonic, hypotensive and anticancer activity.
“Conjunto Pinacoteca”, 2010
instalação, dimensões variadas, barra chata e fita adesiva.
Pinacoteca Barão de Santo Ângelo, Porto Alegre/RS
PrintOclock - Tarifs et dlais de choc
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Site Specific, IFAC, Install, 2007
finishing-school.net/pio
see / believe optically-imposes disaster and utopia on the targeted landscape. each proposition is observed independent of the other.
.
Democratising Science School functioning: School-specific issuess.
Transparency in lab allotment, evaluation particularly.
in 9B cases, timely procurement of chemicals, books SSS.
and disbursal of fellowships has to be ensured. Allotment process of Supervisors should be democratised..
The existing programme of North-East Studies be.
Resisting arbitrary hostel rules and allotment strengthened and developed as full-fledged centre in.
policies, administrative high-handedness, and an SSS..
emerging culture of moral policing and surveillance by.
the JNU Administration. The proposal for a gender module which will be mandatorily.
introduced in various schools and centres has been.
Ensuring democracy and transparency in setting up discussed in BoS meetings, and this process has to.
of the path-breaking JNU Press. be taken to its logical conclusion..
.
Expanding student representation in the AC/ Provision of issuing and photocopying be allowed in centre/.
BoS, removal of undemocratic grade point criteria DSA/SAP libraries..
and representation of Equal Opportunity Office in.
the Academic Council. The entrance exam dates for the M.Phil. Courses be.
rationally fixed for allowing students to exercise all.
The crucial struggle against the Lyngdoh Committee options at least in related fields..
recommendations and restoration of JNUSU.
constitution has to be carried forward: the national Amount of field work assistance given by centres like.
platform on the issue, formed in July 2012, has to be CHS and CSMCH should be increased..
strengthened..
The platform of `SSS Debates' was revived during the last.
The Faculty recruitment which has started last year year; more engaging debates and talks on academic.
must strictly follow norms of reservations. We demand and contemporary issues have to be organised..
that OBC reservation should be implemented at.
ALL levels of faculty appointment. A common reading room has to allotted in the new SSS.
building which will open soon.
Ensuring and defending mandatory wages and rights.
of the workers on campus. The toilets in SSS building be urgently renovated,.
maintained and cleanliness ensured..
Reforestation and Revitalization of the Environment.
Task Force SLL&CS.
Monitoring and redressal of high drop-out rates..
Resisting Patriarchal Commonsense and The use of students' names in answer books should.
Defending GSCASH be stopped, and rather only registration numbers of.
students should be mentioned to avoid possible.
During the past year, AISA and the JNU discrimination. Moreover, regular and timely feed-back.
student community has played a leading of mid-term evaluations should be provided to students..
role in the spirited movement against.
sexual violence, rape culture, victim Retrograde step of Delinking B.A./M.A. programme must.
blaming and the all pervasive patriarchal be reversed..
common sense. A gruesome incident that.
happened right in our campus on 31st Ensuring regular functioning of the Career Counselling.
July this year only underlines the need to strengthen and and Placement Bureau..
intensify our battle for gender justice..
Speedy recruitment of permanent faculty and end the.
GSCASH is one of the most important institutions in our rising trend of large-scale ad-hoc faculty..
campus, and implementation of GSCASH verdicts in.
sexual harassment complaints, without delay or dilution, Expansion of Centre for Indian Languages (CIL) to include.
has to be ensured, especially in several recent cases relating other modern Indian Languages, Introduction of diploma.
to people in positions of power and influence, such as faculty in other foreign languages like Italian, Portuguese,.
members. GSCASH infrastructure must be improved to Greek & Hebrew..
ensure its confidentiality and efficiency. A systematic.
thoroughgoing process of gender sensitisation and Ensuring Proper Sanitation: Hygienic conditions in the.
discussion has to be put in place in order to address the bathrooms of various centres/schools and general.
pervasive patriarchal common sense in our campus and cleanliness has to be ensured..
society. An important step in this direction was initiated.
in July 2012 when JNUSU and GSCASH together In SLL&CS too, the student-teacher relationship has to.
organised the mandatory orientation be democratized. Instances of teachers denigrating.
programmes. These initiatives have to be regularised, and students based on their backgrounds, intimidating.
compulsory lecture modules for sensitisation on gender students and even trying to impose `dress codes' and.
issues have to be put in place. moral policing have been noted in SLL&CS..
.
Introduction of M.A. in Translation in all centers of.
SLL&CS, such as Arabic, Spanish, Persian & Russian..
.
Centre based selection process for award of foreign.
scholarships be made transparent and bias free..
.
Allotment of common/reading room in the new SL building.
.
SIS.
Ensuring democratic teacher-student relationship, ending.
.
harassment and victimisation of research scholars,.
involvement of EOO, creating forums for dialogue and.
accountability, regular and timely election for SFCs..
.
3.
..
(HGM 505 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1428 Warwick" 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.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
“Novella” is a site-specific glass artwork created by Therman Statom @statom_statom for the Walter Francis Bishop Magnet School of the Arts (P.S. 160) in Queens. This artwork features colorful hand-blown discs floating across the lobby transom—each color symbolizing a subject or passion that shapes students’ lives: green for science, blue for math, yellow for music, purple for social studies, brown for physical education, red for social-emotional learning, and orange for art.
Among the discs are surprises—a sapphire-blue heart, a raven, sunflowers and a screen-printed portrait of the school’s namesake, Walter Francis Bishop Sr., a Jamaican-born composer whose music was performed by Ella Fitzgerald, Billie Holiday, and Frank Sinatra. Musical notes, equations, and markings scatter across the composition, echoing jazz improvisation and the spirit of discovery.
Statom, a master of glasswork, used glass blowing, hand-painting, etching, sandblasting, and lamination to build textured surfaces that shift as you move. Each glass piece works like a shallow shadow box, revealing something new from every angle. Jewel-like discs catch natural light streaming into the lobby, making it shimmer and change through the day. The result is dynamic, layered, and full of surprise.
“Novella” is an unfolding story—part tribute to creativity, part invitation to imagine and explore. “The language of color and light has always inspired me,” says Statom. “My hope is that the artwork becomes a creative catalyst for the students as they respond instinctively and emotionally. There is enough information to inform, but enough abstraction to invite imagination.”
The artwork was commissioned by NYC School Construction Authority’s Public Art for Public Schools in collaboration with NYC Department of Cultural Affairs' @NYCulture Percent for Art program.
www.nycsca.org/Community/Public-Art-for-Public-Schools/Co...
Photo Credit: Arturo Sanchez
Dancers in a freight elevator? Acrobats in the boiler room? Actors on a rooftop?!
Welcome to the Site-Specific Spectacular, a mini-festival that features performances in the most bizarre locations imaginable. In four distinct tours, more than 50 local artists will climb the heights of the Calgary Tower and explore the depths of the EPCOR CENTRE for the Performing Arts.
Needle in the Sky takes you on a quest throughout the Calgary Tower for five elements and ends with a journey through the depths of HELL!
For more information, see:
www.hprodeo.ca/2012/site-specific-spectacular
Photo Credit: Benjamin Laird
Dancers in a freight elevator? Acrobats in the boiler room? Actors on a rooftop?!
Welcome to the Site-Specific Spectacular, a mini-festival that features performances in the most bizarre locations imaginable. In four distinct tours, more than 50 local artists will climb the heights of the Calgary Tower and explore the depths of the EPCOR CENTRE for the Performing Arts.
Needle in the Sky takes you on a quest throughout the Calgary Tower for five elements and ends with a journey through the depths of HELL!
For more information, see:
www.hprodeo.ca/2012/site-specific-spectacular
Photo Credit: Benjamin Laird
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.
Photographic techniques capture electromagnetic wavelengths beyond human vision, revealing features invisible to the naked eye. These signals are processed into interpretable forms using methods like color mapping.
Pink lacks a specific electromagnetic wavelength, while grey poses a limitation due to its representation of only intensity—a blend of light and dark without spectral specificity. Imaging techniques reliant on spectral variation produce identical results for greyscale images unless non-visible data is present. Deviations from this uniformity may indicate errors, misinterpretations, or unknown phenomena.
Contention persists over analytical debates, including dismissible claims like Van Allen belt dangers and contested evidence of lunar mirrors. The precision of laser reflections targeting a moving 3x3-foot marker on the Moon highlights technical skill but often fails to resolve skepticism. For instance, a 0.1° shift moves a laser spot 670 km across the Moon's surface.
Forensic analysis (2022, 2023) of Apollo 11–17 photographs assessed authenticity claims. Images of humans in space, Earth, and the Moon's distant views were validated, but Moon landing visuals showed variations, suggesting diverse techniques may have replicated certain elements.
PEMi (Photoelectromagnetic Image) software enhances forensic analysis by differentiating natural and artificial light sources, revealing hidden features. Each PEMi-ID links to original sources, ensuring traceability and comparison.
Further exploration is available:
Lehti, A. (2024). The Silence of Inquiry: Forensic Reflections Reveal a Crisis of Perception. figshare. doi.org/10.6084/m9.figshare.28078982
Credits
2022-2025 © Andrew Lehti
1961–2023 © NASA, ESA
Software: PEMi (GitHub: andylehti/PEMi.git)
Explore PEM-I: pemimage.streamlit.app
CC BY-SA 4.0 License: creativecommons.org/licenses/by-sa/4.0/
Research:
Lehti, Andrew (2024). Cognitive Psychology and the Education System. figshare. Collection. doi.org/10.6084/m9.figshare.c.7532079
CC BY-SA 4.0
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(HGM 992 M, Heisey Glass Museum, Newark, Ohio, USA)
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"1421 Hi Lo" 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.
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From Bredehoft (2004):
Stiegel Blue: 1932-1941. Commonly called cobalt blue. Heisey's has exceptionally good color.
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From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
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Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
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Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
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Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
In specific, Holy Week is the week just before Easter that extends from Palm Sunday until Holy Saturday and marks the last week of Lent. It has earned the name 'Holy', according to the Orthodox Church, due to the significant events that take place for Christianity in regard to the sufferings of Jesus Christ.
Saturday evening is filled with the anticipation of celebrating Easter Sunday. In some areas, people begin to gather in the churches and squares in cities, towns and villages by 11pm for the Easter liturgies. A few minutes before midnight, all the lights are turned off and the priest exits the altar holding candles lit by the Holy Light, which is distributed to everyone inside and outside the church. At midnight, the priest exits the church and announces the resurrection of Jesus. Many people carry large white candles called lambada, and the church bells toll as the priests announce “Christ is Risen!” at midnight. Each person in the crowd replies with a similarly joyous response.
HENRY R. KENYON (1861 – 1926)
Ipswich in Winter
This winter scene is unusual in the collection of painted panels in the Griswold dining room. The painterly brushstrokes, the play of lights and darks, and the “wetness” of this Ipswich scene point to an artist working en plein air despite the weather.
Henry Kenyon normally did paint enplein air to communicate the physical sensations and serenity he experienced in a specific place on a particular day. That the scene is Ipswich, Massachusetts, is not surprising, because it was Kenyon’s home. After gaining attention in the 1880s for paintings of Pont Aven, France, where he worked with Paul Gauguin and other French Impressionists while he was still an art student, and after visiting Holland and Italy, Kenyon came home to settle in his native New England.
He chose Ipswich as the place and the surrounding countryside as the subject matter for his American Impressionist art. This view of the village of Ipswich through a screening of winter trees is daring and visually complicated. In the distance, the village buildings painted in drab yellows, blues and reds, are capped with snow-covered roofs. The reflection of the gnarled branches in the river is marred by the chunks of ice and snow that float atop the water.
A PARISIAN EDUCATION AND AN AMERICAN LIFE
A Rejection of European Traditions
Kenyon’s wintry scene illustrates ways in which he rejected the centuries-old European art traditions he had been taught both in America and at the Académie Julian in Paris. His brushstrokes are obvious and move quickly across the panel to express the immediacy of his observations. Blurry smears of paint capture the slow moving water and flecks of white paint suggest the blowing snow. Traditional methods to depict space are ignored and replaced with an energetic arrangement of forms and colors, using brushwork that a traditionalist would term “sloppy” – these are hallmarks of Impressionism. The rustic subject matter, so iconic to New England, is representative of American rather than French Impressionism.
The reverse of this panel is marked “Ipswich” and “February 1908”, and while Kenyon was known to be in Old Lyme in 1908, presumably it was in the summer, for artists seldom were at the Griswold House in the winter.
Thus the date is puzzling. A further complication is that a photograph of the west wall of the dining room, published in the magazine Country Life in America in 1914, shows a blank where the Kenyon panel is now. Did Kenyon take a panel home to Ipswich to paint in 1908 and only send it back years later? Was he in Old Lyme again after 1914? Might his panel replicate a painting of his completed in February of 1908? No matter when it was done, the panel well represents the artistry that gained Kenyon a reputation as a notable landscape painter.
florencegriswoldmuseum.org/collections/online/in-situ-the...
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Now These Walls Can Talk!
During the first summers of the Lyme art colony the artists began to paint scenes on the door panels of the boardinghouse. By 1905, this tradition spread to the dining room where the artists installed double rows of painted panels on all four walls.
Today, these 38 individual panels and the 8 double panels (those on doors that complete one scene) are all in situ in the Griswold boardinghouse. From classic Old Lyme subjects to exotic and faraway places, the panels present a treasure trove of artistic expression of the art colony. These are the paintings the artists selected to leave behind as their artistic legacy. Now, you can investigate the panels up close, front and back, and learn about the artists who painted them.
florencegriswoldmuseum.org/collections/online/in-situ-the...
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Florence Griswold House
florencegriswoldmuseum.org/visit/museum-campus/#Florence_...
Designed by Samuel Belcher, architect of the First Congregational Church of Old Lyme, and built for William Noyes in 1817, the Late Georgian-style mansion reflects the affluent, formal style of living during Old Lyme’s maritime era.
The Late Georgian mansion was transformed from a wealthy sea captain’s home into a boardinghouse for some of the most noted names in American Impressionism. Over 200 artists such as Childe Hassam, Willard Metcalf, and Matilda Browne found the lush countryside of Connecticut the perfect location for an American art colony.
The Lyme Art Colony artists left their marks not only on canvas but even on the doors and wall panels of “Miss Florence’s” house. Families can ask for a Scavenger Hunt with a list of objects to find in each room. The objects tell the story of the Museum so families can learn about the famous artists who lived in the house over one hundred years ago. Return the sheet to the front desk for a prize.
More than a remarkable building, the Florence Griswold House occupies a unique place in the history of American art. It brings alive the work of American Impressionist artists in the place where they lived and painted. The period rooms rekindle the spirit of another life and time.