View allAll Photos Tagged statement.
On South Beach in Miami I encountered these two ladies wearing what appeared to be giant curlers on their heads......perhaps they were trying to make some kind of fashion statement. They certainly attracted everyone's attention.
Photographed just outside the trendy Pelican Cafe on Ocean Drive.
It's not going to be a good day/week.
As of Wednesday morning, there are 149 active wildfires burning in Quebec and 52 fires burning in northern Ontario. By this time last year, 202 fires had burned throughout Quebec. This year so far, the province has seen 435 wildfires.
Sandi Whetzel is seduced by the captivating, graceful forms she finds tucked away in nature. Her fascination with the discovered shapes compels her to enhance their graceful contours, infuse them with luscious color and feature them prominently in her paintings. Whetzel’s contemporary acrylic paintings embrace the nuances of shapes and patterns inspired by the plant world. Her current focus has been an intimate view of succulents; embellishing their engaging shapes with vibrant hues and sculptural textures.
Sandi paints in her home studio located at Days Creek, OR. Since 1997 she has instructed community education art classes for Umpqua Community College. She has studied with accomplished artists, Kevin Macpherson, Tom Browning and Harley Brown. She treasures most the continuing association with her mentor artist and friend, Bonnie Hill of Roseburg, OR.
Several of Whetzel’s works have been used to promote the wine industry through wine-themed events in southern Oregon. Her work appears in Northwest Artists: A Collection of Works by Notable Artists of the Northwest. Her paintings are in private collections in Oregon, Washington, California, Colorado and Arizona. She has exhibited in solo and numerous group shows during the last several years, including two shows at the Coos Art Museum, in Coos Bay, OR.
During her childhood, Sandi’s family changed residence frequently to follow employment in the logging industry of southern Oregon and northern California. She attended many small elementary and high schools, none of which offered any art education. As a teenager she enjoyed paint-by-number oil sets and she became interested in drawing briefly around the age of thirteen. After that, Sandi didn’t have much contact with art until later in life.
For years after she married, her only artistic pursuits had been machine sewing garments and home decorator items. When a friend invited her to a fashion T-shirt painting class she thoroughly enjoyed doing that. At the same time, Whetzel seemed to be mesmerized by PBS TV painting shows.
Near Whetzel’s fortieth birthday she purchased new home furniture and wanted some tropical paintings to go with the new furnishings. Sandi had grown up with a motto that had served her well whenever something had been a bit beyond her reach. It was, “…Necessity is the mother of invention.” She always derived a certain satisfaction with inventing her version of the desired object. She thought, “How hard could it be to do the paintings myself? After all, I have been painting T-shirts and watching the instructional videos on TV.” Sandi immediately started painting all on her own, making discoveries through trial and error. During that time frame, she also ran a child day care business at home. While the three toddlers took their midday nap, Sandi took out her paints and painted for an hour or so during the weekdays. Eventually she took art instruction from a very talented and devoted community college art instructor, Bonnie Hill of Roseburg, OR. In 1997 after only a few years of instruction, Bonnie recommended Sandi to replace herself as instructor of the classes. Bonnie became Sandi’s close friend and mentor; a treasured source of inspiration and knowledge. Whetzel has been painting and instructing art ever since.
When speaking of her art, Sandi has remarked, “I hope my art warms the spirit and inspires people to pursue their dreams. Art that does that for us helps to make our working and living environments more of a sanctuary in stressful times.”
My daughter, Jess, made this fun statement necklace out of thick angular faceted beads, gold wire and gold leather cord. We tried using jump rings first, but it didn't look good, so we used gold wire to fasten together the beads. Kato Clay.
Remember that when you first walk into the house, the entry way should be well lit.
Do you think this was intentional or a weird kind of accident?
48x36 in.
Oil & oil stick on gallery canvas
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This large picture was Seurat’s first major composition, painted when he had not yet turned 25. He intended it to be a grand statement with which he would make his mark at the official Salon in the spring of 1884. It shows several men and boys relaxing in the sun on the banks of the Seine, between the bridges at Asnières and Courbevoie, north-west of central Paris. In the background is a railway bridge that partly hides a parallel road bridge, as well as the chimneys of the gas plant and factories at Clichy, where some of the men may work. Recreational sailboats can be seen on the river.
When Seurat studied the location in preparation for the painting, there would have been a path along the embankment as well as run-down houses and villas, boatyards, workshops and lower-class cafes and restaurants. The exposed sand in the middle of the riverbank on the left is the reason for the painting sometimes being titled Une baignade (‘a bathing place’). The term did not imply a middle-class idea of recreation by the water, but instead signified a place of work. It was used, for example on maps of the river, to indicate places where horses and dogs could be bathed and watered. It was this practice, and the dragging of boats in and out of the water, that formed the sandy gully.
Although Seurat was often drawn to similar subjects and sites as the Impressionists, and employed the same colour theories, his treatment was radically different. Not only is this picture much larger than most Impressionist paintings, but it was executed in the studio rather than outdoors in just one or two sessions. In contrast to the spontaneity of Impressionist works, Seurat’s picture was meticulously planned. He completed a series of preparatory oil sketches of the site and numerous conté crayon life drawings of the figures. Of these, some 13 oil sketches and 10 drawings survive. Two oil Studies for Bathers at Asnières are also in the National Gallery’s collection.
The men’s clothing (the bowler hat, boots and sleeveless vest) and demeanour (for example, the slight slouch of the seated boy and his blunt profile) suggest that some of them are either workers or lower middle class. However, none are engaged in traditionally ‘masculine’ activities such as labour or sport – even the two in the water do not appear to be swimming. By way of social contrast, a bourgeois couple, complete with parasol and top hat, are being ferried across the river in a boat bearing a triclore flag. Their oarsman is the only person in the picture who is working. Although the painting does not convey an obvious political statement, Seurat’s depiction of working-class recreation – as distinct from Impressionist scenes of bourgeois leisure (of which the boating couple are a reminder) – was a challenge to artistic tradition, as the grand scale was more appropriate for history and academic painting.
The men and boys on the riverbank are as immobile as sculptures. Seurat also shows them in profile, as if in a frieze, their smooth bodies defined by unbroken outlines. Although they occupy the same small area of riverbank, each seems absorbed in his own thoughts, neither engaging with each other nor with us. Suffused with bright but hazy sunlight, the scene has an almost eerie stillness, as if time has been suspended and all movement temporarily frozen. Seurat has enhanced this effect by not showing activities one might expect to see – for example, no horses are being bathed (although several of the preparatory studies do include them) – and by presenting this stretch of the river as if it were a well-maintained park.
Seurat had a traditional academic training at the École des Beaux-Arts in Paris, where he learned to draw from classical sculptures; several of the bathers’ poses reflect this. On the far right, the boy standing in the water with his hands cupped to his mouth evokes the Greek water god Triton blowing his conch shell. Seurat also studied paintings in the Louvre, and in this picture the simplicity of forms, use of regular shapes defined by light and the pale, almost alabaster skin tones recall paintings by the Renaissance artist Piero della Francesca, especially his Arezzo frescoes.
But there are also more contemporary associations. Seurat admired Puvis de Chavannes (with whom he was compared), and aspects of his painting are also features of Puvis’s work: its scale (which recalls a mural rather than an easel painting), the semi-nude figures arranged in lateral planes like a classical relief and a composition based upon clear geometrical principles. Puvis’s painting Doux pays (‘gentle landscape’) (Musée Bonnat, Bayonne), which was exhibited at the 1882 Salon, particularly anticipated elements of Seurat’s picture. However, unlike Puvis, who kept modernity at a distance, Seurat found order, harmony and perhaps even a heroic grandeur in the modern world.
Seurat was soon to go on to create pointillism, a technique that employed tiny dots of complementary colours. This picture is not painted in the pointillist style of his later works, such as The Channel of Gravelines, although he did repaint parts of it using this technique – for example, the orange hat was reworked later with spots of yellow and blue. Despite the painting’s classicising features, Seurat’s application of paint is modern. For example, he used broad brushstrokes for the water. This follows the precedent of Monet and Renoir, who had both painted this part of the river – the railway bridge in the background is the same as that in Renoir’s The Skiff, a painting also based upon complementary colours.
Seurat’s painting was rejected when submitted to the Salon, and he subsequently exhibited it at the newly formed Salon des Artistes Indépendants. His second monumental picture, Sunday Afternoon on the Island of La Grande Jatte of 1885 (Art Institute of Chicago), shows the same stretch of river but looking across it from the other side. The clump of trees on the right behind the bourgeois couple in the boat (who may have been added later as a link between the two pictures) is the tip of the island. La Grande Jatte was a location for middle-class leisure from which the workers we see here are separated both spatially and socially. Two oil Studies for La Grand Jatte are also in the National Gallery’s collection.
Georges Seurat (1859 - 1891), painted 1884, Paris.
201 × 300 cm (79.13 in. x 118.11 in.)
National Gallery, London (NG3908)
Noticed this tiny mushroom on 11th September last year, while on a walk at Shannon Terrace, Fish Creek Park. Though there is practically nothing to the image, there is still something that I like about it, that stops me from deleting it : )
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Wildlife Photography, Jungle.
Nikon D300 DX Camera.
Nikkor 70-300 VR Lens.
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Mustache Pete jonesing for caffeine.
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Jon&Crew.
Please help with your temple dog donations here.
www.gofundme.com/saving-thai-temple-dogs.
Please,
No Political Statements, Awards, Invites,
Large Logos or Copy/Pastes.
© All rights reserved.
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Catalogue reference: NA HO 325/143 -Demonstration/ Political statement, 12th August 1970
This open letter written by barrister Anthony Mohipp, secretary of the Black Improvement Organisation, announced the demonstration and set out community grievances in response to raids on the Mangrove restaurant. It was sent to the Home Office, Prime Minister, Harold Wilson (leader of the opposition) and the High Commissioners of Jamaica, Trinidad, Guyana and Barbados.
This image is from the collections of The National Archives. Feel free to share it within the spirit of the Commons.
For high quality reproductions of any item from our collection, please contact our image library
View of a building on the campus of Davidson College, showing two men walking on a
path at left.
Digital Collection:
North Carolina Postcards
Publisher:
Hackney & Moale Co., Asheville, N.C.;
Date:
1909
Location:
Davidson (N.C.); Mecklenburg County (N.C.);
Collection in Repository
Durwood Barbour Collection of North Carolina Postcards (P077); collection guide available
online at www.lib.unc.edu/ncc/pcoll/77barbour/77barbour.html
I have no problem with a wardrobe full of statement pieces. I also have no problem with wearing an outfit of only statement pieces. At this point, I guess my statement pieces are my basics.
Kimono jacket, thrifted. Crochet top, Love on a Hanger. Leotard, Danskin. Skirt, Peppermint. Shoes, BCBGeneration. Earrings, Epcot Morocco. Necklace, thrifted. Bag, Imoshion.
Nowhere is there such an intersection of cultures as in New York City. As an immigrant who has lived in New York for over 10 years, traveling among the five boroughs using public transportation is still fascinating and exciting; being in this city can feel like visiting another country. People celebrate the customs and holidays of their country by wearing folk costumes on the street. Awnings with messages in entirely unfamiliar alphabets are completely common. Many of them advertise goods catering to specific nationalities and cultures, especially foods that were brought here or requested by immigrants living in neighborhoods like Brighton Beach, Jackson Heights, or Flushing. The packaging of these products is a form of art that tells stories and helps remind people that their culture is alive. In this way, immigrants in New York City can prevent the fading of identification with their native culture.
Blender is my ongoing project in which I investigate the diverse immigrant cultures in New York City. The project includes photos of the packaging of food products from various neighborhoods with a large immigrant influence accompanied by texts (short stories as well as notes on the history, culture, and trivia relating to immigrant-heavy areas), interactive performance, and a website. I’m showing photos and presenting short texts on the New York City neighborhoods where the photographed food products can be found. The look of these food packages often has an old-fashioned feel: bright, saturated colors and outmoded designs that are rare in both Japan, where I’m from, and America, where I now live. Through this project I hope to show that art can transcend time and language even through the simplest imagery found on a candy wrapper. Blender is a lens into New York's immigrant communities and cultures.
Product: Milk Chocolate, Product of Czech Republic
Store: Pol Bridge, 7218 3rd Ave, Brooklyn, NY
Neighborhood: Bay Ridge, Brooklyn
Not so young but fit. This guy is standing on Orchard road in Singapore selling these strings with balls.
i put on makeup and took some pictures.
98% were fugly as hell :/
im gonna do my ten cringe's now :)
1. when people are mean for no reason at all.
2. when people assume that just because of my skin color i am a certain way.
3. when people spit in public.
4.working all week then getting your check and realizing that you didnt make shit.
5. being cheated on.
6. people who tag me in random pictures but yet never commented on any of my work.
7. conceited people. god gave it to you and he can take it away.. Really that statement is true with anything.
8. People that assume that because i have a child at (sorta) young age that i was being promiscuous.
9. bologna.. its just icky.
10. People who dont understand my photography so they say stuff like " why did you take a picture of that?"
Idk why i used this picture for my facts. i guess i just like it :)