View allAll Photos Tagged statement.
Serbia 1 Slovenia 1
Translates roughly to "For Kosovo Serbs No Passports" "For Brazilian No Problems" Joke about Cleo a Brazilian who plays for Partizan Belgrade getting a Serbian Passport, but Kosovo Serbs not so fast...
Size: 6”x6”
Tesserae: Scrap stained glass, millefiori, vitreous tile, and salvaged mirror, on 1/4" environmental MDF
Statement:
This work depicts an abstract forest at dawn. On a salvaged mirror substrate, I have used scrap stained glass for the leaf canopy and the hilly ground, with accents of Italian glass millefiori. I left the tree trunks and branches as "open cut-outs" with no tessera, which allows the mirror substrate to show through and form the tree trunks and branches. The trees are all "interlocked" with one another by their web of branches. My intention with the overall composition is to suggest that between the heavens and the earth we are all interconnected ("Beyond Borders") and by using the mirror as a major element, I hope to remind anyone who views the piece and sees their reflection in the trees, that they, too, are part of that infinite connection.
About me:
My name is Francesca De Lorme and I am the owner of Studio Fresca in northeastern Vermont. While I enjoy art of all kinds and work in a variety of media, as well as teach art part-time at nearby Burke Mountain Academy, I am totally and irrevocably smitten with mosaic. When I'm not delving into dumpsters or scavenging around salvage yards, I create Mixed-Media Mosaic Art using primarily recycled, salvaged and reclaimed materials — and I love the entire process. The art and craft of making mosaics is totally engrossing to me because it involves the heart in the passion of creation, the head in fitting together all the elements of the puzzle, and the hands in fine craftsmanship. For me, art is both interaction and expression; an exploration of discovery that perfectly weds the mind, the soul and the body in an ongoing, thought-provoking, and always entertaining, dialog...with myself, with the world around me — and with ALL the stuff, both physical and metaphysical, of life. I am affiliated with several local and national artists associations and my work has been consistently chosen for exhibit in major and minor juried shows. I also offer small group and individual classes; serve as Artist-in-Residence for schools; plan, design and coordinate community public art projects; and sell some mosaic materials and supplies.
Francesca De Lorme
Studio Fresca
Website: www.studiofresca.com
Vermont, USA
More info: www.craftivist-collective.com/Mini-Fashion-Statements
PRESS RELEASE 16.2.17:
Will you find a Mini Fashion Statement in your pocket this April?
As the world remembers the Rana Plaza disaster on 24 April, the Craftivist Collective will be launching a new craftivism kit to make and gently challenge people to think about how their clothing is made.
The collapse of a Bangladeshi factory in 2013 saw 1,138 garment workers killed and over 2,500 injured. There had been signs of structural failure the previous day, but workers were ordered to return to work regardless.
The Mini Fashion Statements kit is being launched in support of Fashion Revolution, a global movement born in the wake of the disaster, which calls for greater transparency, sustainability and ethics in the fashion industry.
The kit feature small scrolls on which makers all over the world are encouraged to write - slowly and in their neatest handwriting on their own or in groups - one of three provocative but not preachy messages designed to get both writer and reader thinking about the true cost of fashion and inspire them to play their part in improving the ugly side of the industry.
Shop-droppers not shop-lifters
The finished scrolls, tied with a pretty bow and featuring an invitation to “please open me”, a smiley face and a kiss, can then be ‘shop-dropped’ into the pockets of garments in fashion stores, or clothes worn by family, friends and colleagues.
This deliberately non-confrontational form of ‘guerilla activism’ using handcrafts is a designed as an alternative to some the more traditional aggressive types of activism.
Sarah Corbett, founder of the Craftivist Collective, said: “We help people learn the art of ‘gentle protest’. We want every part of the fashion industry to be beautiful, not just the clothes. Our pocket-sized scrolls are powerful and poignant little reminders of the role we can play as consumers. They’re designed to make us think about how the clothes we buy and wear are made, and how we might be able to help tackle problems like poor conditions for workers or the use of materials that are damaging to the environment.”
Asking #whomademyclothes
Orsola de Castro, co-founder and Creative Director of Fashion Revolution, said: “We want to unite the fashion industry and ignite a revolution to radically change the way our clothes are sourced, produced and purchased, so that what the world wears has been made in a safe, clean and fair way.
“The Craftivist Collective’s Mini Fashion Statements are a really simple, fun and creative way to be part of the Fashion Revolution. Made with love and placed into a pocket on a store's clothes rail, they surprise shoppers with a message that reminds us to be more curious about our clothes.
“They may be small, but they have the power to make shoppers stop and consider the people who make our clothes, their working conditions and human rights issues. This shows that activism doesn't need to shout from the rooftops, it can gently provoke from our pockets!”
The Mini Fashion Statement kits were pioneered by Sarah during workshops at Stockholm Fashion Week and Helsinki Design Week, and are the first non-stitched Craftivist Collective project. Sarah will be holding further workshops in London and Lincoln in early April to introduce people to the kits and teach them how to do ‘shop drops’ to distribute their mini fashion statements.
[Subhead:] Editor’s notes
CRAFTIVIST COLLECTIVE: Founded in 2009, the Craftivist Collective produces projects, products and kits to help individuals and groups across the globe change the world one stitch (or sentence) at a time using slow, gentle, beautiful activism. You can find out more at www.craftivist-collective.com
FASHION REVOLUTION: Fashion Revolution is a global movement calling for greater transparency, sustainability and ethics in the fashion industry. Fashion Revolution Week runs from 24-30 April 2017. For more information visit www.fashionrevolution.org
RESOURCES / CONTACT: Logos and product imagery, as well as quotes and interview opportunities, are available on request - please email press@craftivist-collective.com.
MINI FASHION STATEMENT KITS: Each kit features: a roll of high quality scrolls, each with an embossed Craftivist Collective logo; three different colours of ribbon (enough for 10 scrolls) to help make your messages stand out; ‘Crafterthought’ questions to reflect on as you write; two small free gifts; tips and message templates. They will available from 24 April at <a href=www.craftivist-collective.com/shop.
EVENT: Hackney, London: Thursday 6th April, Showroom Studio, 6.30-8pm. £10 You will learn the art of gentle protest, create beautiful small fashion statements supporting the organisation Fashion Revolution to put into the world as catalysts for change and practice the skill of shopdropping (the opposite of shoplifting).
Jumeirah Essex House
160 Central Park South
New York, NY 10019
The original red neon sign makes a statement on the New York City skyline.
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Designed by Frank Grad, the Essex House is one of the National Trust Historic Hotels, a program of the National Trust for Historic Preservation.
Frank Grad also designed the Newark Symphony Hall. Some say the hotel's name derives from Mr. Grad’s primary residence in Essex County, New Jersey.
Originally called Park Tower and then Seville Towers, the 40-story, Art Deco hotel tower opened along Central Park South in October 1931. The hotel’s first general manager, Albert Auwaerter, threw a grand opening party for 1,000 in the hotel’s Colonnades Ballroom.
By 1932 the hotel was known as the Essex House and the six-story Essex sign was erected on top of the hotel. Still today some claim the sign is offensively too large and blight on the city’s skyline.
The building is clad in brown brick with large guestroom windows and decorated setbacks. The lobby has massive fluted columns of black marble and it extends through the block as a corridor flanked by the elevator banks. Its main entrance has Art Deco gilded doors.
In 1932 the Reconstruction Finance Corporation (RFC) took title to the Essex House and retained ownership for fifteen years. Congress established the RFC in 1932 to provide liquidity and restore confidence in the banking system to offset the Great Depression.
George Burns and Gracie Allen lived at the Essex House in 1934; Betty Grable and Milton Berle were residents in the 1940s. British TV host Sir David Frost owned a 1,200 sq ft pied a terre in the Essex House during the 1990s. More recent tenants have included Angelina Jolie (penthouse at the top), Jude Law, and Samuel L. Jackson.
In the 1930s the Essex House featured a “strollers brunch” - so called for those completing a Sunday morning walk in Central Park. This leisurely meal, served from around noon to late afternoon, evolved in to the Sunday brunch.
In 1946 Samuel H. Golding, founder of Sterling National Bank and Trust Company, purchased the Essex House. At the time of his death in 1970, Samuel H. Golding was 84 years old and lived in the Essex House at 160 Central Park South. Golding’s wife, Rachel Golding, gifted to Yeshiva University $40 million in memory or her late husband Samuel H. Golding. At the time of the gift in 1992, Yeshiva had an endowment of just $293 dollars. Yeshiva is America's oldest and largest university under Jewish auspices.
Marriott purchased the hotel in 1969.
Marriott’s byline for the hotel: “When you have been spoiled everywhere else by a Marriott, where do you stay in New York? Marriott’s Essex House! “
The restaurant outlets during the 1970’s at Marriott’s Essex House included Kings Wharf Restaurant, Windjammer Bar and for Marriott, the futuristically named - Fairfield Inn Coffee Shop.
Many remember from 1970’s the TV announcer Don Pardo would proclaim that "guests of Saturday Night Live stay at the Essex House!"
Japan Air Lines Development (U.S.A.) Inc., a subsidiary of the Tokyo based national carrier bought the hotel in 1985. Its hotel affiliate Nikko Hotels International took over management and renamed the 715-room hotel - Essex House Hotel Nikko NY.
The Essex House was to be a springboard for Nikko’s future growth.In 1991, Japan Airlines spent more than $75 million in renovating the property. The room count was reduced to 580.
According to the NY Times the renovation included widening the lobby looking out on Central Park, with added seating and the reclaiming of windows in that area that in earlier renovations had been put to other uses. The entire plumbing, wiring, heating, air-conditioning and elevator systems were to be replaced.
Chef Christian Delouvrier opened the 75 seat French restaurant, Les Celebrites (previously Devereux’s on-the-Park) with a $70 average ticket. The hotel’s moderately priced restaurant was Café Botanica. Delouvrier previously served as executive chef at the Parker Meridien's French restaurant, Maurice.
Nikko hired Pierre Yves Rochon of Paris to serve as the interior designer. Brennan Beer Gorman was the architect for the restoration, and the contractor was Tishman Construction Company.
In March 1999 the 597-room Essex House was sold for $260,000,000 ($435,511 per room) to Strategic Hotel Capital. SHC retained Starwood Hotels to manage the hotel renamed: Essex House, A Westin Hotel, New York City.
In September 2000 Starwood created The St. Regis Club at the Essex House - a hotel within a hotel - that comprised the top floors and had 104 rooms, a restaurants and a lounge.
In September 2005, the Dubai Investment Group paid $440 million to acquire the hotel portion of the building that consisted of two components the 501-room Westin and the 104-room St. Regis. There were approximately 148 private residential condominiums located throughout the building and individually owned, of which 139 were not included in the sale.
To appease the unions Dubai Investment stated it would limit the conversion of guest rooms to condominiums to 15%. The unions believe any reduction in the guest room count would eliminate hotel jobs.
Jumeirah Hotels & Resorts took over management in January 2006. The Dubai-based hotel management group also manages The Jumeirah Burj Al Arab, the sail-shaped hotel tower that has become the icon of Dubai and some say is the world's finest hotel. The property was renamed Jumeirah Essex House.
In 2006 Dubai Investment Group contracted Atlanta-based Hirsch Bedner Associates to lead the $90 million renovation and reimagining of the hotel. All the guest rooms and suites were refurbished and many were expanded.
The 509 guest rooms include 301 Essex House Rooms which are around 300 sq ft and do not have views of Central Park. The remaining 208 rooms are larger including suites and have views of Central Park or the Manhattan skyline.
The restaurant, Alain Ducasse at Essex House closed in January 2007.
Chef Kerry Heffernan opened 154 South Gate at Jumeirah Essex House in 2008. A Culinary Institute of America graduate, Heffernan previously was opening Executive Chef and eventually partner at Union Square Hospitality Group’s Eleven Madison Park. South Gate is not your regular hotel-restaurant. Tony Chi and Associates designed the restaurant/lounge sleek interior. The opening of South Gate marked the completion of Jumeirah Essex House’s $90 million refurbishment.
FORBES
May 10, 2012
Forget Lichtenstein's $45 Million Sale: Why You Should Buy Comic Book Art from Living Artists
Carol Pinchefsky
There’s nothing sadder than a poor artist on a streetcorner with a cup in his hand and a sign around his neck that reads, “Will pencil for food.” But that’s the fate of artists who are out of work—comic book artists among them. Had the late Roy Lichtenstein been alive today, he would never have that problem: After a recent Sotheby’s auction, Lichtenstein’s estate is richer to the tune of $44.8 million, thanks to the sale of his 1964 painting, “Sleeping Girl.”
Lichtenstein elevated comic book art into high art crossed with parody, and his use of Ben-Day dots is fun and funny. His success is deserved. But this sale has bothered me for one important reason: Lichtenstein passed away in 1997, and he isn’t around to enjoy the fruits of his labor.
Meanwhile, living, breathing, and hungry comic book artists are on the prowl for their next Corel Painter upgrade. I see them at comic book conventions, row after row of them sitting in an “artist’s alley,” like pound puppies hoping to be adopted. These artists are eager, nay, overjoyed to see their fans, even the surly artists who hate people. Because they know that making the fans happy makes their publishers happy, and that ultimately keeps them off the streets.
Yes, some comic artists aren’t as good as others, and only a few are as good as Lichtenstein. But many of them are extremely talented and equally underappreciated by the masses. Here’s why you should purchase art from comic book artists—either panels from a comic book or one-off commissions—and why they deserve patronage more than any deceased master.
You’re guaranteed art that will suit your personal taste.
Why hang a picture of fruit and flowers on your wall when you can instead hang a picture of a costumed crusader smacking down evil? Or even a costumed crusader smacking down a picture of fruit and flowers? Many artists are all too happy to create one-of-a-kind pieces for you. Even yourself in a superhero costume.
And as for non-commissioned pieces, owning art from a comic book you enjoy is a great way to relive your favorite fiction, especially if your favorite fiction fights crime.
Buying art from the artist guarantees that you won’t be purchasing a forgery.
There’s a reason that forgery is a time-honored tradition and a staple of heist movies: It’s a typically bloodless yet lucrative crime, and the victims aren’t the type to air their grievances on Judge Judy.
Why subject yourself to the ridicule of purchasing a forgery—like the time Hermann Göring bought a fake Vermeer. Oh, how we laughed—when you can buy a piece of art from the hand of the artist him/herself?
Comic book art has had only a few notable forgeries (here, here, and a few here). But do you really be want to knows as “the guy who bought that fake and is now a funny Internet meme.”
It’s an affordable investment.
As anyone who uses Google can tell you, Action Comics #1 famously sold for $2.16 million in November 2011. But there’s a secret to buying good comic book art on comic book store employee wages: buy panels, not issues. You can buy some extremely well-rendered, emotionally stirring art for as low as few hundred dollars.
Considering that an anonymous collector paid $448,000 for a panel by penciller Frank Miller and inker Klaus Janson, it’s a potentially good investment. And if it’s one thing I know about financial, um, stuff, it’s “buy low and sell high.”
It’s bucking the trend.
Think about what buying a master like Lichtenstein means to the rest of the world, besides “I’m secure in my financial success.” It means that you prefer art that’s popular and trendy. Your enemies will say that you have no taste of your own. And then they’d know you were $45 million dollars poorer. Seeing you lack resources, they can move in for the kill. In other words, buying a Lichtenstein makes you weaker.
You’re stimulating the economy.
That’s right. You’re not just submerging yourself in your fannish dreams by purchasing comic book art. You’re giving the artist money to live on. He/she in turn pays bills and college debt, buy more art supplies, and not have to eat cat food, or worse, take a 9-to-5 job. Purchasing art produced by a dead artist may fill the estate’s coffers, but it will never support them doing the job they love.
Another thing you’ll be stimulating: the artist’s ego.
Gary Land
Thank you for the exposure for Comic Art collecting Carol. One thing though, The widely accepted term is “Pages”. Panels are the individual boxes on pages. If anyone is interested in learning more about the hobby, either www.comicartfans.com or the yahoo group Comicart-L would be an excellent place to start.
Mitch Itkowitz
Except for the fact that Lichtenstein was not a comic book artist, and only achieved fame when he took individual panel from comic books of other comic book artists work.
Never mind copyright infringement, the artists from which he stole never received a penny, and Lichtenstein received the credit and fame.
It’s too bad the author never took the time to fully research his “article”, nor contact anyone in the comic art business.
Tim Townsend
“Yes, some comic artists aren’t as good as others, and only a few are as good as Lichtenstein.”
This is arguably one of the most profoundly ignorant statements I’ve ever read. I love that you’re bringing attention to this hobby but you do yourself, as a writer/journalist, and your readers a disservice by not adequately researching the topic.
Tony Maakies
This sentence made me laugh and laugh and laugh. Then I cried. I’d actually love to see a Lichtenstein comic book, it would be as big as a barn door. A huge barn door comic book filled with Tony Abruzzo comics.
Brian Peck
“Yes, some comic artists aren’t as good as others, and only a few are as good as Lichtenstein. ”
Carol has absolutely no idea what good artwork is. Lichtenstein a good artist? HA! He ripped off panels from other artists and his copies were inferior to the originals. Why this their is so celebrated I will never know. Buy comic art that you like either the artist or a something from a story you grew up reading, don’t buy it because you hope to make money. Try the stock market for that or Las Vegas.
princeminski
Well, as you’re seeing, this sets off quite a knee-jerk reaction among the comic book folk. Comics artists, even (or especially) the underground variety, have a real problem with the Fine Art niche (almost as inflated as the one shared among the cowboy illustrator/Kinkade crowd). Be that as it may, I can attest to the fact that you can own excellent examples of the work of Walt Kelly, Chester Gould and many other GIANTS of their profession for a minuscule fraction of what you would pay for a minor silkscreen from the studio of any of the Pop Art heavy hitters. Of course, the people I mentioned, and most of their contemporaries, saw themselves more as newspapermen and were very uncomfortable with sissy designations like “fine art.”
Jan Dumas
Better yet, find a great comic book artist and have them do a commission. It gives them the freedom the comic book might now allow them. It also give you the collector some thing extra special, that you might never want to sell.
Kris Fenol
If you want to be extra cool, you’d collect comic art commissions of heroes/villains you create yourself.
Brian Massa
“Yes, some comic artists aren’t as good as others, and only a few are as good as Lichtenstein.”
It should read “and only a few are as LUCKY as Lichtenstein” They are probably millions of people who are much better artists. It would be like saying “only a few are as good as Keith Haring”
GianCarlo Nardini
Thanks, Ms. Pinchefsky, for bringing even more attention to the artists who work on comic books. We’re lucky that more and more people are realizing what kind of great work has been done in this medium for many, many years.
It’s ironic that the Lichtenstein sale has attracted this kind of attention from unusual sources (Forbes, e.g.) since Lichtenstein never credited the artists whose work he took, and they have never earned any money from these copies, or “swipes.”
This is a well-worn path of an argument with many people set in their opinions. I am of the opinion that the saddest thing about this kind of auction hammer is that it is for art taken from another uncredited artist (a living contemporary, no less.) That artist, Tony Abruzzo, could have at least seen his name in lights if Lichtenstein had shown the class to credit him.
Carol Pinchefsky
GianCarlo,
I would love to follow up with Tony Abruzzo, the artist whose panel, “Sleeping Girl,” was turned into pop art by Lichtenstein. Do you know how to contact him?
J. Andrew World
First of all, thank you for telling your readers to buy comic art from real comic artists, with this being the main thrust of your article you almost get a pass for your mistake earlier.
I am a comic artist, and I live in the long tail by doing a webcomic about Wisconsin politics (right-about-now.com if you wish to check it out.) Instead of looking like a pound puppy, I spend my time in artist alley painting for all to see. We, artists of comics are not well respected inside the industry, and are paid as much as public school teachers if we are lucky. Not to say there are some people who’s talents and products have given them success. I am glad for any of us who has found success.
The problem I have with your article is the premise of Roy Lichtenstein as a good artist. Now, to be honest, I think it was quite clever to enlarge the printed comic the way he did. But one must remember, he painted the piece after he blew up the original and traced it. His work was also inferior to the original pieces, his lack of skill lost the subtle brush work of Jack Kirby and John Romita and their inkers. People in the comic business didn’t think his work was very good. In fact, the book “10 Cent Plague” an editor of Romance comics back in the day ripped apart Lichtenstein’s lack of skill. The thing that has angered me is that Lichtenstein’s success he never once helped the artists he traced. In 1978, the year Superman came out, Jerry Siegel and Joe Shuster were living in poverty. Joe Shuster was legally blind and working at the post office (A terrible end for an artist) and Jerry Siegel was living in a flea infested apartment. (Men of Tomorrow, another great book, by the way)
I am not saying that you can’t enjoy Lichtenstein’s work, but what I am saying is remember him for what he was, a weak artist who made a ton of money of the poor and exploited artists with his one good idea.
jerry deli
“Yes, some comic artists aren’t as good as others, and only a few are as good as Lichtenstein.”
Just for clarity, a few artists as good as Lichtenstein are:
Joe Kubert
Mike Sekowsky
John Romita
Ross Andru
Russ Heath
Tony Abruzzo
Martin Branner
Myron Fass
George Tuska
William Overgard
Irv Novick
Jerry Grandenetti
These are the artists whose original work Lichtenstein plagiarized.
My apologies for the other fine artists (and writers) whose names I’ve left off this list.
Perhaps the best reason to buy original comic art is because it’s the original, even a $45M copy, is still just a copy.
Ricardo Venâncio
To the care of Carol Pinchesfky, this is a little research resource you should have used writing this oh so enlighting piece about the comic book medium:
en.wikipedia.org/wiki/Roy_Lichtenstein
Roy Lichtenstein never, in his life, worked in the comic book industry, and the only contact he had with the medium was taking panels (actual panels, not the panels you refer to which are actuallt pages) from actual comic book craftsmen and “elevating their comic book art into the high art”, as you so elegantly (and also condescendingly, I might add) put in your text.
Let me tell you, I was endeared with the reasons you laid out supporting the investment in original pieces bought directly from the professionals in the medium, especially the overall tone of “let’s give a few bucks to keep the poor bastards off the streets” which permeates your “article”. Being a budding professional in the field of comics, it just fills my eyes with grateful little tears knowing there’s so much respect for the craft I and a few million people grew up on and continue to support.
I had the naive impression that, to be able to write for a publishing house such as Forbes magazine, you’d actually had to know what the hell you’re talking about before commiting pen to paper, but I guess that notion was just blown out of the water. Unless, and kudos to your humor editing skills if it is, this is a joke piece.
Thanks for the laughs, either way.
Stefan Blitz
While some of the information might not be accurate, isn’t the message of the article, “support comic artists by purchasing their work” a valid enough argument?
The Pop-Art movement was full of artists “appropriating” the work of folks in the industry and attempting to make an ironic statement. Unfortunately, those same people who purchased a Lichtenstein or Warhol, don’t know or even understand the importance of artists like Kubert, Heath or Romita. And never will.
There’s no need to bash the author for her use of the word “panel”, when in fact the Dark Knight Returns piece was in fact, splash page.
Semantics are one thing and if art truly is in the eye of the beholder, who are any of us to judge.
That being said, I’d rather have a Kirby, Dick Sprang, Wayne Boring or Jack Cole original than a Lichtenstein any day of the week.
Carol Pinchefsky
One of my favorite comic book artists gets very little recognition. His name is Ernie Colón, and he never appears in lists of “best artists.” What a shame. He’s so talented.
David Barsalou
Carol… Tony Abruzzo passed away years ago.
Russ Heath, John Romita, and Joe Kubert are still alive.
My website : Deconstructing Roy Lichtenstein has information
on all of the artists Roy Lichtenstein copied.
www.flickr.com/photos/deconstructing-roy-lichtenstein/
davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html
Jesse Hamm
Ah, cartoonists. When a columnist for a respected magazine takes the time to send some business our way, listing several reasons why patrons should invest in our work, we can always be counted on to throw hissy fits and hotly rebuke her for some offhand remark. This, my friends, is why we were so popular in high school.
Dave Porta
Hahaha Jesse Hamm too funny!!!
Jesse Fuchs
A great place to buy art by current cartoonists is comicartcollective.com—lots of amazing stuff at reasonable prices, 100% of which goes to the artist. I bought an Ivan Brunetti page there for 300 bucks in 2001, and it’s probably the best investment I’ve ever made: I’ve been offered $1000 for it, and didn’t even think twice about selling it.
Carol Pinchefsky
Thanks for the head’s-up about ComicArtCollective. Great to know!
GianCarlo Nardini
Ivan’s stuff is fantastic!
www.forbes.com/sites/carolpinchefsky/2012/05/10/forget-li...
LICHTENSTEIN, BOUNDER AND CAD !
By Jack Knight
October 17, 2012
My latest project is taking me on an exciting mission to investigate the world of Roy Lichtenstein. I’m not compelled to do it in depth but for this commission I need to get a feel for his style and the work that he’s done. It was whilst doing this research I discovered a startling revelation, something which may have already been apparent to some of you but for me it’s news.
Roy Lichtenstein was a no good plagiarist! This is just terrible news. Not that I particularly hold any affection for the guy, although I am a huge fan of graphic novels and comic book art I’d always like the fact he’d championed their style…but wait, no he didn’t. That’s why it’s terrible news. In actual fact, what Lichtenstein did do was wholesale take art from comic books, copy them out again in with much less skill and then go on to make a mint off it whilst the original artist faded into obscurity. The high toned and fancy critics in the art world back then and to this day, continue to look down their noses at comic book art. When compelled to review comic books they usually take a longsuffering stance that begrudgingly admits that this particular comic book “isn’t for kids” and is therefore almost worthy of their notice.
But I digress Lichtenstein was popular. Critics were gushing and fawning at him over their chilled champagne and at the same time they were all still belittling comic book art. He could have said something, spoken up for them. Maybe he was too scared someone would look into it and out him as being the massive plagiarist that he was.
As far as I am aware, nobody outed him for being a bounder and a cad until relatively recently. A bloke called David Barsalou spent something like 25 years going through old comic books one panel at time, comparing them with Lichtenstein’s work until he managed to find all the pieces he’d ripped off. It’s a real life’s work, this guy obviously feels very strongly on the struggling comic book artists getting their credit where credit is due. Good for him. These artists could have been you or me, trying to earn a living doing what they loved, putting their heart and soul in getting the right pose, the right look and for what, for their names to be forgotten whilst Lichtenstein’s name is actually programmed into Spell check.
But what do you think? Has his work improved upon the originals by cleaning them up a bit? Is he in some way inspired? What’s your opinion?
www.knighttimecreations.com/#/latest-news/4561894876/Lich...
Deconstructing Roy Lichtenstein © 2000 - 2013
~ The Original Source Catalogue Raisonné ~
Sleeping Girl 1964
January 4, 2012
From Paulson, Laura
To 'barsaloud@yahoo.com'
Dear David,
It was nice to speak with you and thank you for the information regarding "Oh...Alright"..
Thank you in advance, as well for the reference to Sleeping Girl 1964.
I look forward to hearing from you,
Sincerely,
Laura
" lpaulson@christies.com"
My direct line is 212-636-****
From: DAVID BARSALOU [mailto: barsaloud@yahoo.com]
Sent: Wednesday, January 04, 2012 05:36 PM
To: Paulson, Laura
Cc: David Barsalou
Subject: Re: Sleeping Girl 1964
Laura… My apologies - have been fighting a cold for over a week.
Thought you were referring to " I Can See The Whole Room... " which is from a
Steve Roper Sunday dated 8/6/61
"Oh...Alright".. and Sleeping Girl are comic book images.
The specific info is somewhere in my research archives-
~ Will find it for you tomorrow.
I have been working on this project since 1979.
Best regards,
David Barsalou
Re: Sleeping Girl 1964
FromPaulson, Laura
January 4, 2012
To barsaloud@yahoo.com'
David, no worries, I have been fighting, but lost to my cold..not at
all pleasant.
Many thanks again,
Laura
From DAVID BARSALOU January 5,2012
To Paulson, Laura
CC David Barsalou
Oh... Alright … 1964
DC Comics
*****
Sleeping Girl 1964
DC Comics
*****
Laura -
It took a really long time to find all the source imagery for DRL
~ Please acknowledge my research whenever possible.
Thanks and regards,
David Barsalou MFA
Deconstructing Roy Lichtenstein © 2000
From Paulson, Laura to you January 7,2012
Re: Oh... Alright … + Sleeping Girl
David,
Thank you again, I did find Girls Romances, which is great .
How would you like to be credited/acknowledged should we use this in a Christie's publication?
Best,
Laura
Re: Oh... Alright … + Sleeping Girl
Show Details
From DAVID BARSALOU
To Paulson, Laura
CC David Barsalou
Laura… If you can't locate Oh… Alright...
I can E-Mail a scan without watermarks.
This acknowledgement would be fine -
Deconstructing Roy Lichtenstein © 2000
David Barsalou MFA
Dear Carol... Sadly, Joe Kubert passed away on August 12, 2012 John Romita is in his 80's - and the last major artist alive
whom Lichtenstein swiped.
Thanks and regards,
David Barsalou
On Thursday, August 2, 2012 4:27 PM, DAVID BARSALOU wrote:
Carol -
~ Joe Kubert and Hy Eisman are at the Kubert School
~ Joe may also have the contact info for both Russ Heath and John Romita Sr.
The Kubert School
37 Myrtle Ave Dover, New Jersey 07801 Telephone: 973.361.1327
info@kubertschool.edu
~ Dr. Jeff McLauglin, one of my Facebook friends may have Russ's #
He buys a lot of Russ Heath's work.
www.facebook.com/jeff.mclaughlin.ca
~ John Romita Sr's information.
... Mike Burkey at Romitaman Original Art must definitely have it. He has been
buying and selling Romita images for many years.
Hope this was helpful -
Best regards,
David Barsalou MFA
Deconstructing Roy Lichtenstein
davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html
www.flickr.com/photos/deconstructing-roy-lichtenstein/
www.facebook.com/groups/230408213304/
From: Carol Pinchefsky
To: David Barsalou
Sent: Thursday, August 2, 2012 2:32 PM
Subject: Re: The artists Roy Lichtenstein copied / 1961- 1965
David,
Actually, that's a fantastic idea for an interview. I'm swamped with a few videogame pieces right now, but it's absolutely something to put on my ever-growing list of awesome topics.
You wouldn't happen to know their contact details, would you?
Carol Pinchefsky
blogs.forbes.com/carolpinchefsky
Dear George Osbourne,
The economy. Ah, it's broken isn't it? Well done for that. Tell you what. why not waste £600 million on duplicating school places on someone's ideological whim? That'd help when there's a high school in Pakefield that needs £12 million to actually finish building it.
This is my response you your, err, "plan".
Love and kisses,
Blue Square Thing
A strike day, so in Norwich.
2011-11-30 & 333/365
Hot off the Press - Pink & Orange are the new Black!
At this time of year I think the Spindle looks its best, with the fruits bursting from their casings and the leaves glossy with Autumn colour!
Spindle timber is creamy white, hard and dense. In the past it was used to make ‘spindles’ for spinning and holding wool (hence its name), as well as skewers, toothpicks, pegs and knitting needles.
The fruits were baked and powdered, and used to treat head lice, or mange in cattle. Both the leaves and fruit are toxic to humans - the berries have a laxative effect.
Today spindle timber is used to make high-quality charcoal, for artists. Cultivated forms of the tree are also grown in gardens for autumn colour.
I think that all women owe a huge favour to the spindle tree, as it is from here that the spindles came for spinning wool, the first time in history that a woman (a spinster) could earn her own living!
Palais Württemberg - Hotel Imperial
1, Kärntner Ring 16
Architects: Arnold Zenetti, Heinrich Adam
1862 - 1865
The client - The Palais turns into hotel - War, soviet occupation - Reopening
Facade - Portal - Grand Staircase
(if you want like to see many more pictures please go to the link at the end of page!)
History - the builder
The Imperial Hotel began its history as a palace. It emerged as one of the first buildings on one of the best and most expensive grounds, with unobstructed views to the Karlskirche.
Even for a Adelspalais (noble palace) it was very representative. The room was divided wastefullly: Just the grand staircase would have provided space for two apartments in a normal apartment building. Who had built this way, did not have to pay attention to his money.
The client was according to this an illustrious figure: Closely related to the Württemberg Royal Family (1806 establishing the Kingdom of Württemberg) came Duke Philipp of Württemberg (1838 - 1917), son of Alexander Friedrich Wilhelm of Württemberg 1838 in the French Neuilly into the world.
His mother, a princess of Orleans, died a few months after Philip's birth, so he was baptized and brought up by his grandparents, the French citizen-king Louis Philippe, the last official King of France and his wife, Queen Marie Amelie, in Paris.
Duke Philipp of Württemberg
With ten years Philip had with the royal family in 1848 to flee from the revolting crowd of the capital and he returned to Bayreuth.
His father had later again married, to the displeasure of the Son, because the marriage was morganatic: she was his housekeeper.
Philip pursued a military career.
Shell Palais Württemberg
Wedding with (female) Habsburg
In the great conflict between Austria and Prussia, he was on the side of the Habsburgs and counted as one of the losers of Hradec Kralove (Königgrätz).
The Württemberg were on par with Europe's most powerful royal houses. Philip asked for the hand of the youngest sister of Empress Elisabeth, Princess Sophie, but the marriage did not materialize.
Finally, his love brought him to Vienna, the Duke married into the Habsburg family.
In 1865 he married Archduchess Marie Therese (1845 - 1927), daughter of Archduke Albrecht (Monument Albertina ramp), granddaughter of Archduke Charles, the victor of Aspern (Memorial Heldenplatz).
The wedding took place in the court chapel of the Hofburg in Vienna.
Wedding with Habsburg
Together they moved into the newly completed palace on the Ringstrasse.
It was built in 1863-65 by the Munich architect Arnold Zenetti, according to the plans of Heinrich Adam (grave Central Cemetery).
His wife had recently suffered a severe stroke of fate: her mother had so strongly caught a cold during the funeral of her brother that she died as a result. And soon should burn her sister Mathilde alive.
This one had dressed a gown made of Indian muslin for the theater. This type of material was impregnated at that time with glycerol to give the fabric more fullness.
Before leaving the theater she wanted to smoke a cigarette. When suddenly her father, who had strictly forbidden her smoking came in, she hid the cigarette behind her baggy dress. The highly combustible, glycerol impregnated fabric immediately went up in flames.
Floor Plan 1st storey
The view to the Charles Church was lost
A clear view to the Charles Church was lost by the building of the Musikverein.
The Duke could not enjoy his palace for long. Because behind it, to the Karlsplatz, there was a leafy park, which gave a clear view over to Charles Church.
But when he returned from Hradec Kralove, one was just digging the foundation of the Musikverein. 1870 was the "temple of music" finished and the beautiful view history.
Musikverein, on your left, behind the Imperial Hotel
That should have been the reason that Philip the following year sold his palace. I think this is one of the many "tales", because all the reception rooms were on the side of the ring road. If the view would have been sooo important to him, he would have also had laid out on the back of the Palais 'comfortable' rooms. Anyway, he moved to Strudelhof in the 9th District, a cheaper solution, it was the question here of a spacious villa. Incidentally, it is also told that he had gambling debts and therefore he could not afford the expensive palace on the Ringstrasse anymore.
Summer residence
Duke Philip, who did not feel quite at home in Vienna, lusted after a summer residence in the Salzkammergut.
(The Salzkammergut is a resort area located in Austria. It stretches from the City of Salzburg eastwards along the Austrian Alpine Foreland and the Northern Limestone Alps to the peaks of the Dachstein Mountains, spanning the federal states of Upper Austria, Salzburg, and Styria. The main river of the region is the Traun, a right tributary of the Danube. The name Salzkammergut literally means "Estate of the Salt Chamber" and derives from the Imperial Salt Chamber, the authority charged with running the precious salt mines of the Habsburg Monarchy.)
In addition to hunting around Gmunden the Duke dedicated his passion to the emerging photography.
The architect Heinrich Adam built for the Duke and Duchess in 1872 Villa Maria Theresia in Altmünster according to a French model high above the Lake Traun.
In the summer of 1875 they moved in, 1878-80, the chapel was rebuilt by Heinrich von Ferstel.
Summer residence in Altmünster in Gmunden
As the succession of the Stuttgart parent house fell on Philip's son Albrecht, Philipp moved in 1905 with his family to the Stuttgart Prince Palace. After his death in 1917 his widow Maria Theresa spent her lonely summers preferably in Altmünster until she died for herself in 1927.
The Palais becomes Hotel
The palace was in 1872 in the hands of the Budapest hotelier Johann Frohner. As businessman he sensed with the approaching World's Fair his chance.
And he knew that there was a lack of representative lodging in Vienna, so he turned the magnificent building into a hotel.
At the opening Emperor Franz Joseph I also was invited, which was served a cake. It is said that he had it appreciated, so was the Frohner cake, now called Imperial Torte, born. The special thing about it: it is square.
An original recipe of the Imperial Torte from the 19th Century, however, is not handed down. She is known for only a few decades. At that time it was begun to offer it as a house cake at Café Imperial.
Several years ago was launched a marketing campaign and it was accomplished that the Imperial Torte today is sent around the world and one, according to the house, needs a total mass of 40 tonnes per year for it.
Imperial square cake
Café Imperial, recording 1941
The conservatory
The courtyard becomes a winter garden.
Donauweibchen (Danube maiden) copy
Frohner had a sense for staging. The glass-covered courtyard became a dining room with conservatory flair.
In the middle was a copy of the Danube female from the city park. Today she is at the end of the grand staircase.
The newspapers were ironed so guests did not have ink on their fingers. And the butler service is available to this day.
Who has once looked into it, knows why we put most of our state guests there - it is just not a "normal" hotel, but still a palace, one of the most magnificent!
Between the lobby and the Café Imperial runs a narrow passage where the house's history is told in pictures and text. And it is also worthwhile to study the guest list shown there.
Lobby to Frohner times
2 World War II, Soviet occupation
The war and the occupation had left its mark on the house. Here, since Adolf Hitler took his accommodation at his few visits to Vienna, the hotel had to be equipped accordingly.
On the side of Canovagasse one built an underground bunker, but not in the usual way.
It was just the road dug up, the bunker built into a pit and then the road above concreted again.
Hitler rises from the Imperial
During the Allied air raids on Vienna here many people found refuge, especially the Vienna Philharmonic from neighboring Musikverein.
After the war, the Soviets used the house as an office building. As they moved out of here again after the occupation time, the house was practically empty.
About the state of the Imperial, in which they left it in the mid-fifties, there are different statements.
It appears that the shape of the house may not have been much worse than the other districts of the Soviet Army.
In the stuccolustro of the main staircase of the Imperial a soldier has immortalized himself with a small doodle.
Left: the people cheering in front of the Hotel Imperial on 15 March 1938
Swastika flags near the Hotel Imperial
Reopening of the hotel
The large portrait of Emperor Franz Joseph at the end of the stairs, a symbol of a reactionary attitude, remained untouched over the years .
Even as the Imperial again was a hotel, considered Russian politicians the house as a kind of ideological hereditary leasehold.
Only U.S. Secretary of State Henry Kissinger broke this monopoly, as he with his Soviet colleague Andrei Gromyko in Vienna lived at a meeting at the Imperial.
Because Gromyko did not want to spend the night with the representative of a capitalist world power under one roof, he departed angrily in the Soviet Embassy. Also for other state guests, the Imperial is recommended as the first address.
Re-opening of the hotel in 1958
Rooms at the Hotel Imperial in the then modern 50's style
Guests
The fact that the English Queen Elizabeth here took up accommodation during her visit to Vienna, was felt as a great honor because the Queen slept on visits abroad only rarely in hotels.
Therefore one replaced the by no means not unrepresentative furnitures of her suite against those from the Imperial Furniture Collection. And for the duration of her stay hung pictures from the Kunsthistorisches Museum in her premises.
Thus, the Queen could at least feel a touch of monarchical past. Finally, the hotel management did remove the seating from the lobby. No one should have the opportunity to insult the Queen, by just remaining seated in front of her.
Queen Elizabeth greets from the balcony of the hotel, in 1969
Plaque Rainer Maria Rilke
Plaque Richard Wagner
Inscription:
During 1916, Rainer Maria Rilke visited in the Hotel Imperial almost daily his "Unforgettable Café" and met here Oskar Kokoschka, Karl Kraus and Adolf Loos.
Austrian Society for Literature
Inscription:
Richard Wagner was at the end of the year 1875 with his family for nearly two months guest of this hotel to prepare for the performance of his operas Tannhäuser and Lohengrin.
The Vienna Schubertbund 50th Anniversary of the death of the artist, 1933
(Sculptor Robert Ullmann)
Facade
Important strictly historicist Palais, 1862-65 built by Arnold Zenetti and designed by Heinrich Adam. Monumental free-standing building of the beginning of strict historicism in forms of neo- Renaissance.
The main façade has a 6-axle central projection, which is further emphasized by the three-axis portal.
In 1928, the house was extented on the ring road by two floors. The attic was converted into a continuous balcony on the 4th floor.
1946, the portal has been simplified and the three-aisled hall (lobby) rebuilt to current form.
Floor plan 6th storey
1988 - 1994 followed a general refurbishment and the roof extension (Maurizio Papiri), which on the back of the palace was not very successful.
Portal
3 -axis portal above statues representing sovereign virtues.
As the duke had guarded the house round-the-clock, originally flanked two sentry house the wide entrance, which was designed for the entrance of the carriages.
The six-axle central projection visually protrudes a little bit and is rich decorated. The effect is mainly due to the generously employed sculptures of the portal and gable zone.
The statues above the entrance are from Franz Melnitzky and represent personalized Herschertugenden (souvereign virtues): wisdom - old man, lorbeerbekränzt (laurel-adorned) and scroll of honor - Woman with coat of arms, Justice - sword, strength - club.
In addition to the figures, by the same artist have been made reliefs, which were destroyed in 1946, as well as the lunettes.
Statues (ruler virtues)
Hotel entrance: reliefs and lunettes in 1946 destroyed
Wisdom
Honor
Justice
Strength
Above the balconies and windows of the first floor can be found the from the Orient stemming griffin motif: two griffins flanking each of them a vase. The lion's griffon, his head and body seem like that of a lion, but he has the wings of an eagle, he was apostrophized in antiquity as the guardian of the gold. Here he was reinterpreted as the guardian of the house.
In the triangular gable of the roof is an allegory of the house Wuerttemberg to see with the heraldic animals of the house, the deer and the lion. The very striking roof no longer exists, but it fell victim to the fact the hotel was increased in the 20th Century.
Grand Staircase
Former court (later conservatory, lounge today)
At the times of the Württemberg the palais still hand an open courtyard in the middle. This court allowed, as with all other buildings of that era, the coachmen to turn there after they get off their customers in the driveway.
So the coaches for this had sufficient space, the outrageously expensive main staircase had to be moved to the side. Who enters the hotel lobby of the Imperial today, does not immediately recognize the noble work, but he must climb a few stairs to the right. Such intricateness were then accepted.
The grand staircase leads to the main floor only. The stairs to the upper floors are designed very much simpler. Because here only circulated staff.
Grand Staircase
Grand Staircase piano nobile
Lobby
www.viennatouristguide.at/Palais/ringstrasse/wuerttemberg...
my desk is out of space for financial statement, and so is my mind.....i had a nightmare in the early morning.....Charts keep my mind busy when dreaming
Photograph by: Ryan Nyenhuis
Sunday June 15th 2008, Fathers Day. Ryan and I woke with a plan. The plan being to sneak into the abandon R.L. Hearn Thermal Generation Power Plant which is located in the south east area of downtown Toronto. We wanted to photograph the beauty of decay.
We had made a trip over to the power plant a week prior to scout out the area, to see where guards were located and to find easy access inside.
Sneaking past the guard house located at the front of the property and making our way along the north west section of property towards the back of the plant where the barbed wire fence was weakest.
We then smoked three quarters of a joint together before working up the nerve to hop the fence. Ryan went first, watching him hop the fence and dart out into the yard and hiding behind scrap metal for cover then finally making it to the back of the building. Then it was my turn. What excitement that was, knowing your breaking the law to do something adventurous.
After getting onto the property we were standing at the back of the Hearn and looking for our way inside. To do so we had to hop up onto a metal fence post and from there had to reach up and grab a hold of plywood that covered up the tall entrance area. A good 15 foot climb up, over and in.
Once inside the first photo that was taken was the one of Ryan and I standing together, titled "final hours".
This place was like no other we had ever explored together. The shear size of it all was breathtaking and mind blowing at the same time. The beauty of destruction.
After the first photo was taken we started exploring the plant. Taking the necessary precautions we had come prepared with asbestos masks and flashlights.
We had made our way around on the ground floor, through locker rooms, showers, storage rooms. Then we started making our way up stairs to the 2nd and 3rd level offices, had the remainder of our joint together.
From the office levels we went back onto the factory area and started climbing the metal stairs up further still. Some photos show how high up we were in that building.
We then made ourselves up onto the roof. What a view from there looking out over the city core. Looking out over Lake Ontario we saw really dark storm clouds. Ryan pulled out a cigarette and had a smoke.
We were up on the roof for about a half hour before Ryan asked me "what do you want to do now man?". "Do you want to go home now or stay a bit longer and explore?". My camera battery had died at this point and being there any longer served no purpose for me. I was hesitant on a response because at the same time I wanted to keep exploring because the plan was to keep coming back weekend after weekend to explore and document the old structure.
I then agreed to keep exploring. We came in off the roof, coming down a level, walked through a doorway into a long looking dark room. All across the top level of The Hearn runs conveyor belts that run coal from one end to the other. Walking together along the metal grating flooring. Ryan was 2 feet in front of me.
I then ended up tripping over a small extruded piece of metal on the floor, and from that second on I pointed my flashlight directly onto the floor to see where I was walking.
Very shortly after this happens, in mid sentence Ryan just falls into blackness. All I see is from his waist up as he plunges into complete blackness and followed by about 4-5 seconds before hearing a sick crash far below.
I then look 2 feet in front of me and see there is no more floor. My imediant thought is that he is dead. Then my brain clicks "I have to get my best friend out of here".
I then tried my best to back track to get out of the building, taking a route that he and I had not taken to get to this point. All I knew is I had to get out of The Hearn and find someone that could help.
I don't even know how I got out of that place. When I did I came out on the back side of the building, ran around to the guard house screaming for help.
I screamed to the guard that my best friend just fell in there and is hurt really bad, he asked what we were doing in there and I told him we were just taking photos.
The guard then called like every paramedic, fire and police officer in the city. About 10 minutes after the call was made all I could hear were the sirens. Scared and relived at the same time I was.
Once they all showed up I told them Ryan was in there, that we were up high in the building and he fell. All the cops were telling me to retrace my steps, they wanted to see where we came in from. I screamed at them "we don't have time for that right now, my best friend is dying in there". I then started leading them to the front of the Hearn because I knew it was the closet way inside. We get to the front and all entrances were boarded up. One cops said to me "Ian there is no way in through this way, you have to show us where you came in from". I then demanded to the fire fighters that they bust this plywood down to get inside.
Once inside the cops started fucking with my mind, me being in total shock at the time they started asking me where we had explored, they wanted me to take them on what would have been a few hours of exploration, which we didn't have time for.
Then an officer finds his asbestos mask and glasses. My first thought is he was okay, that he somehow managed to crawl out under his own power. I was wrong. His mask and glasses had bounced off of objects on the fall and Ryan was nowhere to be found.
The police tried getting a hold of Rogers Communication to see if they could pin point his location with the cell phone he had on him. They ended up using thermal vision to locate him. He was trapped in a coal hopper located high up in the building.
I was escorted out at this point in time because I was too "hysterical" for the cops liking.
Two and a half hours went by, a fierce thunderstorm was passing through.
While they were working on getting Ryan out I was giving my statement to the police. Never gave one of those in my life. I told them everything that I am writing here right now, everything, even the joint smoking. I had Nothing to hide.
We went in undetected but I didn't care if the whole world was watching at this point, I was doing what any best friend would do. I was trying to save him. City Pulse News was there and I was trying to hide from them. I was scared that this is how his family would find out and how my family would find out, being Fathers days and all.
After two and a half hours of hell they finally got Ryan out. I watched them carry him out on a backboard and I yelled to him that I loved him.
Ryan was rushed to St. Micheal's Hospital, the best in all the city for trauma.
I followed about an hour after him, being escorted in a police car. On the drive one officer said to me "this is going to cost you and your buddy about a hundred thousand dollars for all that had to be done here today". What a jackass thing to say. I responded by saying "I don't give a fuck about money, take all I have from me I don't care, I'm loosing the most important person in my life right now".
We get to the hospital, I enter the trauma wing of St. Micheal's. They told me that I was going to be the one to call the home of the Nyenhuis'. I thought that was insane, and told them I could not make that call, that they would have to.
I then went into the waiting room, sat down. I remember the NBA finals were on the televisions in there and I ended up falling asleep somehow.
Waking to Stevie and Tammy's faces hours later (Stevie being Ryan's room mate and Tammy being Ryan's girlfriend).
Stevie told me that John and Cheryl were on their way and that we could go up stairs to the trauma ward to see Ryan.
The trauma centre, located on the 9th floor of St. Micheal's Hospital.
Hours passed by, as the night went on the news kept getting worse and worse about his condition.
I ended up leaving to come back to my apartment at 6am the following morning, I had to talk to my parents and try and shovel some food into my system. Still being in shock and never got treatment for shock when it happened.
I returned to the hospital at 3pm that day. Only to find nothing had changed with his condition.
Then came the worst words I ever had to hear, Ryan's father coming in the room and telling me it was time to say goodbye to Ryan.
We made our way into where he was being cared for. To see my best friend in the state he was in broke my heart. Blood coming out the back of his head, body black and blue bruised from head to toe, internal damage that could not be repaired, feeling his forehead and it being ice cold. He was laying there in front of us, dead. Machines were the only thing keeping him "alive".
I said my goodbyes to him, telling him that he can't leave me here, he can't leave the creation of Studies In Comfort behind, something that is so brilliant, that we were supposed to take over the world together and do all that was planned. I told him to haunt me.
I then looked at his eyes and saw tears. He may have been brain dead but I know he heard every word I said. Doctors did not give an explanation to what was coming out of his eyes.
If only I had said to Ryan "hey man watch your step" he might still be alive today. I have been told over and over again that I can not blame myself for what happened that day. I sometimes still do.
Ryan and I once had a conversation that if something ever happened to one of us that Studies In Comfort would stop, without a core creator there is no sense to continue it. Well I am going against those wishes. I can't lose what he and I created even before it took off the ground.
I now know my purpose in life. To carry on Studies In Comfort. I must continue on for him, finish off the 3 studio albums we had in the works and continue on with this art form.
Ryan died at the wheel and I have moved his lifeless body to the passengers seat and now a fucking insane madman is driving.
Ryan Nyenhuis, whos favourite artist was Nine Inch Nails, who lived on floor number 9, who wore a roman numeral 9 on his right arm, who died on the 9th floor at St. Micheal's Hospital, Toronto.
Thank you to 55 Division and all the paramedics and fire fighters who helped get Ryan out of that terrible dark place.
Ryan Nyenhuis is survived by his father, John, mother Cheryl, sisters, Jennifer and Leah, their beautiful children, myself and Studies In Comfort.
Ryan John Nyenhuis
July 28th 1981 - June 15th 2008
We love and miss you.
___________________________
All photographs were taken by Ryan Nyenhuis & Ian Levack with a Casio EX-Z1050 camera.
During the 50th Anniversary Dinner of the James E. Clarke Branch 328, Royal Canadian Legion Cecil Hawley (President) asks Shirley Sedore to make a draw. June 1993.
Part of the Mary (Hope) Forbes Album
Note: All CDHS Flickr content is available for the public use (non-commercial) providing our Rights Statement is followed:
I have a bit of an obsession with glassware. In fact, my husband has restricted my glassware purchases to an as-needed basis-- for example, if one of our glasses break, only then am I allowed to purchase another. Yes, this may sound harsh, but if you saw our overflowing glassware cabinet you would understand his strict rules.
While I normally purchase clear glassware in curvy shapes and elegant forms, lately I have been loving colored crystal and glass stemware, particularly in vintage styles.
Colored glassware makes a stylish statement on any table top, especially when it comes to Holiday entertaining. Replacing your everyday clear-crystal with dramatically colored stemware will help to set the stage for an extraordinary event that leaves your guests feeling extra special.
Green and gold tumblers -- Pier 1
Champagne glasses in amethyst, moss and aquamarine -- Replacements
Renaissance stemware -- Gracious Style
Made in Lland (Artist’s Statement)
My mind (Reason) says no, my Imagination screams “..and yes I said yes I will Yes."
Thus, I adopt the most famous utterance generated by my own race, the final words from James Joyce’s 'Ulysses', and pillage the masters of my adopted host (Vermeer, Van Gogh, and Rembrandt), hopefully combining Lyricism and Pragmatism, and generating an idea, and a plan, to reinvigorate the Silk Route between the City State of LLand and the People’s Republic of Ina.
By insinuating a note, written to himself in 1914, the Artist/Chess-master Marcel Duchamp, in a self-admonition, even - spawned a philosophy proffering the possibility of the Universal Equality of All Matter and Anti-Matter.
I am taken to a land of limitless possibilities and imaginative leaps, kaleidoscoping time and place, and choosing to ignore all boundaries. The note said simply:
“To use a Rembrandt as an ironing board”.
This pithy statement could lead to nihilistic despair or it could lead in the other direction entirely. I choose the latter.
"..perhaps it will be the task of an artist as detached from aesthetic preoccupations and as intent on the energetic as Marcel Duchamp, to reconcile art and the people."
Guillaume Apollinaire , Les Peintre Cubistes (published 1913).
This exhibition is the beginning of a foray into that realm, the notion of, through the prism of Duchamp’s statement, initially introducing that most impressive manifestation of the collective consciousness, China, to three of the most venerated Individuals of the Western (Dutch) Canon, through the commonplace vehicle of Duchamp’s ironing board.
‘Maid in Lland’ represents the first phase of this endeavour; the journey of developing Pragma and the Rembrandt board itself. The show collapses time and visualises the painting of the boards in Dafen, a township on the Chinese mainland totally devoted to the copying of European masterpieces.
The second and third phases, the Vermeer and Van Gogh boards, have already been developed over six years, in 4,000 images on the Internet. This body of work presented here has been drawn from that same source.
The ‘story’ is interwoven with personal details, of self-love recovered after a history of abuse; these chart an individuation process which has proceeded to the point where I can say, with confidence, that anything is possible.
If a pinch of spice or a tulip bulb could generate a ‘Golden Age’, then anything can - even a Duchamp ironing board. It is simply a matter of determined people, who believe this is possible, coming together and focussing on pushing it through - with some humour and beauty.
All of these ideas and works generated are copyright free, so that anyone can use any of it, without fear of litigation. I would be more than pleased, indebted even, if anyone can take any of these ideas further.
---------------
Royal Irish Academy
Ireland’s Academy for the Sciences and Humanities
Catherine Marshall
5 Saint Kevin’s Road
Portobello
Dublin 8
Reference: Billy Quinn
23 June 2009
To Whom It May Concern
I came to know the artist Billy Quinn and his work in 1995/6 when he returned from New York to do a residency at the Irish Museum of Modern Art where I was Head of Collections. I was impressed then, both by his work and by his commitment to social engagement through his art practice. I was equally impressed, as were my colleagues, by his knowledge of art history, literature and philosophy, which, along with his social commitment, provides a deep well of sources from which the conceptual underpinnings of his work derive. Later I had the pleasure of working with him more closely when the Museum purchased some of his work, and several exhibitions in Ireland, the United States and Finland included it.
Quinn is an Irish artist but his vision has never been limited by the constraints of life on a small island. He has chosen to work in New York, London, Berlin and Amsterdam, but his gaze encompasses artistic, political and religious events as far away as China and Afghanistan. Much of his work in the past decade has been digital and is disseminated through the internet, using this contemporary medium to comment on outmoded traditions of art making and the artmarket, on connoisseurship and elitism. He has a particular preference for Flickr because it is an egalitarian platform, which excludes nobody. Appropriation is seminal to his practice, and so it is entirely consistent that he now wants the opportunity to make artwork based on his own digital work, which in turn references Rembrandt, Vermeer, Van Gogh and Marcel Duchamp. His new project refers also to the work of Jeff Koons and Andy Warhol, as he searches for a painter to paint an ‘original’ Quinn/Rembrandt painting. He intends to travel to Dafen in China, where paintings are mass-produced, tantalisingly hand painted but entirely devoid of the aura traditionally associated with the hand of the artist. The project questions authorship, connoisseurship and notions of the elite art collector, since the painting and multiple hand-painted reproductions of it will be offered for sale as mass produced objects for consumption in key tourist locations in Amsterdam. The universality and circularity of this process is reminiscent also of the Dutch history of trade with the east, while the hand-painted reproductive process derives, similarly, from good 17th century practice.
The value of this new body of work lies in its scale and ambition. It transcends time and place and breaks down divisions between east and west, between fine art and popular culture. It questions the privileged position of the traditional collector and empowers those previously excluded. Above all it acknowledges the continuity of time and space, hero and follower, matter and idea and does so in a way that is accessible without diminishing its complexity. Like Baudrillard’s simulacrum it obliges the viewer to commit to a position in relation to the ‘reality’ of the work on every level.
From my previous knowledge of his career, as a working artist and as a successful doctoral candidate in Fine Art Practice, I have had reason to respect Billy Quinn’s professionalism and to admire the courage and perseverance with which he tackles his self-imposed tasks. He is not motivated by financial reward but would like to present his art in a very democratic public arena. He holds all ideas to be universal property and does not copyright his work focussing instead on notions of universal equality in a manner that is both beautiful and humourous. I very much hope that this project, his most exciting and ambitious to date, will meet with the support, financial and artistic, that it deserves.
Catherine Marshall
Co-Editor Vol V
Art and Architecture of Ireland
Royal Irish Academy
On secondment from the Irish Museum of Modern Art
----------------
Billy Quinn
william.quinn11@btinternet.com
Mobile Phone: 06 2734 6635
Education
1997-2000Professional Doctorate in Studio Practice, University of East London.
1980-82 B.A. Hons. Fine Art (Film), University of East London.
1973-74National College of Art and Design, Dublin. Foundation Course.
Solo Exhibitions
October 2007 Artist in Residence Studio Exhibition at M4 Gastatelier, Amsterdam
2002 March/April
Postcards From the Wedge (The Thick End),
The Fridge Gallery, London.
2000 More Life : Minor Wounds, The East London Gallery, London E13.
1999 Work in Progress, The East London Gallery, London E 13.
1998The Diet of Worms, The East London Gallery, London.13.
1998 Denial of Burial and Other External Crosses, Ko Raw Gallery, London
1998 Quinn's Da, The Temple Bar Gallery, Dublin.
1997 Traditional Family Values, Goldstrom Gallery, New York City.
1997The Icon Series, WWW.plexus.org/quinn/plague.
1996Traditional Family Values The Temple Bar Gallery, Dublin.
1994Traditional Family Values , Mindy Oh Gallery, Chicago IL
1994A Show of Hands, Andre Zarre Gallery, New York City.
1993A Plague of Angels, Mindy Oh Gallery, Chicago IL.
Group Exhibitions
Feb 2010 Bittersweet- Expressions of Love and Hate,
The Doswell gallery, West Cork
June30
-Aug 25, 06 Selfportraitr A Virtual show of images from Flickr.com
The Pace/MacGill Gallery, NYC
June 2005 Incantations. Nun’s Chapel, Douglas Street, Cork
June 2004 Mediators. Fordham Gallery, Princlet Street, London
Sept 2002-May 2003
Something Else. Touring group show, opening in Turku travelling
To Helsinki, Oulu, and Joensuu in Finland
April 2002-May 2002
Ierse Kunst Uit de Collectie van het Museum of Modern Art te Dublin
Stedelijk Museum, Aalst, Belgium
Nov 14 –April 2002.
Irish art Now: From the Poetic to the Political.
Touring show of American Institutions from The Irish Museum of
Modern Art (I.M.M.A.), curated by Declan Mc Gonagle.
Irish Museum of Modern Art, Dublin.
July 14-Sept 23, 2001.
Irish art Now , Chicago Cultural Centre, Chicago.
May 6-June 25, 2000.
Irish art Now, Pittsburg Centre for the Arts, Pittsburg.
Jan 3 - April 9, 2000.
Irish art Now , Art Gallery of Newfoundland and Labrador, St Johns.
Oct 3- Dec 12, 1999
Irish art Now , The Mc Mullan Museum of Art, Boston.
1999 4 Irish Artists, The Irish Club, Eaton Square, London.
1998Künstler für die Insel IV, Frankfurt am Main, Germany.
1998 Documenta USA, The Museum of Contemporary Art, Pontiac,
Michigan.
1997Recent Acquisitions: work in Focus, I.M.M.A., Dublin.
1997Juno Moneta: For Your Eyes Only, Mindy OH Gallery, New York City.
1996Out Art, City Arts Centre, Dublin.
1995Summer Group Show, Foster Goldstrom Gallery, New York City.
1994 Cultured Pearl, Mindy Oh Gallery, Chicago, IL.
1994 The Annex Show, Mindy Oh Gallery, The Chicago Art Fair, IL.
1994Animal, Mineral, Vegetable, Andre Zarre Gallery, New York City.
1994Homage to Camus, Mindy Oh Gallery, Chicago IL.
1994 Healing Before Art, Mary Ryan Gallery, New York City
1993 Saints and Survivors in a Time of Plague, Three person show Lowinsky
Gallery, New York City.
1992New Acquisitions Show, Lightworks, Syracuse, New York City.
Related Work
2000-2003Lecturing in Dublin, Cork and Galway (Ireland) and Turku (Finland) and Winchester College of Art on the PhD course.
1999-2000 Extensive lecturing on development of work practice relative to Doctoral
research.
Guest lecturer at Goldsmiths, Leeds, Exeter, Central St. Martins,
The Royal Academy of Stockholm, and Winchester College of Art
1998Part-time lecturer in Fine Art at the University of East London.
1996CURSAI, R.T.E. Irish national television programme.
Guest lecturer, University of Belfast.
1995 Black Box, R.T.E. Television arts programme.
Guest lecturer, National College of Art and Design, Dublin.
Guest lecturer, The Dublin Institute of Technology.
1993Guest lecturer, The Illinois Institute of Technology and The Art Institute
of Chicago.
Selected publications
Eroticism and Art. Alyce Mahon, Lecturer in the History of Art at the University of Cambridge and Fellow of Trinity College. Oxford University Press 2005
The Irish Museum of Modern Art: The Permanent Collection. Catherine Marshall 2005
Something Else: Irish Contemporary Art. Valerie Connor, Maija Koskinen and Declan Mc Gonagle, Turku Art Museum 2002
Irish Art Now: From the Poetic to the Political.. Declan Mc Gonagle, Fintan O’ Toole and Kim Levin, Merrell Holberton Publishers.
The Art of Aids, Robert Barker, Continuum Publishing, New York City.
CIRCA. The Magazine of the Irish Arts. An 8 page insert "work in progress" with Catherine Harper. The Spring issue 1997.
Residencies
November 2007- January 2008: Artist Residency at Foundation B.A.D. Rotterdam
August - October 2007: Artist Residency at M4 Gastatelier, Amsterdam
1997 Helsinki International Artist’s Project (HIAP), Finland
2 month residency Nov-Dec.
1995-96 Artist's Work Programme. Irish Museum Of Modern Art.
1992Lightwork, Artist-in-Residence program, Syracuse, New York State.
Grants
New Work Award 2006. The Irish Arts Council: €35,000
Collections
Irish Museum of Modern Art, Dublin.
The Jonathan Stiles Collection, Helsinki.
Steven F Foster Collection, London.
Peter Kabcenell Collection, New York City.
Mindy Oh Collection, Chicago.
Monique Goldstrom Collection, New York City.
Tim Peterson and Richard Gerrig Collection, New York City.
Carl Miller Collection, Boston.
City of Galveston Collection, Texas.
Lightwork Collection, Syracuse.
Bela Majoros Collection, Budapest.
Chantal Boisgontier Collection, Paris.
John McBratney Collection, Dublin.
Alexander Tinti Collection, Vienna.
The Chancellor of the Exchequer Jeremy Hunt leaves 11 Downing Street to deliver his Autumn Statement to parliament
“If you had free reign over classified networks… and you saw incredible things, awful things… things that belonged in the public domain, and not on some server stored in a dark room in Washington DC… what would you do?”
“God knows what happens now. Hopefully worldwide discussion, debates, and reforms… I want people to see the truth… because without information, you cannot make informed decisions as a public.”
-Quotes from an online chat attributed to Bradley Manning
Who is Bradley Manning:
---------------------------------
"Nobel Peace Prize nominee PFC Bradley Manning, a 25-year-old Army intelligence analyst, who released the Collateral Murder video, that shows the killing of unarmed civilians and two Reuters journalists, by a US Apache helicopter crew in Iraq. Manning also shared documents known as the Afghan War Diary, the Iraq War Logs, and series of embarrassing US diplomatic cables. These documents were published by the anti-secrecy website WikiLeaks, and they have illuminated such issues as the true number and cause of civilian casualties in Iraq, along with a number of human rights abuses by U.S.-funded contractors and foreign militaries, and the role that spying and bribes play in international diplomacy. Given the war crimes exposed by these documents, PFC Bradley Manning should be given a medal of honor.
Not a single person has been harmed by the release of this information. Defense Secretary Robert M. Gates has called the effect of WikiLeaks’ releases on U.S. foreign relations “fairly modest.” Yet the Obama administration has chosen to persecute the whistle-blower rather than prosecute the war criminals who were exposed. While the prosecution has declared it does not intend to seek the death penalty, they do seek to lock PFC Bradley Manning away for life, with the most ridiculous charge of ‘aiding the enemy,’ even though chat logs attributed to Bradley by the FBI clearly show intent only to inform the public and promote “discussion, debates, and reforms.”
Soldiers are promised fair treatment and a speedy trial under the Uniform Code of Military Justice (UCMJ). However, the soldiers responsible for PFC Manning’s care took it upon themselves to abuse him by keeping him locked up in solitary confinement for the first 10 months of his incarceration. During this time, Bradley was denied meaningful exercise, social interaction, sunlight, and on a number of occasions he was forced to stay completely naked. These conditions were unique to Bradley and are illegal even under US military law, as they amount to extreme pre-trial punishment. In March 2011, chief US State Department spokesperson PJ Crowley called PFC Manning’s treatment at the Quantico, Virginia, Marine Corps brig “ridiculous and counterproductive and stupid.” He was forced to resign shortly after admitting this. Since resigning, he has stated that the prosecution’s heavy-handed persecution of PFC Manning has undermined the government’s credibility.
Bradley’s treatment sparked a probe by the United Nations special rapporteur on torture, Juan Mendez. Mr. Mendez stated that he has been “frustrated by the prevarication of the US government with regard to my attempts to visit Mr. Manning.” After having his requests to visit Bradley repeatedly blocked, and after completing a fourteen month investigation, Mr. Mendez issued a statement saying that PFC Bradley Manning’s treatment has been “cruel and inhuman.”
It only took one week in April 2011 to have over a half million people sign a petition calling on President Obama to end the isolation and torture of Bradley Manning. The Obama administration’s ongoing persecution of Bradley Manning has served as “a chilling deterrent to other potential whistleblowers committed to public integrity,” and over 300 top legal scholars have declared that Bradley’s treatment was a violation of the Eighth Amendment’s prohibition against cruel and unusual punishment, as well as a violation of the Fifth Amendment’s guarantee against punishment without trial. Among the signatories is professor Laurence Tribe, a Harvard professor who taught President Obama. Professor Tribe was, until recently, a senior advisor to the US Justice Department.
Partially in response to public outcry, on April 21, 2011, Bradley was moved from Quantico to Fort Leavenworth, KS, where his conditions greatly improved. The very day he was moved, President Obama was surprised at a breakfast fundraiser by a group of protesters. At the end of the fundraiser, a member of the Bradley Manning Support Network, Logan Price, questioned him about Bradley’s situation. The President stated that “He [Bradley Manning] broke the law.” This pretrial declaration of guilt that has caused concern among legal experts, who argue it is clearly a case of ‘undue command influence’. President Obama is the highest ranking military commander, and soldiers follow his orders and his direction. By declaring PFC Bradley Manning guilty, he set the tone and direction of the subordinate military prosecution. It is now difficult for soldiers to express support for PFC Bradley Manning, who like many soldiers who follow the lead of their commander-in-chief, assume PFC Bradley Manning is guilty. Finally, reinforcing the assumption of Manning’s guilt, no charges were filed against any of the soldiers who took it upon themselves to abuse Bradley while he was under their supervision.
Bradley Manning has a growing list of supporters who want all the charges against him dropped. Among the supporters is the famous whistle-blower, Daniel Ellsberg, who leaked the Pentagon Papers in 1971. Recognizing the valor required to tell the truth, Ellsberg calls PFC Bradley Manning a hero and a patriot. We agree. Drop all the charges, and free PFC Bradley Manning.
We hope that you will join us as well. See what you can do to support justice in this historic time."
Source and for more information about Bradley Manning please visit:
4 May 2019. A panel of experts how an effective implementation of ADB’s Safeguard Policy Statement (SPS) helps promote sustainability of project outcomes by protecting the environment and people from projects' potential adverse impacts where possible, and helping borrowers to strengthen their safeguard systems and develop the capacity to manage environmental and social risks.
The event was held during the 52nd Annual Meeting of the ADB Board of Governors.
Learn more about the event.
cute & little blog | petite fashion | grey tulle midi skirt, white pumps, white moto jacket, baublebar crystal grendel bib statement necklace | spring outfit | bridal shower | easter
Recently a group of artist from the DMV area got together for a shoot with model Connie Shih,the photography wasdone by international photographer Svenler.Here is a little about each of the participants in this amazing photoshot , the images that you see here are from the actual production from the shoot . a gallery link will be posted soon and we would like for you to look for some of the images to be published in Europe and the U.S.
A bit abpout the Team:
About Imaginis Photography
My name is Sven Bannuscher and I am the owner and main photographer of Imaginis Photography. I have many years of experience as a photographer and have worked as a professional photographer in Europe (France, Germany, Monaco) as well as in the United States and Canada.
My photos have been published in the Washington Post, Washington Diplomat, Austria Info, and several other national and international publications.
I started my career as a landscape and architecture photographer in Europe before moving to Bethesda, MD. This type of photography requires a high attention to detail which I still utilize today when photographing any type of assignment. No matter if it is a portrait, a wedding, a commercial advertising campaign, editorial fashion, or any other type of photography.
When photographing events such as a Wedding, I combine artistic portrait photography skills with a modern photojournalistic approach. Blending these two concepts together ensures that you will receive timeless photographs.
Business Philosophy
It has been my philosophy to combine the classic perfection of the old masters with an innovative and modern style of photography.
We offer you a package that is tailored to your needs. We make the whole process from beginning to end affordable, fun, and hassle-free. We ensure that you feel comfortable at all times and do not have to jump through any loopholes or run into any walls. You are unique and you deserve a photographer who appreciates and captures your uniqueness.
Mission Statement
To consistently create artistically notable and technically superior photographs of outstanding quality.
Shana Kroiz Jewelry:
Native Baltimorean Shana Kroiz is acknowledged as one of the country's leading experimental enamelists and jewelry educators. Throughout her career, Shana has been involved in teaching and promoting the growth of jewelry as a recognizable art form.
Shana is currently the Special Events and Workshop Coordinator of the Maryland Institute College of Art Jewelry Center, which she founded in 1992, and where she works as an instructor and studio artist. Previously, Shana was the Director of the 92nd Street Y’s Jewelry Center in NYC.
Where to see Shana's work
See Shana's work in publications
"My one-of-a-kind wearable jewelry celebrates ancient forms and the sensuous nature of the human consciousness. These pieces are universal in their appeal and personal in their effect. When worn, the jewelry interacts as sculpture making the body a pedestal."
"Rich colors are created by the primitive use of a brush stroke and layering of experimental enameling or the brilliant colors of patina on silver which reflects the history of the art."
With artistic integrity and fine craftsmanship, Kroiz captures the seduction of color and form while exploring and honoring the human spirit.
MFA,1993; Towson State University
BFA with Honors, major: Metals, minor: Clay; 1990; Parsons School of Design
One-year Intensive Metals Study, SUNY at New Paltz; 1987-1988 (with Robert Ebendorf and Jamie Bennett)
Christopher Schafer's Summary
Christopher Schafer wants you to look your best for every one of life's great occasions. He takes pride in his work and feels that every garment that he creates is a direct representation of himself. Christopher makes sure that all the details are correct and that you get the best fit possible. He will take the time with you to design the best clothing that you have ever owned. This old world work ethic is not going unnoticed, he was voted Baltimore’s Best Tailor by City Paper in 2009, Baltimore Magazine in 2010, and Fashion Awards MD in 2012.
Christopher learned that art of measuring & design to create custom clothing while living in London, a city that had a profound effect on his life. He learned from some of the best clothiers in the world and immersed himself in the English culture. Christopher would frequently visit Seville Row and Jermyn Street to gain ideas and inspiration. The end result was a new style which blends European style and fit with comfort to create clean understated lines. This formula produces fashionable, fitted and comfortable clothing that you will love to wear.
Specialties
Measuring and design of suits, shirts, formal & casual wear.
Christopher Schafer's Experience
Proprietor
Christopher Schafer Clothier (Sole Proprietorship)
Sole Proprietorship; 1-10 employees; Apparel & Fashion industry
November 2010– Present (1 year 11 months) Baltimore, Maryland Area
Measuring and design of suits, shirts, formal & casual wear.
Partner
Signature Attire
June 2011– Present (1 year 4 months) Baltimore, Maryland Area
Our ties are designed and made in America of the highest quality. Whether you seek a bespoke necktie that is subtle and elegant or bold and dramatic, each of our truly well-made ties is custom designed to set you apart from the crowd.
We know, firsthand, that if a custom necktie is eye-catching on TV, it will add distinction to your everyday life too.
President
Baltimore Fashion Alliance
September 2010– Present (2 years 1 month)Baltimore, Maryland Area
The BFA’s mission is to provide professionals in the fashion industry with superior education, networking, and resources while giving back to the community through charitable programs and contributions.
Carlous Palmer Designer /Stylist
I am an American Fashion Artist/ Stylist, with over20 years’ experience in the industry with a body of work that covers Television, Film, Stage and Fashion, I am interested in working with any one that has the drive and desire for creativity and beauty. MY GOAL IS PERFECTION. I am quick with ideas and always open to new ones THAT ARE WORKABLE
and willing to travel for fair compensation, I have worked from New York to Palm Beach in the area of retail, public relations and for one of the largest Christmas display in the country meaning that my resources are plentiful for getting things done. I am also dedicated to helping the new comer to the industry ...after all we are responsible for sharing what we know to help others to keep our art alive... feel free to contact me at carlouspalmer@yahoo.com
This year you will be seeing designs created exclusively for CHASE BREXTON HEALTH SERVICES to bring more awareness to the need to attract more people to the HIV/ AIDS crisis ... the numbers are getting higher , and I am honored to say that IKEA TEXTILES and GUSS WOOLENS have sponsored this collection and over the next few months you will be seeing designs created from IKEA TEXTILES with some designs supplemented with fabric from GUSS WOOLENS . You will be able to purchase these garments by visiting www.carlouspalmerdesign.etsy.com we are also asking that you join IKEA and GUSS WOOLENS TWITTER and FACEBOOK pages to be updated about what is going on new in fine Textiles.... look for more images in an upcoming article in IN - FOCUS MAGAZINE... I would also like to thank WOODIE and TONY LESENE for recognizing my abilities when I lived in Palm Beach and introducing me to FLORIDA'S FASHION PUBLIC; for that I am grateful. I hope that I can continue to do good work and help people in my small way become inspired... I hope that my work will continue with the love and support that I have been getting over the years and I am looking forward to creating inspirational designs I hope that other designers will take part in this movement and help some of the other agencies in the fight WE ARE MORE POWERFUL TOGETHER THAN WE ARE APART.
I also need to thank GOD, My Family, My City TEMPLE Church Family, The Baltimore School for Arts, Fashion Institute of Technology, Baltimore City Community College for their part in my success .
Make Up By Dawn Newsome
Dawn is a master makeup artist that has been designing faces for over 16 years. She got her start in beauty at the age of 13 at a local modeling school in Harrisburg, PA. While modeling, Dawn quickly realized her passion for makeup and decided to turn her passion into a career. Dawn's experience began in the cosmetic departments on lines such as Fashion Fair, Flore Roberts, Ultama II & Derma Blend. During this time, she learned that the art of makeup starts with the foundation. Dawn quickly mastered the ability to go beyond the basic foundation palette to blend the perfect foundation. This blending technique is the powerful tool Dawn possesses to consistently create the perfect look.
Dawn's desire for growth led her to Prescriptive, Lancôme and Mac, where her creativity was embraced and confidence was instilled. Dawn became a National Makeup Artist in her next move to Estée Lauder. This experience opened a world of opportunity as she traveled around the country doing makeup events and touching over 200,000 faces in 5 years! Estée Lauder gave her the opportunity to study under the Late *Paul Starr* for 2 years, as well as take part in developing foundation pigments for women of color. With this experience Dawn continued to refine her skills as she moved forward and opened new pathways to create beauty. Now Dawn is using her expertise in all kinds of media such as videos, TV shows, photo shoots, fashion productions, weddings & beauty transformations!
CREDITS:Discovery Channel's *Home Made Simple* 2009, HGTV's *Real Estate Intervention 2009, H-Town music video *Knockin your Heels Off* 2009 , H-Town feat. Pretty Rickey 2010, Red Cafe music video * Who You Hatin on Lately* Baltimore Ray music video *Back at Da crib* 2011 Dominion Energy Share commercial *Comfortable Sleeping*, Discovery Credit Card, Raytheon Feat. John Harris, Pepsi
Dawn has recently found a home with Bridal Artistry Team , this has been great union for both of us!
About Imaginis Photography
My name is Sven Bannuscher and I am the owner and main photographer of Imaginis Photography. I have many years of experience as a photographer and have worked as a professional photographer in Europe (France, Germany, Monaco) as well as in the United States and Canada.
My photos have been published in the Washington Post, Washington Diplomat, Austria Info, and several other national and international publications.
I started my career as a landscape and architecture photographer in Europe before moving to Bethesda, MD. This type of photography requires a high attention to detail which I still utilize today when photographing any type of assignment. No matter if it is a portrait, a wedding, a commercial advertising campaign, editorial fashion, or any other type of photography.
When photographing events such as a Wedding, I combine artistic portrait photography skills with a modern photojournalistic approach. Blending these two concepts together ensures that you will receive timeless photographs.
Business Philosophy
It has been my philosophy to combine the classic perfection of the old masters with an innovative and modern style of photography.
We offer you a package that is tailored to your needs. We make the whole process from beginning to end affordable, fun, and hassle-free. We ensure that you feel comfortable at all times and do not have to jump through any loopholes or run into any walls. You are unique and you deserve a photographer who appreciates and captures your uniqueness.
Mission Statement
To consistently create artistically notable and technically superior photographs of outstanding quality.
Shana Kroiz Jewelry:
Native Baltimorean Shana Kroiz is acknowledged as one of the country's leading experimental enamelists and jewelry educators. Throughout her career, Shana has been involved in teaching and promoting the growth of jewelry as a recognizable art form.
Shana is currently the Special Events and Workshop Coordinator of the Maryland Institute College of Art Jewelry Center, which she founded in 1992, and where she works as an instructor and studio artist. Previously, Shana was the Director of the 92nd Street Y’s Jewelry Center in NYC.
Where to see Shana's work
See Shana's work in publications
"My one-of-a-kind wearable jewelry celebrates ancient forms and the sensuous nature of the human consciousness. These pieces are universal in their appeal and personal in their effect. When worn, the jewelry interacts as sculpture making the body a pedestal."
"Rich colors are created by the primitive use of a brush stroke and layering of experimental enameling or the brilliant colors of patina on silver which reflects the history of the art."
With artistic integrity and fine craftsmanship, Kroiz captures the seduction of color and form while exploring and honoring the human spirit.
MFA,1993; Towson State University
BFA with Honors, major: Metals, minor: Clay; 1990; Parsons School of Design
One-year Intensive Metals Study, SUNY at New Paltz; 1987-1988 (with Robert Ebendorf and Jamie Bennett)
Christopher Schafer's Summary
Christopher Schafer wants you to look your best for every one of life's great occasions. He takes pride in his work and feels that every garment that he creates is a direct representation of himself. Christopher makes sure that all the details are correct and that you get the best fit possible. He will take the time with you to design the best clothing that you have ever owned. This old world work ethic is not going unnoticed, he was voted Baltimore’s Best Tailor by City Paper in 2009, Baltimore Magazine in 2010, and Fashion Awards MD in 2012.
Christopher learned that art of measuring & design to create custom clothing while living in London, a city that had a profound effect on his life. He learned from some of the best clothiers in the world and immersed himself in the English culture. Christopher would frequently visit Seville Row and Jermyn Street to gain ideas and inspiration. The end result was a new style which blends European style and fit with comfort to create clean understated lines. This formula produces fashionable, fitted and comfortable clothing that you will love to wear.
Specialties
Measuring and design of suits, shirts, formal & casual wear.
Christopher Schafer's Experience
Proprietor
Christopher Schafer Clothier (Sole Proprietorship)
Sole Proprietorship; 1-10 employees; Apparel & Fashion industry
November 2010– Present (1 year 11 months) Baltimore, Maryland Area
Measuring and design of suits, shirts, formal & casual wear.
Partner
Signature Attire
June 2011– Present (1 year 4 months) Baltimore, Maryland Area
Our ties are designed and made in America of the highest quality. Whether you seek a bespoke necktie that is subtle and elegant or bold and dramatic, each of our truly well-made ties is custom designed to set you apart from the crowd.
We know, firsthand, that if a custom necktie is eye-catching on TV, it will add distinction to your everyday life too.
President
Baltimore Fashion Alliance
September 2010– Present (2 years 1 month)Baltimore, Maryland Area
The BFA’s mission is to provide professionals in the fashion industry with superior education, networking, and resources while giving back to the community through charitable programs and contributions.
Carlous Palmer Designer /Stylist
I am an American Fashion Artist/ Stylist, with over20 years’ experience in the industry with a body of work that covers Television, Film, Stage and Fashion, I am interested in working with any one that has the drive and desire for creativity and beauty. MY GOAL IS PERFECTION. I am quick with ideas and always open to new ones THAT ARE WORKABLE
and willing to travel for fair compensation, I have worked from New York to Palm Beach in the area of retail, public relations and for one of the largest Christmas display in the country meaning that my resources are plentiful for getting things done. I am also dedicated to helping the new comer to the industry ...after all we are responsible for sharing what we know to help others to keep our art alive... feel free to contact me at carlouspalmer@yahoo.com
This year you will be seeing designs created exclusively for CHASE BREXTON HEALTH SERVICES to bring more awareness to the need to attract more people to the HIV/ AIDS crisis ... the numbers are getting higher , and I am honored to say that IKEA TEXTILES and GUSS WOOLENS have sponsored this collection and over the next few months you will be seeing designs created from IKEA TEXTILES with some designs supplemented with fabric from GUSS WOOLENS . You will be able to purchase these garments by visiting www.carlouspalmerdesign.etsy.com we are also asking that you join IKEA and GUSS WOOLENS TWITTER and FACEBOOK pages to be updated about what is going on new in fine Textiles.... look for more images in an upcoming article in IN - FOCUS MAGAZINE... I would also like to thank WOODIE and TONY LESENE for recognizing my abilities when I lived in Palm Beach and introducing me to FLORIDA'S FASHION PUBLIC; for that I am grateful. I hope that I can continue to do good work and help people in my small way become inspired... I hope that my work will continue with the love and support that I have been getting over the years and I am looking forward to creating inspirational designs I hope that other designers will take part in this movement and help some of the other agencies in the fight WE ARE MORE POWERFUL TOGETHER THAN WE ARE APART.
I also need to thank GOD, My Family, My City TEMPLE Church Family, The Baltimore School for Arts, Fashion Institute of Technology, Baltimore City Community College for their part in my success .
Make Up By Dawn Newsome
Dawn is a master makeup artist that has been designing faces for over 16 years. She got her start in beauty at the age of 13 at a local modeling school in Harrisburg, PA. While modeling, Dawn quickly realized her passion for makeup and decided to turn her passion into a career. Dawn's experience began in the cosmetic departments on lines such as Fashion Fair, Flore Roberts, Ultama II & Derma Blend. During this time, she learned that the art of makeup starts with the foundation. Dawn quickly mastered the ability to go beyond the basic foundation palette to blend the perfect foundation. This blending technique is the powerful tool Dawn possesses to consistently create the perfect look.
Dawn's desire for growth led her to Prescriptive, Lancôme and Mac, where her creativity was embraced and confidence was instilled. Dawn became a National Makeup Artist in her next move to Estée Lauder. This experience opened a world of opportunity as she traveled around the country doing makeup events and touching over 200,000 faces in 5 years! Estée Lauder gave her the opportunity to study under the Late *Paul Starr* for 2 years, as well as take part in developing foundation pigments for women of color. With this experience Dawn continued to refine her skills as she moved forward and opened new pathways to create beauty. Now Dawn is using her expertise in all kinds of media such as videos, TV shows, photo shoots, fashion productions, weddings & beauty transformations!
CREDITS:Discovery Channel's *Home Made Simple* 2009, HGTV's *Real Estate Intervention 2009, H-Town music video *Knockin your Heels Off* 2009 , H-Town feat. Pretty Rickey 2010, Red Cafe music video * Who You Hatin on Lately* Baltimore Ray music video *Back at Da crib* 2011 Dominion Energy Share commercial *Comfortable Sleeping*, Discovery Credit Card, Raytheon Feat. John Harris, Pepsi
Dawn has recently found a home with Bridal Artistry Team , this has been great union for both of us!
View of a busy downtown street lined with parked cars. Many businesses are visible,
including Fleishmen's Big Store, Henebry Jeweler, and Cannon Shoes at right. At left
is Nunn Bush Shoes, Jewel Box, Belk's, and Hotel Lafayette. The card is numbered F-1
and IC H1647.
Digital Collection:
North Carolina Postcards
Publisher:
Carolina News Co., Fayetteville, N.C.;
Date:
1930; 1931; 1932; 1933; 1934; 1935; 1936; 1937; 1938; 1939; 1940; 1941; 1942; 1943;
1944; 1945; 1946; 1947; 1948; 1949; 1950; 1951; 1952; 1953; 1954
Location:
Fayetteville (N.C.); Cumberland 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
True statement, I did leave my heart in the Tetons. Though, to be sure, there is much good about being home. Still, my heart lingers. Every night I dream of 399 and of capturing her in the evening or morning light, wandering in the wildflowers, feeding her cubs... My dreams go through all of the shots that I either didn't get or got and somehow messed up. I dream of waking up to the mountains, hearing the birds chirp and the water lap against the shore. I dream of it all, every minute and all of the seconds...
To me, as a photographer who loves wildlife, there is no greater treasure than the opportunities to be out in nature and to have so much that is beautiful surrounding me that I don't know what to shoot first. I just want to be there and to keep practicing my photography - getting a little bit better with each click.
One morning, just after sunrise, I stumbled from my tent (stumbling is a natural state for me) and down the path to the shore of Jackson Lake where I found this heart made of large stones that were lit up by the early morning light. The beautiful clouds and nearly calm water brought the scene alive and I set up the tripod and took some bracketed shots. This is two combined - the clouds had moved too much in the third one. The only downer about the scene was the shadow from my tripod (I put it on timer and ran backwards every time) and so I cut it out and used content aware to fill in the spaces.
This statement bib necklace features rose pink, fuchsia and salmon pinked colored multi-faceted acrylic beads set in a fan shape held together by rose gold tone facets. The lower right hand corner features a hand enameled bumble bee with fuchsia crystals.
Buy from:
www.1928.com/pages-productinfo/category-22_31_538/product...
Artist Statement
The list of the worldly issues minor and major that impact personal experiences seems to be endless. Some of those issues may be: human overconsumption, intrusive surveillance, racial and other forms of inequality and discrimination, deforestation, air and water pollution, religious control, etc. In our contemporary society we are all potentially impacted by these negative forces since the time we start developing in our mother’s wombs. Humanity, right now, has all the necessities and commodities to provide every person on this planet with a comfortable place to sleep, healthy food to eat, clean water to drink, fresh clothes to wear, and a proper healthcare. But yet the said destructive forces are too overpowering, so the future seems doomed.
For this photographic project making “the personal is political,” I approached different people and asked how they wanted our world to change and to write out this desire with black marker on a white board. In an attempt to allow the people photographed to freely and fearlessly express their truest thoughts about any issues that bother them, I asked them to wear a Guy Fawkes mask to conceal their identities. I chose specifically to use this mask because of its long history, the meaning and the symbolism it carries, and the emotions and thoughts it invokes in most people who are familiar with the mask.
Guy Fawkes was a revolutionary who did not like the status quo, and wanted to overthrow corrupt government and make the world a better place. Hollywood greatly popularized his image via the movie “V For Vendetta,” so to this day he is remembered by many people around the globe as the one who opposed the ruling system. The mask symbolizes protest against tyranny, totalitarianism, any kind of oppression, and any other type of mistreatment and misconduct towards other fellow human beings. It symbolizes a great desire for a better and happier life for all people. It reminds us that we all are creators of our own destiny, builders of our own fate. Except the limitations you place ourselves into by our your own beliefs there are no limitations to what people can do.
This photo is part of the Australian National Maritime Museum’s William Hall collection. If reproduced or distributed, this image should be clearly attributed to the collection of the Australian National Maritime Museum; and not be used for any commercial or for-profit purposes without the permission of the museum. For more information see our Flickr Commons Rights Statement.
The Australian National Maritime Museum undertakes research and accepts public comments that enhance the information we hold about images in our collection. If you can identify a person, vessel or landmark, write the details in the Comments box below.
Thank you for helping caption this important historical image.
Object number: 00011550
On Wednesday (22 November 2022) officers from the Operation Vulcan team were out in full force in Cheetham Hill and Strangeways as part of GMP’s vehicle safety initiative, Operation Vortex, which aims to disrupt and deny criminal use of the road network, by all means possible.
For too long, criminals have blighted the area of Cheetham Hill and Strangeways, living lavish lifestyles from the proceeds of their crimes at the expense of vulnerable victims who are being taken advantage of.
This operation links in closely with Operation Vulcan, which is dedicated to ridding Cheetham Hill and Strangeways of criminal activity and bringing about real, sustainable change, making it an environment people are proud to live and work in.
Also in attendance to offer intelligence and support were a number of GMP partners, including representatives from Driver and Vehicle Standards Agency, Immigration Enforcement, Waste Enforcement, Manchester City Council Enforcement, and HMP Manchester.
A multi-agency approach is crucial to this operations success, with support from partner organisations ensuring that GMP can target every level of criminal activity, whilst also ensuring vulnerable people in the community are supported.
The day delivered an array of fantastic results:
6 arrests made on suspicion of driving whilst under the influence of drugs, possession of a bladed article, driving whilst disqualified and possession of class A drugs
32 stop searches
67 traffic offences detected and prosecuted
33 speed offences prosecuted
26 vehicle seizures
31 parking fines issued
32 PG9 (prohibition for unroadworthy vehicles) offences prosecuted
5 care plan referrals for drug users encountered
£1700 of fixed penalty notices
Operation Vulcan is dedicated to protecting and safeguarding the most vulnerable people in the community who are being exploited by those in criminal gangs. Throughout the day, specialist officers engaged with a variety of people, explaining that help is there for them, whether it be from GMP officers or partner agencies.
Inspector Andrew Torkington, one of GMP’s specialist officers involved in Operation Vulcan said, “There’s been a real buzz in the community throughout the day with lots of high visibility patrols and community engagement.
“The feedback from members of the community, local college students, and legitimate business owners has been overwhelmingly positive, with many sharing that they feel much safer with our presence.
“Best of all was the large-scale disruption and inconvenience our presence caused to the illegitimate businesses in Cheetham Hill who were unable to open their shutters. This day of action wasn’t a one off – Operation Vulcan is here to stay.”
Ian Bain, DVSA’s Head of Enforcement Delivery said: “Road users have a responsibility to make sure their vehicles are safe, roadworthy and comply with legislation.
“We’re really pleased to be working in partnership with Greater Manchester Police helping to keep the community safe.
“We will continue to target and engage with anyone who breaks the rules and puts the public and other drivers at risk.”
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
Benburb Street [originally Barrack Street] was the location for the first Dublin Corporation housing scheme in the late nineteenth century. Because of a desire to keep public housing as low cost as possible the Corporation constructed homes in areas with long standing social problems and as they did not address the ongoing anti-social issues problems remain today in many city centre locations. Way back in the 1830’s the area around Royal Barracks [now Collins Barracks] in Dublin had a very bad reputation as was described in local newspapers as follows “scenes of riot, drunkenness and gross indecency” were common place, and that the area was home to many prostitutes but lacking in “persons of decent and moral habits”.
Up until recently the area was a very active red-light district area but the prostitutes now appear to have been replaced by drug addicts and the homeless and the current anti-social problems are now so bad that the historic “Croppies Acre” park is now closed to the public.
The Office of Public Works (OPW), which is charged with maintaining the park, said in a public statement that they had been forced to permanently padlock the gates because of public health fears. "Specialist cleaners are employed to remove hazardous material such as used syringes," said an OPW spokeswoman. "However, as resources are not sufficient to keep the park clear of dangerous materials at all times and thus safe for public access, the park has had to be closed to the public." Anti-social behaviour was also threatening public safety, according to the OPW, which said it doesn't have the manpower or money to put security at the site. Drug-users and street drinkers continue to scale the walls of the park, near Heuston Station, which is strewn with dirty hypodermic needles, broken glass, beer cans, wine cartons and old clothes.