View allAll Photos Tagged statement.
And you thought the shoulder pads in the 80's were crazy! ;p
Minolta that I shot this with is courtesy of my grrl Ariel.
Bald Statements Art Exhibition
St Helen, Benson
6th–18th May,2014
This exhibition of sculptures by Jean Parker can be used as a reflective guide for those walking through trauma, fear, confusion, strife or for those living with bad news or experiencing loss.
Denial
by
Jean Parker
A vice and screw trapping the head. That feeling that we are trapped and there is no way out from this dilema.
It was unintentional, I'm sure... The environmental statement made by this image taken of a child playing on a beach with the factory belching smoke in the background.
A found photo from my German source. Click here to see what's written on the back of the print.
Statement at the Fifth Review Conference of the Chemical Weapons Convention.
The Conference is held at the World Forum, The Hague, the Netherlands. The Fifth Review Conference is scheduled from 15 May to 19 May 2023.
Coming soon from Drippy Bone Books
FASHION STATEMENT
a series of altered/defaced images from fashion magazines by Bella Dehm.
Funny, strange and speaking to the primordial need to draw mustaches, scars and buggers on depictions of beautiful people.
coming in early Dec!
Statement by H.E. Ambassador Yun-young Lee, Permanent Representative of the Republic of Korea to the OPCW, at the 24th Session of the Conference of States Parties to the Chemical Weapons Convention.
The Conference is held at the World Forum, The Hague, the Netherlands, from 25-29 November 2019.
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Ravi Kahlon, MLA for Delta North and Minister of Jobs, Economic Recovery and Innovation, issues a statement in honour of the proclamation declaring November as Sikh Nation Blood Donation Month.
Learn more: news.gov.bc.ca/25655
wisdom Dove Speaks
1992
Oil on sewn canvas, tied and stretched on a
wooden window frame, framed in rough oak
This is a combination of Jim Hansford’s
shed window frame, Steph’s raw oak
outside frame, fine woven cotton and
rough canvas, variously tied and streched.
It was painted in 1992 when I was Artist in
Residence for the United Reformed Church Forum conference. Themed ‘Roots and Branches’ the conference was planned to look at the roots of the URC; I couldn’t help but go back to the roots of our faith altogether. To me, the right side is rather like the knowledge of God as shared before Jesus Christ and the left, that knowledge as made human in the world.
The Spirit (Wisdom Dove) is everywhere.
This is a statement of that which I have always felt held me and as a statement of what I always believed. Indeed, the detail of the Holy Spirit/Wisdom Dove speaking into the human ear is so meaningful to me that it gave rise to the name of my Breathing Light Exhibiton and is now the image I use as an artist’s
logo.
IAEA Director General Yukiya Amano delivers his opening statement at the first day of the International Conference on Nuclear Security: Enhancing Global Efforts. IAEA Headquarters, Vienna, Austria. 1 July 2013
Photo Credit: Dean Calma / IAEA
On 1 May 2011 works will begin to restore the Arch of Victoria. A $335,000 grant from the Federal Government’s Regional and Local Community Infrastructure Program and $175,000 from the Federal Government’s National Sites Program has been received.
The project includes:
repair and replacement of deteriorated, cracked and otherwise damaged render; new matching mouldings to replace deteriorated mouldings or reinstate original mouldings ; removal of lichen and other organic growth to rendered surfaces; paint coating to new and existing render & new lighting
City of Ballarat
Victorian Heritage Register Statement of Significance
What is significant?
The Avenue of Honour (1917 - 1919) and Arch of Victory (1920) were erected as memorials to the people of the Ballarat and the surrounding district who enlisted in World War I. The Avenue of Honour consists of 3,771 trees planted at regular intervals of approximately 12 metres along 22km of the Ballarat-Burrumbeet Road. The Arch of Victory marks the beginning of the Avenue of Honour at its eastern end. The Avenue of Honour, with the Arch of Victory, was officially opened by the Prince of Wales on 3rd June 1920.
The planting of the Avenue commenced in June 1917 on the suggestion of Mrs W. D. Thompson, a director of clothing firm E. Lucas & Co, Ballarat, that an avenue of trees be planted in honour of the men and women of the district who had enlisted for service. The planting of one tree for each enlisted person began in June 1917 with funds of £2,000 raised by the 500 women employed in the factory, known as the 'Lucas girls'.The planting, carried out in eight phases over the next two years until its completion in June 1919. The planting, done by staff of the Lucas factory with the support of local farmers included 23 species of trees, mostly exotic deciduous species planted in single lines along either side of the road at regular spacings of 10 - 12 metres.Each species was usually planted in blocks of about 25 trees on either side of the road. The trees were numbered and allocated to individuals as close as possible to their order of enlistment, beginning at the Ballarat end. Plaques were originally attached to each timber tree guards giving the individual's name, the unit in which he or she enlisted and their number in the avenue. In 1934 these were replaced by permanent bronze plaques at the base of each tree, of which more than 80% are still in place.
Following cessation of hostilities in 1919 and completion of the avenue plantings, the 'Lucas Girls' led by Mrs W. D. Thompson began planning and fund raising of £2600 for a commemorative arch to provide an entrance to the Avenue of Honour. The Arch of Victory, designed by H.H. Smith, Head of the Art School at the School of Mines Ballarat, was a grand cement rendered masonry structure of a single central arch flanked by wide piers 20metres in width, spanning the roadway, and 18metres high. The arch, erected in 1920, is crowned by the 'Rising Sun' symbol of the Australian Commonwealth Military Forces beneath which the words Avenue of Honour and Victory are written prominently across the arch. In addition to the initial costs, for the Avenue of Honour and the Arch of Victory, a further £400 was donated by the public to a Maintenance Fund, with a returned soldier employed to attend to the trees.
During the First World War, the Avenue of Honour played a commemorative role and provided a stimulus for more people to enlist. Unlike other forms of memorials, avenues of honour and in particular the Ballarat Avenue required a high level of community participation in their creation which took place over a substantial period of time. Subsequently the Arch of Victory and Avenue of Honour became emblems of civic commitment to the war effort.
There have been a number of changes to the Avenue of Honour.Several of the original 23 species did not flourish and were replaced with species of Elms and Poplars which are the dominant genera of trees in the Avenue. In 1997, the Avenue consisted of 3,332 trees of forty different species and cultivars. Approximately half were found to be of fair to poor health and a management strategy developed, including the replanting of some trees.
In 1936 a memorial Cairn and Cross of Remembrance were erected at the Learmonth end of the Avenue where a tribute tree was also planted in 1959 in memory of Mrs W. D. Thompson. In 1938 a Memorial Rotunda was constructed 180m west of the Arch of Victory originally containing a 'Book of Remembrance' with the name of every person for whom a tree was planted, information now contained in a Roll of Honour on engraved metal sheets. In 1994 the avenue was cut by the Western Freeway Bypass, with the removal of sixteen trees which were replaced by trees in the freeway reserve.
The Arch of Victory remains intact but with the addition of memorial plaques in 1954 and 1987 to commemorate those who served from 1939-1945 and in the more recent conflicts in Korea, Borneo, Malaya and Vietnam. In 1993 the Arch of Victory Precinct, opened by Edward 'Weary' Dunlop, was created by the relocation of the 1938 Memorial Rotunda and Roll of Honour to the road reserve immediately south of the Arch and the construction of the adjacent Memorial Wall with 72 bronze plaques recording the names and tree numbers of service people honoured in the Avenue.
How is it significant?
The Avenue of Honour and Arch of Victory, Ballarat is of historic, architectural, aesthetic and social significance to the State of Victoria.
Why is it significant?
The Avenue of Honour is of historic significance as one of the earliest known and the longest example of this uniquely Australian form of memorial. Planting of memorial trees had been common during the Boer War but the Avenue of Honour at Ballarat was an early planting of an avenue of trees along a roadside as a memorial, setting a precedent which was soon followed by the planting of 91 other avenues in Victoria, principally in Central Victoria, between 1917 and 1920.
The Avenue of Honour is historically significant as representative of memorials that first appeared in Australia during World War I commemorating not just the dead but all those who enlisted for service in an egalitarian form where each individual, regardless of rank, was equally recognised for their service.
The Arch of Victory Precinct and Avenue of Honour, including the Memorial Cairn at the end of the Avenue, is historically significant as a collection of memorial types and structures that represent various forms of memorialisation in Victoria over the twentieth century.
The Arch of Victory is of architectural significance to State being an outstanding landscape monument, in the tradition of the Roman and Napoleonic victory arches erected across major routes or carriageways. It is the only memorial arch in Victoria constructed at such a grand scale. Other arches commemorating World War I such as at White Hills Botanic Gardens Bendigo (H1915), and in Murtoa were constructed as entrance gates to public gardens and have neither the size nor prominent location of the Arch of Victory. The association of the Arch of Victory with an Avenue of Honour is unique in Victoria.
The Avenue of Honour and Arch of Victory is aesthetically significant as an outstanding designed landscape and living memorial with the grand arch heralding the start of the roadside planting of more than 3300 trees over a length of 22 kilometres of roadway.
The Avenue of Honour and Arch of Victory is of social significance to the State of Victoria as a well recognised symbol of community endeavour and cooperation during war time. It is of social significance as being Victoria's best known war memorial with the exception of the Shrine of Remembrance. The significance of the Avenue of Honour and Arch of Victory to the Ballarat community, to the descendents of those commemorated by trees in the Avenue and to the Returned Services League is reflected in the continual use of the area for memorialisation over the course of the twentieth century culminating in the creation of the Arch of Victory precinct.
Former Foreign Secretary William Hague makes a statement on Libya to the media in London, 27 July 2011.
Read more: www.fco.gov.uk/en/news/latest-news/?view=News&id=6359...
IAEA Director General Yukiya Amano delivers his opening statement at the first day of the International Conference on Nuclear Security: Enhancing Global Efforts. IAEA Headquarters, Vienna, Austria. 1 July 2013
Photo Credit: Dean Calma / IAEA
Pardon the skewed angle but there were reflections no matter what direction I approached it from. This was the best I could do.
Media statement:
More than 400 residents from across NSW gathered outside AGL Energy's head office in North Sydney this morning to demand an end to AGL's controversial coal seam gas projects in Gloucester and Camden.
The residents, many who had travelled together by bus from Gloucester, were joined by concerned Sydneysiders and members of GetUp. Today marks the 100th consecutive week of community protests at AGL's head office demanding an end to CSG in NSW.
GetUp’s Better Power Campaign Director Lily Dempster, who is leading the organisation’s call for consumers to turn their backs on energy retailers still investing in dirty energy, said it was disappointing that CEO Andrew Vesey had refused an invitation from Groundswell Gloucester to address the gathering today.
“People from all walks of life have gathered outside of AGL today and over the past 100 weeks to show the community finds the threats of coal seam gas to our agricultural land, our precious water resources and our communities simply unacceptable,” she said.
“It’s risky business for communities such as Gloucester and Camden, and it’s increasingly risky business for investors too.
“The company is currently reviewing its coal seam gas investments and has a prime opportunity to get out of harmful coal seam gas projects for good.
“We know one of the most effective ways of placing pressure is through consumer action. If you are an AGL customer you're in a powerful position to help pressure this company to get out of CSG and start supporting cleaner, safer renewable energy instead," she said.
Professor Rufus Clarke is a former AGL customer who has switched power provider through the Better Power campaign.
“In April this year my wife and I became aware of the influence that companies like AGL have on public policy, for example in Prime Minister Abbott’s reneging on his pre-election promise not to cut the Renewable Energy Target, and his persistent attacks on the renewable energy industry.
“Ecological responsibility cuts no ice with these companies; the only thing they understand is losing market share. So we switched to Powershop for our electricity supply. We are paying no more per kilowatt hour than we were with AGL.
“I urge others to do as we have done, to switch their energy supplies away from those who pollute the atmosphere and the aquifers – it’s the only message that the companies that pollute, and their shareholders, will understand,” Prof Clarke said.
To date the Better Power campaign has switched 12,000 customers from AGL and other big polluting companies including EnergyAustralia and Origin Energy.
Local accession number: 13_05_000740
Title: Chas Sumner [back]
Statement of responsibility: Brady's National Photographic Portrait Galleries, Broadway & Tenth St., New York
Creator/Contributor: Brady's National Photographic Portrait Galleries (Photographer)
Genre: Photographs; Cartes de visite; Portraits
Date created: 1859-1870 (approximate)
Physical description: 1 photograph : print on card mount ; mount 11 x 7 cm (carte de visite format)
General notes: Title from item or from accompanying ; On item envelope: Charles Sumner (1811-1874)
Date notes: Date supplied by cataloger.
Subjects: Politicians; Sumner, Charles, 1811-1874
Collection: Cartes de Visite Collection
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
8590 160th Street, Surrey, BC.
Statement of Significance:
Description of Historic Place:
Fleetwood Memorial United Church is a front-gabled, stucco-clad, one-storey church with a square tower, located on a large lot in the commercial area of Surrey's Fleetwood neighbourhood.
Heritage Value:
Fleetwood Memorial United Church is a local landmark, valued as a reminder of the rapid development of the Fleetwood neighbourhood after the Second World War, as an example of the growth of the United Church in the post-war period, and for its architecture.
The establishment of the Fleetwood Memorial United Church in 1953-54 reflects the post-Second World War population boom in Surrey's Fleetwood neighbourhood. Many returning servicemen purchased land here for agriculture and poultry farming, and these small truck farms were integral to the development of the Fleetwood community through the early 1950s. Population growth led to the construction of community services, including this landmark church, which remains today as an anchor of the Fleetwood community.
Fleetwood Memorial United Church is also valued as an example of the postwar growth of the United Church in Canada. In 1951 a group of 23 women began raising funds for a new church in Fleetwood. Land for the church was purchased the same year and the cornerstone was laid in 1953. Built by volunteers, including three retired men who worked full time on its construction, the church was completed in 1954 and dedicated in 1955. The congregation donated services and materials for the new church. In 1994, the congregation merged with North Surrey United to become the regional church of Northwood United. Today the building continues its role as a place of worship, serving as the Surrey Chinese Baptist Church.
This church is also valued for its architecture. The designer, Harry Francis Dyke, was an English-born construction engineer who also provided the plans for the Cloverdale United Church. Both churches demonstrate the persistent influence of the Gothic Revival style, as seen in the pointed-arch coloured-glass windows, steeply pitched roof and square bell tower. These traditional motifs are combined with Modernist elements, such as plain stucco cladding and minimal detailing. The exterior and interior of Fleetwood Memorial United Church remain in excellent and mostly original condition.
Source: City of Surrey Planning Department
Character-Defining Elements:
Key elements that define the heritage character of the Fleetwood Memorial United Church include its:
- prominent siting on 160 Street, in the heart of the Fleetwood commercial district
- ecclesiastical form, scale and massing, as expressed by the one-storey height with full basement, rectangular plan with transepts, front-gabled roof with boxed eaves and exposed rafters, first-storey overhang at rear of building, and projecting square corner tower
- wood frame construction
- Gothic Revival-inspired details such as: pointed-arch windows; steeply-pitched front-gabled roof; pegged wooden front doors with original hardware; and arched front entrance
- Modernist influence, as demonstrated by minimal detailing and plain stucco cladding
- fenestration, such as: pointed-arch multi-paned nave windows with coloured and textured glass; three stained glass panels on the east elevation behind the altar; double-hung, one-over-one double-assembly wooden sash windows; and three-paned, triple-assembly wooden-sash casement windows in the basement level
- original interior features such as: etched plywood paneling in the front vestibule and plywood wainscoting in the nave; wooden pews; wooden door and window trim; chamfered-profile nave ceiling with applied acoustical tiles; and hanging glass-globe ceiling fixtures
- continuous use as a place of worship
Advertising Agency: Lowe Stratéus, Paris, France
Creative Director: Vincent Behaeghel
Art Director: Jocelyn Berthat
Copywriter: Philippe Lopez
Photographer: Dimitri Daniloff
Published: June 2008
One video still from each "Life is Drag" video portrait (performance documentation).
lifeisdrag.com
ARTIST STATEMENT:
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).
This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.
From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.
My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).
I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.
Westfalia unveils new mission statement:
Our Mission... To deliver unparalleled warehousing solutions by earning the trust of our customers, understanding their business needs and honoring the commitments we make.
© Westfalia Technologies Inc. 2013
Statements und Podiumsdiskussion: "Aufstiegsorientierung und soziale Sicherung: Komplementäre Ansätze oder Widerspruch"
v.l.n.r.: Prof. Jörg Althammer, Trevor Phillips, Prof. Barbara John, Armin Laschet, Ralf Fücks
Foto: CC-BY-SA Stephan Röhl / www.boell.de
Tomatoes, Cucumbers and Herb Salad topped with some organic cheese :) )))
It's as good as a bowl of candy. I'm totally serious, here.
I took this picture in Tagaytay, Philippines.
This replaces a composite photo that appeared yesterday but was deleted as it is a breach of the rules.
It's almost another 100% thrifted outfit: the skirt, top & fake gold necklaces were all bought from The Wayside Chapel Shoppe. The bangles are from 'Diva', my favourite wild animal print leggings from Target & red tap shoes from a ballet shop.