View allAll Photos Tagged statement.
The Uptown Chicago community center closed early 2017. It was the American Indian Center and it served native americans since 1966.
Statement of Significance
The story of quartz mining on Victoria Hill lies at the heart of Bendigo's historical status as the world's richest and deepest reefing field. Gold was discovered on Victoria Hill in 1854, and by early 1855 claims had been taken up over its entire extent. Shafts were first worked by windlass, whip or whim, and primitive crushing batteries were in operation. By 1861, Victoria Hill had yielded at least 1,200,000oz in gold.
One of the early claims on Victoria Hill was owned by Prussian immigrants, Christopher Ballerstedt and his son Theodore. In 1854, they bought a claim on the hill for £80, to which they subsequently added other claims, and from the quartz veins (called spurs), worked both by shafts and a large open cut, obtained gold worth nearly £200,000. Christopher Ballerstedt was dubbed 'Father of the Hill' and has been credited as the first to debunk the theory at that time prevalent on the Bendigo field, that the gold content of reefs would diminish at depth. As his shafts plunged below the 200-foot level, the quartz remained rich in gold. His success inspired others, and so led the way to Bendigo's later status as the world's deepest and richest goldfield.
The Ballerstedts built Bendigo's grandest mansion, Fortuna. Theodore continued to work Victoria Hill after his father's death, but in 1871, convinced that his claim was exhausted, he sold both mine and mansion to George Lansell for £60,000. Lansell's mine on Victoria Hill was called the 180, and operated under his ownership until his death in 1906. The mine supplied the initial wealth that made Lansell Bendigo's 'Quartz King'. George Lansell was such a force in Bendigo's mining history that his death was cited as one of the reasons for the decline of Bendigo as a quartz mining centre,
The Victoria Hill Quartz Gold Mines are of historical, archaeological and scientific importance to the State of Victoria.
The Victoria Hill Quartz Gold Mines are historically significant as the symbolic heart of Bendigo's famous goldfield. The mines are linked to nineteenth-century individuals (Christopher Ballerstedt and George Lansell) who played prominent roles in the evolution of Bendigo. Both men's fortunes and their influence on Bendigo, originated from mining operations carried out on the hill.
The Victoria Hill Quartz Gold Mines are historically and scientifically important as characteristic examples of an important form of gold mining. Gold mining sites are of crucial importance for the pivotal role they have played since 1851 in the development of Victoria. As well as being a significant producer of Victoria's nineteenth century wealth, quartz mining, with its intensive reliance on machinery, played an important role in the development of Victorian manufacturing industry. The Victoria Hill Quartz Gold Mines are important as a manifestation of this aspect of gold mining.
The Victoria Hill Quartz Gold Mines are scientifically important, as they contain relics span nearly sixty years of mining (1854 to 1913), documenting the richest and most significant years of Bendigo's world-famous quartz mining industry. Enhancing the significance of the place are relics from the Victoria Quartz Company operations, including, at 4,870 feet, the world's deepest nineteenth-century gold mining shaft. As a postscript to the chronology of gold mining is the surviving crushing machinery (formerly part of the Bendigo Crushing Works) which was erected near the foundations of Lansell's 180 mine in 1932, to crush quartz for nearby mines. The place has a potential to yield artefacts and evidence which will be able to provide significant information about the technological history of gold mining.
[Source: Victorian Heritage Register]
This set is a photo project I did for school along with my artist statement.
About Photography Peeves
This photo series is a combination of things that many photographers do in their work that irks me. With this series, I am being blatant. I am going beyond deep meaning or rather not going deep at all, but staying at the realistic view of things.
I felt that writing the words on paper would portray the most realism, since I want to make a few points here. With the train track photographs, you see the train tracks in the image, but with the word “cliche” added, it really puts it into perspective that I am mocking the use of the train tracks. Having the word in my hands as a physical element says so much more to me than just a word that is photoshopped onto an image.
When you see these images, I want you to agree with me and say, “Selective color really is cheesy!”, or realize that comfortable lounge chairs from your living room in the middle of a random field are not unique (because it is overused and doesn’t makes sense), but actually are really convenient! “Why yes! I would love to sit in this conveniently placed lounge chair in this random field that has possibly fallen from the sky!” If I am being brutally honest, to me, those types of images are plain stupid.
When I see watermarks on images, I see “Hey look, I am a ‘professional’ photographer. I’m a business. Buy my photography.” The mark takes away from the original intent of the art and becomes a marketing technique that has been abused and misused so many times that the process is now seen as almost unprofessional. In my photograph mocking the watermarks, I wanted to make sure the word was big and distracting of what is behind it. I am most irritated by “photographers” who have the equipment but know nothing about how to use it. I presented this idea in the photograph reading “SLR?” I have a friend who owns a dSLR, she knows not what it means, she knows only of the auto setting, and people call her a photographer because she takes pictures with her “fancy” camera. I am sincerely devoted to my work and both being compared as a photographers is insulting. Coming off as superior is the last thing I want to portray with these statements. It is the ignorance of people not knowing what amazing technology they are holding and what they are capable of by using it correctly, yet still calling themselves something that I am not even sure I am comfortable yet calling myself, a photographer.
I want to make a point that may or may not be correct, but it is where I stand. These things that many photographers do actually hurt the viewer’s response rather than help it.
In einem Presse-Statement erläutert Christian Lindner im Berliner Thomas-Dehler-Haus die Steuerentwicklung in Deutschland.
Das Foto steht zur Verwendung auf den Webseiten der FDP-Bundespartei, der FDP-Bundestagsfraktion und der Gliederungen der FDP rechtefrei zur Verfügung. Die Verwendung zu anderen als hier genannten Zwecken bedarf der ausdrücklichen Zustimmung der FDP oder des liberal Verlages.
© Kowalke
The closing statements in the case The Prosecutor v. Paul Gicheru took place on 27 June 2022 at 9:30 (The Hague time) at the seat of the International Criminal Court (“ICC” or the “Court”) in The Hague, The Netherlands.
acrylic
20 x1 6
2021
Sierra College 23rd Annual Juried Student Exhibition
2021 Juror: Aida Lizalde
Juror’s Statement:
“The Ridley Gallery at Sierra College has over two decades of being a visual arts and cultural hub in Rocklin, CA. It was an honor to be invited to jury their Gallery’s 23rd Annual Juried Student Exhibition, not only because of its significance to the regional art community and its history of exhibiting high caliber international and regional artists but also because I was once a community college student who directly benefited from student exhibitions and the guidance of the faculty who run them. Juried exhibitions and college art galleries presented me with an opportunity to gain experience exhibiting artwork, to find my peers who were also striving for a life in the arts, and to gain confidence and critical thought about my work through being exposed to contemporary art.
Last year, students across the world were faced with an extreme shift in their learning environment, many lost the resources, community, and safe spaces that schools, and especially art classrooms, provide for us. I admire the creativity, commitment, and achievement of all the students who submitted artwork, and the fact that the Ridley Gallery adapted their curatorial practices to continue creating a space, albeit virtual, to welcome their student’s work.
This exhibition showcased a strong move toward new media. Much of the work challenged the categories that we are used to, including artwork that fit the traditional gallery space and a more widespread viewing experience of visual media structured through internet culture. Some works reinforced the importance of traditional media like painting, drawing, and ceramics, to interpret introspective and personal spaces in a time of isolation, struggle, and healing.
I was impressed by the quality of work, the range in media, themes, and experimentation of the submissions. Many works showed concerns for the current events that our country is facing like the pandemic, race inequality, and wellness, and they did so with care and originality. Black Live Matters Tribute (2020) is an honest and potent view on being Black with powerful spoken word poetry and graphics, Lost Connections (2020) by Michael Caspi and Science or Magic by Kevin Belcastro (2020) focus on narrative, and in the case of Belcastro, a humorous and imaginative perspective. I admired the technical skill in digital paintings from Sheryl Rivera and Christina Becher, the strong personal symbolism in Kristol Lopez’ Daughter of Buffalo Haired Woman (2019), the mystery and visual poetry of Kimberly Tagye in Train from Berlin (2019), and Michael Quinn’s Orion and Joshua (2020). These were just a few of many artworks that I viewed with enthusiasm, curiosity, and delight, but many more showcase a promising future in the field and dominance over media. The artists included in this exhibition represent the genuine diversity of backgrounds and skills that Sierra College nurtures, and the timely and highly creative interpretation of our current society’s struggle, vision, and adaptability.” - Aida Lizalde
Statement for Sun Street Printing Works, Keighley, dated 30th September 1940. Sent to the Lees Methodist Church Trust Fund c/o Walter Greenwood.
Sun Street Printing Works were founded by Herbert Scargill in the early 1920s. The business was effectively partnered with Keighley Paper Mills at the same site. They were initially located at 4 Sun Street having, it appears, taken over the premises of stationer, printer and postcard publisher John Overend. Sun Street Printing Works were printers of commercial and publicity leaflets, booklets, posters and other assorted paper stationery. Although the premises were owned by Herbert Scargill, it appears that much of the running was left to his second son R. Lewis Scargill.
According to Companies House records, the company became incorporated as Sun Street Printing Works (Keighley) Ltd. on 26th February 1942 (the company name was also sometimes written as Sunstreet Printing Works). The company relocated to No. 1 Factory on East Parade in the 1960s, where it occupied former Great Northern Railway goods sheds (Keighley Paper Mills Ltd. occupied No. 2 Factory). Sun Street Printing Works (Keighley) Ltd. was registered with Companies House until 2nd February 2001 with the company finally dissolved in 2019.
Examples of items produced by Sun Street Printing Works held in the History Society archive include an advertising brochure for new housing at ‘Sunny Hill Garden City’ from the late 1920s, theatre programmes for productions at the Hippodrome theatre in 1933 and 1947, and a Festival of Remembrance Official Souvenir Programme for an event held at the Ritz Cinema in November 1938.
Herbert Scargill had been born in Alverthorpe near Wakefield but relocated to Oakworth in his youth. He married and had two sons, although his oldest son Sam died in 1927. Alongside the printing business, he worked in journalism, firstly as the Cross Roads and Lees correspondent for the Keighley Herald (which operated between 1873 and 1911) and then, for forty years, as the manager of the Keighley office of the Telegraph and Argus. At the time of his death in July 1950 he was chairman of various printing companies: Sun Street Printing Works (Keighley) Ltd., Keighley Paper Mills Ltd., Watkinson & Sons Ltd., and W. G. Cooper Ltd. in Bradford. In all of these businesses he was assisted by his younger son Lewis.
Item scanned and donated by Tim Neal in 2021. The original is held in the archive of Keighley and District Local History Society.
Absolutely inspired by this photograph which is just completely fantastic! [However, I purposely didn't try to exactly recreate it as I am not such a fan of photographers doing that.] Rather, I decided to put my own spin on it!
From this session.
© Visible Images Photography 2008. All Rights Reserved.
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Rafael Mariano Grossi, IAEA Director General, delivers his opening statement at the Building for Science – Aiming for the Finish, a ReNuAl Side Event at the March 2021 Board of Governors meeting held at the Agency headquarters in Vienna, Austria. 2 March 2021
Photo Credit: Dean Calma / IAEA
Programme:
Welcome Remarks by Najat Mokhtar, IAEA Deputy Director General and Head of the Department of Nuclear Sciences and Applications
Opening Statement by Rafael Mariano Grossi, IAEA Director General
Remarks from the Co-Chairs of Friends of ReNuAl
HE Mr Rapulane Molekane, Resident Representative of South Africa to the IAEA
Global Impact of the NA Laboratories
Highlighting achievements and benefits of collaboration with the NA Laboratories in Seibersdorf
Introduction of the new ReNuAl2 Donor Display
Rafael Mariano Grossi, IAEA Director General
In Person Event Participants:
Rafael Mariano Grossi , IAEA Director General
Najat Mokhtar, IAEA Deputy Director General and Head of the Department of Nuclear Sciences and Applications
Karin Foistner, Counsellor, Permanent Mission of the Federal Republic of Germany
Jacek Bylica, IAEA Chief of Cabinet
Toshio Kaneko, Special Assistant to the Director General for Nuclear Energy, Nuclear Applications and Technical Cooperation
Edgard Perez Alvan, Senior Advisor to the Director General
Andy Garner, Laboratory Coordinator / Project Executive for Major Capital Projects in Seibersdorf, Department of Nuclear Applications
Fierce women's studded peep toe shoes from luxury designer Sam Edelman. Featuring an embellished metal studded heel adorned with crystals and studs. Pointed peep toe and narrow covered sole. Style statement Sam Edelman shoes - ideal for the wardrobe of any fashionista.
I was totally drooling over this, yet another awesome pattern from Goodknits. I would really like to add some flowers eventually, but I am just enjoying the wreath itself right now.
Pattern: Simple Statement Wreath
goodknits.com/blog/2011/09/16/crochet-simple-statement-wr...
Yarn: Lion Brand Wool-Ease Thick & Quick (surprisingly soft and fun to work with, I thought!)
Hook: M (largest I've ever used!)
Statements und Podiumsdiskussion: "Neue Heimat – Neue Perspektiven: Aufstieg durch Migration"
v.l.n.r.: Dr. Michael Werz, Cem Özdemir, Tamar Jacoby, Howard Duncan
Foto: CC-BY-SA Stephan Röhl / www.boell.de
... this is Wikipedia's opening statement about one of England's most famous writers:
"Dame Iris Murdoch DBE (15 July 1919 – 8 February 1999) was an Irish-born British author and philosopher, best known for her novels about sexual relationships, morality, and the power of the unconscious. Her first published novel, Under the Net, was selected in 2001 by the editorial board of the American Modern Library as one of the 100 best English-language novels of the 20th century. In 1987, she was made a Dame Commander of the Order of the British Empire. In 2008, The Times named Murdoch among their list of "The 50 greatest British writers since 1945."
Here is Wikipedia's link to much more information about Iris:
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
can you tell what the personal statement this picture means? because to me its a fairly clear statement. I'm pretty psyched about it.
maybe this one isn't as clear at stating it. I'll find something else to put up shortly...
spoiler alert:
I can shoot full frame now, & to me, subject aside, I can tell its full frame. It has killed me for so long when I see those shots where it just has that full frame look, & I don't think cropped has ever fooled me once. Taken so many images I'm fond of with cropped & will continue to shoot with the 7D, but this 6yr old camera is behind the times in so many depts, but I got ff, & I got it for a fantastic deal. Had decided against it, that I need to put the small bit of invest-able cash I had into something that would bring a return on my investment, & with video / band needs, a camera JUST so I could have ff images? Well, think it will earn its keep in stills world. Its a whole new world...