View allAll Photos Tagged statement.
DSC_0971GPPcSq
I recommend clicking on the expansion arrows icon (top right corner) to go into the Lightbox for maximum effect.
Don't use or reproduce this image on Websites/Blog or any other media without my explicit permission.
© All Rights Reserved - Jim Goodyear 2014.
Mr. Sergey Kirienko, President of the Conference and Director General of the Atomic Energy Corporation Rosatom delivers his concluding statement at the last day of the International Ministerial Conference on Nuclear Power in the 21st Century. Boris Yeltsin Presidential Library, St Petersburg, Russia Federation, 29 June 2013.
Photo Credit: Dean Calma / IAEA
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.
Portfolio Site
My Blog
We are always looking for new places to visit. Once my wife heard that Game of Thrones was filmed on Malta it was not a matter of if, but when we went. We spent the first few days in Valletta, the capitol of Malta, getting our bearings and playing tourist. Valletta is a really nice city with a lot of history and hills - and decent Gelato too!
I took these photos in May 2018.
"You can wish in one hand and crap in the other. See which one gets filled first."
"Mission Statement: 'It ain't going to 'f'ing happen."
I love my job.
IAEA Director General Yukiya Amano addresses delegates at the 58th IAEA General Conference. IAEA, Vienna, Austria, 22 September 2014.
Photo Credit: Dean Calma / IAEA
Spring makes its own statement, so loud and clear that the gardener seems to be only one of the instruments, not the composer. ~ Geoffrey B. Charlesworth
Randy Snook
The Armor of God (Ephesians 6:10-11)
Cyanotype
2020
Shadows of Hope – Artist’s Statement
Art awakens and opens our eyes. Art can act as an oracle, a prophet, or simply a provocateur. Tapping into that power is at the core of what I wanted to accomplish when I traveled to Cambodia in January of 2020. However, I didn’t want to just awaken viewers to a problem, but to offer hope as well. To accomplish this dual goal, I worked with young women who have been rescued from sex trafficking to create life-sized murals using the cyanotype photographic process. These thematic portraits of victims of human trafficking were created with their assistance and active participation. It was truly a group effort.
So, why Cambodia? Though child sex trafficking is a problem around the world, it is most prevalent in Southeast Asia. It is hard to fathom, but a 2018 report from the Global Slavery Index estimates that 261,000 people in Cambodia live in conditions of modern slavery. Of those, the number who are minors involved in sex trafficking number in the thousands. Since 2005 I have photographed for Agape International Missions (AIM) in Cambodia and financially supported their work. AIM programs prevent sex trafficking, as they simultaneously work to rescue, restore and reintegrate survivors of this horrible crime.
Though I have photographed for AIM in the past, it has been over a decade since I traveled to Cambodia. But, in the fall of 2019, God gave me a vision of creating giant murals with the assistance of the young women that AIM has rescued from human trafficking. Starting in December, I began praying and sketching what the murals might look like. Many of the murals are inspired by the book of Psalms, which often speaks of rescue and restoration, something these young women are now experiencing.
The process I utilized is called the cyanotype or blue printing process. It was invented in 1842, just three years after the announcement of photography to the world. Though cyanotype chemistry (ferric ammonium citrate and potassium ferricyanide) is most commonly coated on watercolor or printmaking papers, it also works quite well when coated on fabric, which is what I chose to work with. The fabric was precoated in California and packed into a suitcase for the long plane flight to Cambodia.
After days of preparation and teaching my collaborators the process, we began to create the large murals. I would first meet with one of several rotating groups of approximately a
dozen young women, explain the concept for the mural and show them the sketch. After inquiring about who felt inspired by the concept and wanted to participate, subject(s) were selected, and the rest of the group was given responsibilities in creating the mural. Assignments might include spreading stars, plants (or other props), moving the tent from over the mural, etc. While I was coordinating these efforts, an assistant was working in a darkened room to iron the creases out of the fabric. When the fabric was done, I would run down the hallway and out the front door. My collaborators would help me quickly spread out the fabric on a large board and then the subject(s) would take their position and props would be quickly added. Finally, the tent would be removed so that the fabric could be exposed for ten minutes in direct sunlight (twenty minutes on an overcast day). During this time, the subject(s) could not move, even though it was usually very hot. In many of the murals you will observe staining around the subject. This is a result of perspiration reacting with the cyanotype chemistry. At the end of the exposure, the tent would be placed over the fabric, the props removed and then the fabric would be processed in buckets of water.
To find out more about Agape International Missions and how you can help, please visit: agapewebsite.org
Santa Monica Pier Carousel. I was stopped by security and asked to sign a statement before taking this shot. It was pretty dramatic, I had to stop by the pier offices. There I was told to read a statement, then asked if I understood, then it was read aloud to me by a guard. I'm surprised I didn't have to swear on a bible. For the record...no, I will not profit from this freaking photo!
time management
marketing strategy
team development
strategic management
marketing research
marketing strategies
business plans
marketing manager
strategic planning
business strategy
change management
business technology
job training
corporate finance
professional training
performance management
career development
business plans
public speaking
verbal communication
management training
vision statement
resume skills
track record
leadership styles
team leader
effective communication
management skills
learning and development
management leadership
personal development
goal setting
good leader
leadership skills
interpersonal skills
leadership skills
leadership qualities
business skills
Artistic statement
I was born and raised in a Chinese family. I always felt different from most people because of my personality and race. I lead 2 separate lives -one with my friend and the other with my family. Even when I am with my Asian friends I still feel left out. I don't know if it's because I think or act differently but I don't think friends could "always" be there for each other. I always wanted the easy way out of life but stress always gets to me. One thing helps me relieve stress is to cuddling with my cat. I adore cute things just like any other teenage girl. I like to roll with life but always have control over it.
I stress over the littlest things in life. I want to focus on just one thing at a time but also taking note of the surrounding. The macro setting is my favorite camera setting because it focuses on one thing at a time. I use it when I want to bring attention to only one thing but include everything else also. I think the macro setting is for a picture that can confuse someone on where to focus. The way you see things are also important to a person. Being able to put oneself in someone else's shoes is an important virtue. I like to see things from different perspectives because not everyone thinks the same. I think a good picture is a picture that has an angle that can bring the most emotion out of the picture.
In my traditional self-portrait I try to show how I see myself. I highly think that my cat is a big part of my life. I’ve gone through many hard times just to keep and I love it a bunch. The expression on my face shows somewhat the “weird” and “goofy” part of me. I love to joke, laugh and just relax & cuddle with my kitty. That doesn’t mean I don’t like to tease my cat.
My alter ego self-portrait brings out the love for my sister out. I love to bully her because she always responds the way I thinks she would. I never say to anyone “I love my sister” but I think my actions speak louder than words. You can also see from the choice of clothing that I like to wear bright colors with ridiculous earrings. I think earrings show a big part of someone. I like to wear dangly and hoop earring and sometimes it shows me how “bossy” I am. I admit I’m somewhat a control freak.
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.
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!)
These incriptions are on the reverse of these photos:
Top: Louise and Charlie Wood
Bottom: Jennie Flieler, Jimmy Breen
Note: Commercial use of this image is prohibited without CDHS permission. All CDHS Flickr content is available for personal use providing our Rights Statement is followed:
Says: "Foucault is gay"
Graffitti Njalsgade
Michel Foucault (French pronunciation: [miʃɛl fuko]) (15 October 1926 – 25 June 1984) was a French philosopher and historian. He held a chair at the Collège de France with the title "History of Systems of Thought," and also taught at the University of California, Berkeley.
Foucault is best known for his critical studies of social institutions, most notably psychiatry, medicine, the human sciences, and the prison system, as well as for his work on the history of human sexuality. Foucault's work on power, and the relationships among power, knowledge, and discourse has been widely discussed. In the 1960s Foucault was often associated with the structuralist movement. Foucault later distanced himself from structuralism. While Foucault is typically characterized as a post-structuralist and postmodernist, he personally rejected the postmodernist and post-structuralist labels, preferring to classify his thought as a critical history of modernity, rooted in Kant.[1]
clearaudio Statement Turntable/Statement TT1 Tangential Tonearm/Goldfinger Statement Cartridge
Well what can I say...this was totally amazing. Thanks to Adrian and Villip at Audio Excellence in Markham for letting us listen. The problem is I am ruined for life, nothing I will ever have will compare to this. I guess there is always the hope of a lottery win. For more info follow the link below.
www.audioexcellence.ca/single-post/2017/04/13/clearaudio-...
Daily Shoot - 2010/01/13: Make a photo of something you wear to keep yourself warm and/or dry: coat, gloves, scarf, hat, you name it!
One of the benefits of working from a home office is that you can usually arrange your schedule to take breaks during the day (after all a BlackBerry takes up very little space in your pocket). The sun is almost out and the temperature is almost zero, so I'm off to snowshoe for a while! These are my snowshoeing boots. Warm? Yes! Waterproof? Yes! Fashionable? Not so much!
Copyright PS
"Man, heroic and sublime"
Barnett Newman. 1950-51
Oil on canvas, 8ft x 18ft.
Accompanying was a statement: ‘There is a tendency to look at large pictures from a distance. The large pictures in this exhibition are intended to be seen from a short distance.’
Enlarge
Click diagonal arrows upper right; then press F11 Fullscreen.
MoMA quote:
"Newman may appear to concentrate on shape and color, but he insisted that his canvases were charged with symbolic meaning. Like Piet Mondrian and Kazimir Malevich before him, he believed in the spiritual content of abstract art. The very title of this painting—in English, "Man, heroic and sublime"—points to aspirations of transcendence.
Abstract Expressionism is often called "action painting," but Newman was one of the several Abstract Expressionists who eliminated signs of the action of the painter's hand, preferring to work with broad, even expanses of deep color. Vir Heroicus Sublimis is large enough so that when the viewer stands close to it, as Newman intended, it creates an engulfing environment—a vast red field, broken by five thin vertical stripes. Newman admired Alberto Giacometti's bone-thin sculptures of the human figure, and his stripes, or "zips," as he called them, may be seen as symbolizing figures against a void. Here they vary in width, color, and firmness of edge: the white zip at center left, for example, looks almost like the gap between separate planes, while the maroon zip to its right seems to recede slightly into the red. These subtly differentiated verticals create a division of the canvas that is surprisingly complex, and asymmetrical; right in the middle of the picture, however, they set off a perfect square."
.
An Artist´s Statement
By
Filip Haglund
In my work of art I address the problems society suffers from the most, but shows most resilience to resolve. The modern religious benevolent despotism, the narrow-mindedness of ideologies, the conflicts it results in, and their reluctance to acknowledge obvious problems like the global warming. Consequently the religion´s and ideologists intentional and unintentional oppression of mankind. I argue for the recognition of a correlation between moral theory and science. My artistry illuminate the necessity of an objective moral truth, as a foundation for the sincerely free and equal human beings. I choose art as my medium since art has a capacity to affect people in an unique way and the freedom of art makes it the ultimate social criticism.
During my foundation course at Nyckelviksskolan I developed a technical knowledge and investigative approaches to sculpture as a medium. Something I was able to experiment with on a larger scale during my work as set designer for Stockholm Operastudio’s production of Tjajkovskij´s Eugen Onegin. It gave me the opportunity to work with large installations and lighting design, which is reflected in my current work. In order to develop my historically, theoretically and critically informed approaches to art making I have taken courses in art history at Stockholm University and courses in architectural history and international contemporary architecture at the Royal Institute of Technology´s School of Architecture in Stockholm. Since my art is strongly related to our society its been in my interest to emphasize this more theoretical part of my creativity, hence, at present I am taking a course in PPE (Philosophy, Politics and Economics) at Stockholm University. This has given me a greater understanding of society´s construction, its problems and possible solutions, which lays the foundation of my art making. These theories, I whish to anchor and find expression for through continued artistic studies.
The arts have always had a close relationship to philosophy. In my work of art I argue for the acknowledgement of the correlation between normative ethics, metaethics and science as a foundation for tomorrow´s society. A society in which art bears a responsibility, through its pioneering, to set an agenda for tomorrow. Art should explore itself, by formulating the ideas of society and the Camberwell College of Arts is a platform for creativity, with the means to explore and define society.
Let me begin by manifesting the existence of an objective moral truth and objective moral values. This truth and these values can be tested against empirical science, but not at the expense of moral-and-value theory. I define empirical science (naturalism) as a science within physiology, where a person's physical condition can be measured, in order to document and understand the human emotions. It is this sort of naturalism that asserts a moral truth, unlike a hypothetic idealized man made or theistic constitution. Morals can be reduced to semantic value judgment and ontological fact-value, which implies the existence of empirically measurable objective values and cognitive values. Consequently value judgement is incompatible with a moral converging towards God.
In my portfolio I am trying to illustrate society´s reluctance to solve its obvious issues, passively awaiting the helping hand of God. The form of moral values which I describe is a sort of objective realism, not religious idealism. Thus creating a coherence between moral and empirical science. This requires the objectivity of rational thinkers making rational choices. I define rational thinkers as individuals with an order of preference that acknowledges the correlation between naturalism (empiricism) and objective moral values (ethical non-naturalism). The scientists rarely approach the moral discussions and most proponents of morals have declared science and moral as incommensurable, or that the first merely describes the second. This discussions affects the fundament of society and it is therefore an essential question for the arts to approach. I describe this in my work of art through contrasting moods, mediums and expressions, displaying the imbalance in nature and society. I isolate conditions, highlights them with symbolism, in a portrayal of an objective commitment against distorted ideologies.
We must make assumptions of theoretical value, in accepting the supervenience of moral and empirical science, objective moral realism and naturalism. This is a trans scientific point of view, laying a new foundation for society, making it an important subject for the arts to investigate. According to me, art is an Utopia, equivalent of freedom. The liberty of art, its rejection of diminishing rules, makes art trans scientific, with the capacity of moving through the layers of society. And sculpture in particularly, since its 3D, 4D and cross-dimensional pathways, makes it the ultimate free medium of expression. With sculpture as my medium, I may begin to articulate and visualise my thesis of objective naturalistic moral realism. In attending a higher education in fine art, I aim to develop my theses, and through an open dialogue with the College´s staff, explore new ways of expressing them.
Though I was approaching with sadness at the loss of the Occupy camps I saw two men carrying very big black & white flags through the sidewalks between the two parks.
I was very happy to see them and hope more will do the same.
Another message from the artist James De La Vega, written on the sidewalk. This one is a bit more difficult to see in the photo. It reads, "Slavery has yet to perish -De La Vega" - it's a message I haven't seen from him before, and it's uncharacteristically grim. Many of his more recent messages have seemed that way.
I came upon this one when it was fresh. I had walked down this way a few hours earlier, and it had been devoid of messages. Setting up this shot had the usual challenges of framing, but I also wanted to incorporate something that would give a feel for the city environment that the message was in. I was pleased with a few that included joggers and bikers near the message, but then I saw a dog walker who had just gone to a water fountain with his dog. (At this particular fountain, there was an additional fountain near the bottom for the dog to drink from and splash in.) They began to walk in the direction of the message, and the rest was a matter of timing.
While I do not intend for this to be a statement equating pets with slavery, it seemed rather fitting to have this unenthusiastic-looking dog getting tugged along on a leash, stepping over the chalk words.
Tutorial #1 from Rachel Denbow's summer art journal class.
I feel like I was trying to hard on this, the composition feels a little off to me and normally that's something that comes pretty naturally. Sometimes when I work on something I feel like is "for real" (i.e., not just messing around) I lose the spirit of the work.
shutters
From Victorian Heritage Register
Statement of Significance
What is significant?
The health of mothers and infants became of increasing concern in the first decades of the twentieth century. The early baby health movement was driven by committed volunteers frustrated at government inaction. Dr Isabella Younger Ross (1887-1956) who had studied infant health in England helped set up Victoria?s first baby health clinic in Richmond in 1917. By 1918 the voluntary Victorian Baby Health Centres Association (VBHCA) was formed to oversee the growing number of centres. Financial support also came from local councils and in 1926 the State government formed the Infant Welfare Section of the Public Health Department and appointed Dr Vera Scantlebury Brown as the first Director.
Kew Council opened the municipality's first baby health centre at the Kew Town Hall on 5 November 1920. Some other councils, such as Coburg, were also opening temporary centres around this time apparently prompted by the pneumonic influenza epidemic. The centre built at Kew East is one of the first permanent baby health premises in Victoria. It was opened by the Countess of Stradbroke in December 1925. It was designed by the Kew City Building Surveyor, Mr R. Chipperfield, and built by Messrs Murphy and Pearce at a cost of £1200. The roughcast rendered Californian Bungalow style building has some English Cottage or Arts and Crafts associations and is set in garden surroundings. With its tiled roof, boxed double-hung windows, louvred sliding shutters, heavy piers supporting a large 'L'-shaped verandah, tall chimneys and masonry flower boxes, it exemplifies the trend of early centres to mirror popular domestic architecture.
How is it significant?
The East Kew Maternal and Child Health Centre is of historical, architectural and social significance to the State of Victoria.
Why is it significant?
The East Kew Maternal and Child Health Centre, as one of the earliest purpose-built baby health centres in Victoria, is of historical significance for its associations with the history of maternal and infant welfare in Victoria. It is the oldest known centre surviving in an intact state, and demonstrates the strength of community concern about infant and maternal welfare prior to official government involvement. The building retains its original purpose and function to this day.
The East Kew Maternal and Child Health Centre is of architectural significance as an intact example of an early baby health care centre. As a building constructed in the Californian Bungalow style, it is important for its high degree of external integrity, in particular for its unpainted roughcast rendered exterior and stylistic detailing. Importantly, the building is representative of many subsequent baby health centres of the inter-war period built in the domestic style, a style which demonstrates a philosophical association between early baby health centre designs and the ideal suburban house, both traditionally perceived as the domain of women and children. The building is of further interest for demonstrating a concern for the health of babies by incorporating into its design good floor ventilation, flyscreens on doors and windows, a spacious verandah, and sliding, louvred window shutters.
The East Kew Maternal and Child Health Centre is of social significance for its enduring civic value to the community. As a baby health centre, the building is socially and culturally important for marking phases in the lives of mothers and infants. Designed to resemble a typical middle class suburban house in a garden setting, the purpose-built centre remains a symbol of domesticity and stability. The building of a permanent baby health centre was also symbolic of a culturally progressive caring society, a place associated with new scientific ideas, and professionally designed programs designed to improve the health education of women raising families in the suburbs.