View allAll Photos Tagged statement.
some fancy face masks for people wants to be different. who'd think that these things will become a fad one day
Quite fashionable, if the head count of easels and their attendants was anything to go by. This wouldn't normally be my thing; this candid photography. But there were more easels than mushrooms popping up in the woodland and grasslands on this day, and this one was strangely appealing.
My acquaintance, The Painter (NEVER an artist, ALWAYS a painter), is not one for such baggage. Her attention is the canvas, her passion, the paint. Even in her studio the statement smock and rubber glove would never enter her head, nor interfere with her style.
Wait, what's that in this painters dextral mit? Is it a brush, a sponge, a palette knife, a trowel for laying on the colour? No, it's something else altogether…a demolition of the joy of of being en plein air.
Throughout history, female nudes have been used in cemetery/memorial art. For a deeper examination, visit northstargallery.com/pages/Sensualilty.htm
Many images in this set were taken inside Forest Lawn Memorial Park's (California, USA) Great Mausoleum.
The general public is not allowed to enjoy these and many other works of art in the Great Mausoleum. Entry is granted only to those able to afford the high price of admission and their living family members.
Why?
I turned the door handle of the Great Mausoleum at Forest Lawn in Glendale, California, USA and as the heavy door opened, I entered another world.
The massive, cathedral-like structure houses not only the remains of thousands able to afford the lofty ticket price for admission, it houses beautiful works of art. Sculptures, stained glass windows and ceilings, elegant marble throughout and massive architecture...all are off limits to the general public.
I didn't know at the time I turned that door knob, that Forest Lawn is consumed about keeping this structure and its contents strictly away from public view. I was simply a guy trying to take photos I like who quickly realized the challenges posed in this setting. I was simply on quest that began at the cemetery where my Mom and brother were buried almost twenty years ago.
One can attend a viewing of a stained glass window, The Last Supper, but, I've since returned (hoping to share with my family the splendor within) asking to enter the mausoleum. We were turned away. Forest Lawn's policy strictly prohibits entry to the general public.
Why? One would think that Forest Lawn (and its founder Mr. Eaton and its longtime and current President and CEO, John Llewellyn, would want to share with the wider world, the beauty contained within given the frequent ugliness which hits us in daily life...providing a form of comfort which is their business.
Forest Lawn loves attention but only on their terms. It thrives being known as the Disneyland of death services (and I mean that in the most respectful way ...after all, Walt Disney himself chose Forest Lawn) and hundreds of the famous and infamous call Forest Lawn home.
It is obvious Forest Lawn takes its mission seriously and provides a needed service exhibiting the highest levels of excellence from its impeccable grounds, to fine facilities and attentive staff.
Forest Lawn's theatrical stagings for adults and school children, its public art, museum and grounds filled with celebrities and movers and shakers, convey a seemingly mixed message when it comes to excluding the public from the massive amounts of great art held within the Great Mausoleum.
Why the exclusion? Staffing its maze of halls isn't a concern; staff members are everywhere throughout the park. Security? Sure it's in a bad neighborhood. But, as I wandered unknowingly in this remarkable place from which I was supposed to be excluded, I never saw graffiti...even in the restroom.
In fact, I never saw another soul (sorry, no pun intended). And, that, to me, is sad.
As I wandered, I was challenged by low light, by my impulse to rush my hand held shots since I had a vague gut feeling I was alone, but not; that someone was about to find me taking photos in a place where I was the forbidden invader...the only one...alive...appreciating fine art. Certainly, those entombed can not enjoy it.
Mr. Llewellyn, please open the doors to the Great Mausoleum for the public and the profound and positive impact its will have on us.
Mr. Llewellyn, I extend this offer:
if you have looked at my photos and they have spoken to you, please contact me. I will offer my photographic services to Forest Lawn to use in ways upon which we can agree.
The possibilities are limitless:
I can photographically catalog all of Forest Lawn's art at all its properties; the images could be published in many forms...books, dvd sets, and more; guided tours; respectful events built around the art and the images; museum exhibits.
Again, the possibilities are limitless and all can be accomplished in good taste equal to your mission statement and still be respectful of your residents and their families and, serve to educate and benefit the larger public.
Thank you,
Casual Clicks
A BIT OF BACKGROUND:
Many years ago after burying my mother and brother within days of the other, I was wandering their cemetery pondering and was intrigued by the statues I saw.
I was taken by the artist's talent in being able to capture the female form (since that was all the cemetery had). The sculptor's manipulation of the viewer's perceptions...cloth and how it draped, creating muscle tone, emotions displayed in facial expressions, all created from stone, piqued my interest.
I began an informal quest to research and find as many sculptures and to photograph them which overwhelmingly depicted the female nude (or partially so) in the cemetery/memorial setting.
As my cemetery visits grew, I began to realize that many of the sculptures seemingly evoked a sensuality in this form of memorial art.
Here, then, is my photos...a project in evolution...the female form as portrayed in an often sensual manner in memorial art.
Hard to beat that!
Post storm report:
We got our share of rain overnight but the gusty winds to at least 45 mph was the star of the show scattering anything that wasn`t secured.
As much as 4 inches by tomorrow night.
Our snowblower is ready to do battle.
This was later updated to 3-5 inches Sunday evening.
This post is a public statement and a formal protest.
I am denouncing what is happening here on Flickr.
Something is clearly wrong — either against me personally or in the system itself.
For years, Flickr has been extremely strict with my photos, even removing or limiting visibility for completely harmless artistic images — sometimes just because a small part of a leg or ankle was visible.
And now, when I am creating strong, historical, cultural works, my photos are being ignored or blocked from being featured in Explore.
This is the third, maybe the fourth time that I’ve been told my work appeared in Explore when in fact it never did.
It’s happening again and again, and I’m tired of it.
I’ve worked hard, I’ve always respected the community rules, and I deserve to be treated fairly.
There is something unhealthy in this system, and I have the right to speak up and show it publicly.
Under these two photos (these two visual statements), I will also add the links to the four images I’m talking about — the ones that were affected by these issues.
www.flickr.com/photos/barbarabonannobnnrrb/54889150910/in...
www.flickr.com/photos/barbarabonannobnnrrb/54873131929/in...
www.flickr.com/photos/barbarabonannobnnrrb/54851434468/in...
www.flickr.com/photos/barbarabonannobnnrrb/54809808575/in...
This female cardinal seems very well prepared for winter, with her downey breast feathers fluffed up for warmth, and her water-proof wing and back feathers to keep her dry.
And she provides a very tasteful, understated splash of color in an otherwise monochromatic winter scene on a gray, drizzly day.
I suspect as soon as she has had enough to eat at the feeder, she and her mate will find a more secluded place protected from the wind and rain for a little grooming and spooning...
Copyright
My teacher asked us, what is a stronger statement, to say no, or to write the word NO on one's face? The answer was obvious... that got me thinking 'bout weaker statements... i can write the most powerful statement on my face, but how powerful would that be if i hid in the shadows... So my answer to him is, if you write whatever statement, it dosen't matter HOW u write it, it matters to whom u show, how obvious it is, and the way it is recieved.
There’s only one way to flix this….Fight…..
A dispute has reared between Stagecoach and FLiXBUS over access to Aberdeen bus station.
FLiXBUS has claimed that Stagecoach, without warning, announced that the intercity coach operator cannot be given any further slots to pick up and drop off passengers as part of its expansion plans. Stagecoach does not own the bus station but they have a mandate to run it.
FLiXBUS reports it is now being forced to operate from the street as it cannot have some stops in the station and some outside. This now sees passengers carrying suitcases and other luggage on the street, which it says is ‘totally unacceptable’. Following a health and safety assessment, FLiXBUS reports Stagecoach informed the company that its slots at the station would be withdrawn.
FLiXBUS Managing Director, Andreas Schorling, said: “Stagecoach has an ownership stake in Scottish Citylink which is a direct competitor to Flixbus and operates some of the lines for them. There is a glaring conflict of interests when it comes to their management of the bus station.”
FLiXBUS’s legal adviser Professor Peter Watson of PBW Law has now intimated by letter to Stagecoach at their Inverness HQ that a formal complaint will be submitted to the Competition and Markets Authority (CMA) should the matter not be immediately resolved.
Professor Watson said: “Stagecoach and its associated company Citylink are in a dominant position insofar as the operation of the Aberdeen bus station. Our clients’ inability to provide further services for which there is demand has the effect of restricting competition and frustrating customer demand. Our client has suffered loss and will continue to suffer loss as a direct result of Stagecoach’s actions. Our client considers the situation requires, in the public interest, a full and open investigation by the CMA.”
Mr Schorling added: “We will be informing Scottish Transport Minister Mr Kevin Stewart, MSP of our actions. And as he is the local MSP we are certain he will also appreciate the appalling manner in which our passengers are being treated in Aberdeen by Stagecoach. We also know Mr Stewart and his Scottish Government colleagues are huge supporters of getting people out of their cars and back into public transport.”
FLiXBUS’s partnered Scottish company McGill’s to provide regular coach services, up to hourly by the summer, for Glasgow, Edinburgh, Perth, Dundee and Stirling. This is all part of FLiXBUS’s plans to build the largest intercity coach network in the UK. The collaboration will by summer see 25 coaches on the FLiXBUS-McGill’s partner network.
McGill’s CEO Ralph Roberts, who is also President of the Confederation of Passenger Transport, said: “We cannot see a return to the days where a city is being treated as a personal fiefdom. We fully support the government in their green initiatives, and we all want to see more people choosing to travel by bus’.
Stagecoach however rejects what it describes as inaccurate statements made by FLiXBUS.
A spokesperson for Stagecoach said: “The picture presented is misleading and does not reflect what is a safety and capacity issue.
“We have been in discussions with FLiXBUS since early March on their proposals for the summer season. It is untrue that FLiXBUS would have slots withdrawn. Bus stations do have limits on capacity and there are important safety concerns that need to be addressed. There is an existing dispute resolution process which is available to FLiXBUS.
“As the manager of the bus station, we have a responsibility to ensure that customers, staff and vehicles can move safely and effectively within the station. This means that we must monitor the capacity of the station and consider the impact on safety and traffic congestion when evaluating requests for additional departures. We recognise the duty to manage the relationship with all third-party operators in a fair manner and we reject the suggestions of anti-competitive intent.
“We have endeavoured to have a constructive dialogue with FLiXBUS at all stages, including detailed discussions about how their proposed journeys could be safely accommodated within the bus station. We have suggested amendments to their proposed schedules to facilitate easier access to bus stands and we remain open to further discussions with FLiXBUS to address their concerns.”
As an outsider looking in I can kind of see both sides of the argument. The bus station in Aberdeen isn’t the largest by any means and it is very busy. So I can accept the argument that it was indeed close to capacity. You also need to accept that coaches will happen to be on stances for longer than your typical service bus so it means more juggling for available space.
However at the same time, it seems to be a sheer coincidence that’s it’s FLiXBUS that has tipped the capacity over the edge, says a deeply cynical me. Remember that FLiXBUS had only just started using the bus station for its Glasgow - Aberdeen route and this issue has reared its head when it sought to increase the journeys on this service plus add an Aberdeen-Edinburgh route. Both these FLiXBUS routes compete with Citylink/Megabus.
So FLiXBUS has reverted to using on street stops in the Granite City, which is less than ideal it has to be said. I hope that a resolution can be found.
Here 0623 (SJ22HBA) sets out for a journey to Aberdeen.
Up to London on Saturday for a meet up of the London Flickr Group. We had a wander around Shadwell and Wapping and this was at the Cable Street mural.
This crocheted necklace was inspired by a very sweet pink dress, the dress is very delicate, and flowy, so i thought of making something a little brighter to match on the runway for the show. :-)
I had chosen turquoise and aqua to go with pink and fuchsia to add a little of summer to a sweet girl that likes pink
:-)
Trying out a new way to process the Leica monochrome raw files. Also, unusual for me, no cropping. I decided I wanted to show the environment as well as the subject.
Bellone portant le goéland avec classe. La dernière mode chez les divinités romaines.
Bellone wearing the seagull gracefully. Latest fashion among roman deities
I've seen this car around town and have meant to take photos. It just happened to be parked under our balcony, so I took a top view. Sometime I may have a chance to capture the other artwork..
To see the messages, be sure to enlarge the photo.
The original photo was of a statue in Philadelphia's Rittenhouse Square. Photoleap wis used to create this tribute to Portland, Oregon's amphibian-costumed protesters who are responding to the troops sent in by trump. "Violent" protesters dancing wearing frog costumes? The whole world is laughing at the absurdity of his misrepresentation.
www.magpictures.com/riotsvilleusa/trailer
"What are we looking at?" Our narrator asks this question to our audience, and, perhaps, to the ghosts in the footage at the center of RIOTSVILLE, USA. During these last many difficult, upending, dark, and often revelatory years in the United States, that question has persisted in my mind.
I have worked extensively as an archival researcher for filmmakers and artists for the last fifteen years. And as a director of archival films, my work has focused on contending with the ways we can locate and trace structural power and white supremacism within the archives. In The Rifleman, I connect the NRA and the U.S. border control; in Graven Image, the construction, funding, and political backdrop to the building of Stone Mountain, the nation’s largest Confederate Monument; and in The Reagan Show, the manipulative PR machine and self-documentation of the Reagan administration. My goal as a filmmaker is to re-present historical material that forces us to contend with our past and reflect upon our present, and interrogate the unique ways that moving images can transmit history in this country.
Making this film was about more than detailing the precise governmental and political machinations that lead to this specific training program. It was about making sense of the Riotsville footage; for me that is what the filmmaking process always is. How do you situate Riotsville within the legacy of 1968, reconciling living memory and mythology? How do you situate it within the life of the communities most affected by the state violence the performances at Riotsville are illustrating, and within the activism organizing to oppose it? And crucially, how do you situate it within a nation founded on white supremacism, determined to launch a war against its Black citizens, on a loop for hundreds of years?
These questions informed the form and shape of the film; a mapping of structural forces that could not seem more urgent in 2022, with all the violence and possibility it contains.
– Sierra Pettengill