View allAll Photos Tagged statement
U.S. Secretary of State John Kerry alongside Serbian Prime Minister Aleksandar Vucic delivers a statement to the press at the Prime Minister's residence in Belgrade, Serbia, on December 2, 2015. [State Department photo/ Public Domain]
Policy Statements - ITU PP-18
Ms Eka Kubusidze, Head of the Delegation of Georgia, Head of Communications, Information and Modern Technologies Department, Ministry of Economy and Sustainable Development, Georgia
©ITU/R.Maniego
1268 Ellis Street, Kelowna, BC.
Statement of Significance:
Description of Historic Place:
The historic place is the three-storey brick Old Cannery building, built in 1912 in Edwardian Commercial style at 1280-1298 Ellis Street in Kelowna's downtown area. The central three-storey brick portion was later extended with a one-storey wood-frame wing to the south and a two-storey brick wing to the north.
Heritage Value:
The Old Cannery has heritage value for its close association with a number of Kelowna's agricultural industries, including cigar-making, fruit-packing, and canning, and for later non-agricultural industry uses. It also has value as an unusually well-designed industrial building, and for demonstrating (through its additions) the growth of one industry over time. Representative of the area, the building now includes an entertainment use, reflecting Kelowna's shift from an industrial to a service economy.
The three-storey central brick portion was built in 1912 as the handsome premises of the ambitious British North American Tobacco Company (BNATCO). This company had been started in 1910, with a capitalization of $500,000, mostly British investment, with the intention of making cigars from Kelowna-grown tobacco in a large way. The building was close to the Candian Pacific Railway yards. It was constructed for heavy use, with the floors made of 2-by-6 planks laid on edge and spiked together (called 'millwork' construction). The cigar factory was located on the second floor, while the first and third floors were used for storage. The factory had the capacity to turn out 25 million cigars a year. However, it never achieved more than 800,000 at peak production, and by the end of 1913 unwise land contracts, coupled with embezzlement by an officer of the company, combined to bring BNATCO (and the local farmers who had planted five hundred acres to tobacco for the company) crashing down. By May 1914 the company was in liquidation.
The building was then purchased by the newly-established Occidental Fruit Company (the name catering to the anti-Asian prejudices of the time), a fruit shipper that prospered during World War I. In 1918, the Occidental Fruit Company transferred its fruit packing facility to another building, further north on Ellis Street, and began to operate a fruit and vegetable cannery here. The long, single-storey frame building to the south was constructed in 1918, and the two-storey brick building at the north end in 1919, with rear storage warehouses added in 1920. The actual canning was carried on in the southern building, while the other portions were used for storage. Occidental operated the cannery until 1929, when it packed almost 200,000 cases of canned goods, mostly tomatoes and catsup.
In 1929 the cannery was purchased by Canadian Canners Ltd., of Hamilton, Ontario, which continued to operate it until 1960. In 1965, the brick building was bought by Harold Armeneau to expand the Kelowna Machine Shop, located across the street at 1247 Ellis Street. The machine works occupied the second floor, while the lower floor served as office space.
The buildings were sold to the Cannery Group in 1971, which remodeled the old cigar factory and north extension as a night club. The northern extension has gone through numerous name changes: Bernie's Supper Club, the North Forty, Changes, the Casbah, and most recently Flashbacks. The south building was refurbished as a row of small shops, though its original function is still easily seen in the raised front loading level of the old cannery. An antique shop currently occupies the three-storey portion.
Source: City of Kelowna Planning Department
Character-Defining Elements:
The character-defining elements of the Old Cannery include its:
- prominent location, the largest brick building on west side of Ellis Street, three storeys high
- attractively composed and ornamented facade, four bays wide, with the end bays projecting forward slightly, framed by pilasters, and with the brick on the two upper floors arranged to resemble rustication, all somewhat in the manner of the Neoclassical Revival Style
- outer bays with segmental-arched window heads with large keystones on the ground floor, round-arched window heads on the second floor, and flat window heads on the third floor
- two, broader central bays with segmental window heads on the second floor, and flat heads elsewhere
- wood-sash windows with small panes (except on the ground floor) and transoms
- stone sills and pilaster bases and capitals
- brick facade wraps around the two corners
- set-back north wing with two storeys, with prominent repetitive second-floor windows
- south wing with repetitive windows on the two floors
//What a disaster
William Saunderson-Meyer says the floods just another blow to a province that was already on its knees
KwaZulu-Natal has declared a provincial state of disaster to try to cope with the devastating floods of the past week.
This is normally a temporary mechanism of which the primary purpose is to facilitate speedy national government assistance to hard-pressed provincial and local authorities. It also triggers the release of emergency funds from the National Treasury.
But in KZN’s case, they might as well make it permanent. This is a province that has been on its knees for some time and it ain’t getting up any time soon.
After all, KZN hasn’t even staunched the bloodied nose it suffered nine months ago. That’s when one wing of the African National Congress government — the Radical Economic Transformation followers of former president Jacob Zuma — tried to bury the other — the so-called reformists led by President Cyril Ramaphosa.
KZN hasn’t even properly tallied the body blows it suffered then. The official estimates for the insurrection were 45,000 businesses affected, R50bn in economic damage, 129,000 jobs lost, and 354 killed.
These estimates are probably on the low side. For example, the number of people who were killed in the mayhem doesn’t include the many whose bodies were simply never found and counted.
And the true economic cost is incalculable. There’s been substantially increased emigration of minorities, cancelled investment, and the loss of international confidence in KZN as a safe tourist destination. In at least a dozen small, country towns, all the business infrastructure was destroyed, paradoxically by the very people who worked and shopped in those buildings.
Now the floods. The death toll is over 300 and still rising. Some 6,000 homes have been destroyed and road, water sewage and electrical infrastructure uprooted. As I write this, roaming mobs are opportunistically plundering container depots, stranded trucks, abandoned homes and vulnerable businesses, reportedly unhindered — as was the case during last year’s riots — by the police and army.
Naturally, no disaster is complete without a scapegoat. Ramaphosa, as is his style, was quick off the mark to finger the culprit — climate change.
“This disaster is part of climate change. It is telling us that climate change is serious, it is here,” Ramaphosa told reporters while inspecting a devastated Durban. “We no longer can postpone what we need to do, and the measures we need to take to deal with climate change.”
What balderdash. Whatever role climate change may or may not have played in the larger scheme of things, it’s nonsense to pin on it responsibility for the plight of KZN. That lies with the ANC government.
First, this was not an unforeseeable bolt from the heavens. The forecasters warned months back that this was likely to be an exceptionally wet summer because of the La Niña weather pattern that occurs every few years.
There are also historical precedents for extreme weather in KZN, which a prudent administration would have taken note of.
In 1984, Tropical Storm Domoina wreaked havoc in a swathe from Mozambique, through Swaziland to KZN. Although the current downpour is worse, the scale is nevertheless in the same ballpark.
This latest storm — as yet unnamed — dumped 450mm of rain on Durban in 48 hours. Domoina let loose 615mm in 24 hours on Swaziland and northern KZN.
But the true difference between those events, 38 years apart, lies in the lack of preparedness on the part of today’s authorities. In 1984 the SA Air Force deployed 25 helicopters to airlift people to safety. In the 2000 Mozambique floods, 17 SAAF helicopters rescued more than 14,000 people.
This time, according to a News24 report, the SA Police Service and the SAAF, combined, have been unable to put a single chopper in the air. The erosion of South Africa’s military means that of the SAAF’s 39 Oryx helicopters, only 17 are serviceable.
Durban-based 15 Squadron has not a single helicopter available for search and rescue — they are reportedly primarily used as VIP transport — but two SAAF choppers supposedly have been despatched from Gqeberha to help. The SAPS airwing has only one serviceable helicopter but “the pilot on duty has been booked off sick”.
Second, throughout the province, local government is also in a state of disaster and unable to do its job. The scale of the KZN impairment can be measured in the flood destruction of homes.
Some 4,000 shanties have been destroyed, many because officialdom was too lax to forbid building on the floodplain and against precariously unstable hillsides. Another 2,000 of the homes swept away were so-called RDP houses, shoddily built during the kickback-and-steal bonanza of the government’s Reconstruction and Development Programme of the late 1990s.
In Durban, the eThekwini metro is bloated and inert. It carries a rates and services debt of R17bn, of which R1bn is owed by the national government.
Durban is also infamously corrupt. Former mayor Zandile Gumede — along with 21 co-accused — is facing fraud, corruption and money-laundering charges in connection with a R320m municipal tender.
Yet at the weekend, even as the rain was bucketing down, she won the ANC’s regional leadership contest hands-down, despite the party’s supposed “step-aside when accused” rule.
The ANC-aligned Ahmed Kathrada Foundation has no illusions about the party it supports. It issued a statement calling on the government to ensure that unlike the plundering of Covid-19 emergency relief funds, the KZN disaster funds were not stolen or misused.
Fat chance. The ANC has already announced that its parliamentary constituency offices in KZN would become “hubs for humanitarian support” and appealed for the donation of relief supplies. Watch the trousering by the ANC’s public representatives of anything that the public is dumb enough to leave with them.
It’s in KZN where the ANC’s brazen indifference to the law and antipathy towards the Constitution is at its most obvious and most destructive.
On Monday, Zuma's corruption trial once again failed to take off in the Pietermaritzburg High Court when he successfully blocked the process with another round of delaying legal actions. His lawyers also had some carefully threatening words for the judiciary in a separate Supreme Court of Appeal action.
They urged SCA President Mandisa Maya to reconsider the dismissal of his latest corruption prosecution challenges. They warned that last year’s deadly July unrest was “in part, traceable to a perceived erroneous and unjust judicial outcome” that put Zuma briefly in prison for contempt of court.
“When such conceived mistakes are committed, the citizens (wrongly) feel entitled to resort to self-help…”
Floods, fires and locusts are devastating but at least happen relatively rarely. The ANC, alas, is a seemingly unending plague.
From delicate and girly to enormous, heavy, and punitive, spetum rings make a statement. I love it when a girl's septum ring touches her lips where they meet, as though she is kissing her beautifully large ring, It gets in the way when eating, drinking, applying lippy, and cleaning teeth. The wearer is reminded of her ring whenever she talks. How wonderful! :)
Statement Necklace designed and crafted by Caine Kindred @ Black Boudoir
Part of the Candy Skull Collection
One-of-a-kind/ Bohemian/ Boho-Chic/ Modern/ Bohemian/ Hippie style.
~ Material: Pewter Charms, Pewter Chains, Pewter Parts, 8MM Blue Colored Skull Howlite Stone, Multi-colored Silk Thread Tassels
Policy Statements - ITU PP-18
H.E. Mr Mitch Fifield, Minister for Communications and the Arts
Department of Communications and the Arts, Australia
©ITU/R.Maniego
Statements und Podiumsdiskussion: "Soziale Mobilität in den USA und in Europa"
v.l.n.r.: Dr. Isabel Sawhill, Matthias Rumpf, Dr. Mark Speich, Prof. Walter Müller, Prof. Robert Erikson.
Foto: CC-BY-SA Stephan Röhl / www.boell.de
72 Mercer was, back in 2000, the second new building approved in SoHo after the Scholastic Building. The site, 30 feet wide by 200 feet long, is located between Broadway and Mercer Streets in the SoHo Cast Iron District. The original building, which was destroyed by fire in the 1960’s, was designed in the 1860’s in the early days of the cast iron renaissance emerging along the booming Broadway strip.In this period the buildings on Broadway are an early example of the new type of retail and manufacturing buildings being constructed: classically designed with monumental facades. On Broadway the buildings were mostly constructed of stone and cast-iron. The façade on the Broadway side was designed to be the main façade with a secondary facade on the narrower Mercer Street.The Mercer Street façade with few recesses, details and shallow cornices spoke to the utilitarian and gritty nature of that side of the building.The proposed 42,000sf new mixed use building with retails on the ground floor and loft apartments above, spans the entire lot between Broadway and Mercer Streets with a courtyard in the middle for light and air. Located in the Cast Iron Historic District, the location, size and scale of the new building is all together part of the architectonic solution. The new building makes subtle references to the surrounding urban context. The geometry of both facades fits with the pattern of the surroundings. At the same time the new building responds to the need to standout as a contemporary statement. Loft buildings and the spaces that are created, are by definition “pure rooms”, thus like in the old loft buildings, the architecture plays on the thickness of the building skin that surrounds the pure room. This thick skin is at once the connection to the past and a bridge to the present; it also creates a sense of privacy to buffer the interior space from the street. In the proposed design the depth of the window wall assembly is created by the movement of the spandrel panel inward.As seen in the surrounding loft buildings, very few pre-fabricated elements are utilized in order to create two at once similar and different facades. The Broadway facade is five stories and is organized around a central set of windows and on the Mercer Street façade, which is seven stories tall, the façade is organized around a central pilaster, which at the ground floor separates the residential entrance from the retail space.Both facades utilize one pilaster and one window design.
1240 Salsbury Drive, Vancouver, BC
STATEMENT OF SIGNIFICANCE:
DESCRIPTION OF THE HISTORIC PLACE:
The Jeffs Residence, located in the Grandview-Woodland neighbourhood of Vancouver, is a grand three and one-half storey wood-frame residence, located on a west-sloping lot at the corner of Salsbury Drive and Charles Street. Characterized by its Queen Anne style octagonal turret, bellcast pyramidal roof and hipped dormers, the Jeffs Residence is one of a number of early twentieth century turretted homes located on Grand View Hill.
HERITAGE VALUE OF THE HISTORIC PLACE:
The Jeffs Residence is signifi cant as a visual landmark, one of a group of similar historic estate homes in the Grandview-Woodland neighbourhood of Vancouver. Established in 1891 upon the opening of the Vancouver-New Westminster interurban railway, the neighbourhood quickly became one of Vancouver’s most prestigious residential areas. Grandview-Woodland was connected to the city water system in 1904, and business and industrial activity was facilitated by its proximity to the BC Electric interurban and the Canadian Pacifi c Railway lines. The business potential of the neighbourhood attracted some of Vancouver’s wealthiest residents, refl ected in grand estate homes that were built on large corner lots. The Jeffs Residence was constructed for Dr. Thomas William Jeffs (1858-1923), a physician, coroner, City Alderman (1906), and Police Commissioner (1907). Jeffs was born to Irish parents in Queensboro, Ontario, studied medicine at the University of Toronto, and moved to British Columbia in 1890. Jeffs and his wife, Minnie, moved into this newly constructed house and lived here until the 1920s. Today, the house stands out as one of the remaining landmark estate homes in the neighbourhood.
Constructed in 1907-08, the Jeffs Residence is also valued for its late representation of Queen Anne Revival architecture. The style was popularized during the late 1800s by British architect Richard Norman Shaw, and remained common through to the end of the nineteenth century. As Grand View Hill was being developed during the Edwardian era, a number of the homes in the area, especially those on corner lots, were built with the characteristic turrets of the Queen Anne Revival style; this remains one of the only areas in Vancouver where this style predominates. Typifi ed by the surviving homes of upper-middle class residents such as Professor Edward Odlum, Alderman John J. Miller, and realtor Captain W.H. Copp, the neighbourhood capitalized on the impressive views to English Bay, False Creek, the North Shore and the rest of Vancouver. These characteristic turrets took full advantage of the panoramic views from Grandview Hill.
CHARACTER-DEFINING ELEMENTS OF THE HISTORIC PLACE"
The key elements that defi ne the heritage character of the Jeffs Residence include its:
• location on a west-sloping lot at the corner of Salsbury Drive and Charles Street in the
historic Grandview-Woodland neighbourhood of Vancouver
• continuous residential use
• residential form, scale and massing as expressed by its three and one-half storey height
including full basement, wraparound front verandah, rear porch, octagonal turret, highpitched
pyramidal roof with a hipped rear extension and hipped dormers
• wood-frame construction, with wooden siding, trim elements and details
• Queen Anne Revival style design featuring: a high-pitched bellcast pyramidal roof;
characteristic octagonal turret with bellcast roof, sheet metal fi nial and second storey
skirt roof; compound roofl ine with three hipped dormers on the south, west, and north
façades; and second-level, west-facing balcony over entry
• original double-hung 1-over-1wooden sash windows
• external red-brick chimney on south façade
more info here...
vancouver.ca/commsvcs/developmentservices/devapps/1298sal...
“Stories My Mother Never Told”
Artist Statement
By artist Jenny Ashby
This installation based exhibition is an informed response to my research into the institutionalisation and the forced removal of aboriginal children from their families and their homelands and the often untold truths regarding this accepted practice by government and religious organisations up until the early 1970's. My work responds to my learning of the cruelty and inhumane treatment of these children within institutional care throughout Australia. My work is a personal response to the stories told to me by my children’s aboriginal family, friends, and people that I have interviewed as well as research into these issues. My artwork is a comparative reflection on my own childhood memories, and the freedom that I lived with as a child while growing up in a white Christian, farming family, as opposed to aboriginal children forced to grow up within the same period of the 60's and the 70's, behind the walls of institutions such as the Cootamundra, Parramatta,La Perouse Girls Training Homes, and the Hay Women's Jail and "the stories we were never told".
The drawings and prints act as a visual narrative and are laden with text and marks in the form of graffiti and inscriptions, similar to those found on surfaces within institutions. The text also takes on the appearance of letter writing to my mother as a conversation, a personal reflection of my own childhood and my own responses to this research as a type of diary entry. The text which is layered and often unreadable onto paper which has been embossed and treated to mimic the brick walls of institutions hopefully encourages inquiry on closer examination of the narrative within.
The use of shadows within my work act as a metaphor of presence and absence within the space. The shadows of the little girl on the swing are significant within my work acting as a universal symbol of freedom and at the same time lost freedom when used in context of the cell wall drawings.
The video projections of the little girl’s shadows swinging and laughing were filmed as a site specific installation within the Hay Women’s Jail. This video installation is superimposed with sound of the harsh locking of cell doors which echoe within the confinement of the institution where many girls spent part of their childhood.
By subjecting the viewer to a multi sensory experience within the environment of the gallery, through the incorporation of projected images laden with relative sound, combined with universal icons of objects and image, I hope to encourage memory recall of the viewers own childhood using associated experience as a conduit to the narrative. Hopefully through this association the viewer becomes actively involved within the space and therefore he or she becomes personally involved with the work as the narrator in their own right.
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.
Local accession number: 13_05_000722
Title: Mary F. Scott Siddons [back]
Statement of responsibility: Emile Tourtin, peinture & photographie d'art, 128 Bd. De Starsbourg, Havre, Rampe Bouvreuil, 34, Rouen, 8 Bd des Italiens, 8, Paris.
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 material.
Date notes: Date supplied by cataloger.
Subjects: Actresses; Scott-Siddons, Mary Frances, 1844-1896
Collection: Cartes de Visite Collection
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
Policy Statements ITU PP-18
H.E. Mr Abdi Ashur Hassan, Minister of Posts, Telecommunications and Technology, Somalia
©ITU/R.Maniego
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...
Below is a statement supplied to Snapperjack Media London by ( British Egyptians )
*********************************************************************************************
Today 22nd of February 2015
We handed a Petition to 10 Downing Street and we Held a Demontration at Marble Arch and infront of Quatar Embassy .
We distribute a flyer with the petition and the photo of the Slaughter of our brothers in Lybia
“We Will Conquer Rome”
“ A Message Signed with Blood to the Nations of the Cross.”
Another Wake-up Call by the Terrorist Jihadists
The grotesque video which was released by the terrorist group Islamic State (ISIS) of the slaughter of 21 Egyptian workers in Libya, who had been kidnaped in the costal town of Sirte and subsequently beheaded on the15th of February 2015.
There is a sense of “ déjà vu ” for us here in the UK. In 2007 there was a plot to behead a British Muslim Soldier and in 2013 the shock of the beheading of Lee Rigby in the streets of Woolwich in broad daylight was evident for all to see. In addition, the recent plot to behead a British soldier by a teenager has featured in the press. The terrorist attacks of 7/7 and others are potent reminders of this evil.
On 8th of February 2015, Muslim Action Forum’s protesters in Whitehall held Al-Qaeda flags at the door steps of Downing Street .
Mr.Cameron, all British Egyptians appreciate your noble gesture for expressing your personal and official condolences for the murder of the Egyptian guest workers during your phone call to Bishop Angelos of the Coptic Church , as they were Coptic Christians. You rightly stated that these actions are unacceptable by the principles we live by in this country.
Although they were Christians, there is no difference between them and all of the other Egyptians killed by the Muslim Brotherhood ranging from the Police, Army Soldiers and Civilians : Christian and Muslim as we consider them all equal Egyptian martyrs.
During the rampage of terror by the Brotherhood and it’s terrorist offspring which include Al-Queda, Hamas, Boco Haram and ISIS where the killing and rape of innocents, destruction of property and livelihoods, places of worship; mosques and 80 churches in Egypt and yet their Headquarters reside here in London .
Although these people call themselves Muslims, they have nothing to do with any religion, they are ,maniacs. A lot of people all over the world are now fear these terrorists who are everywhere and have been supported directly and indirectly by many countries.
There is an urgent call for the World to wake up and unite .
We are not fighting a physical invasion but a rapidly spreading jihadist ideology among all ages. They are brain washed and blind folded and every one of them is ready to die as a suicide bomber by a press of a button. They are everywhere in the world spreading like cancer.
What we have seen till now is only the tip of the iceberg. We are pleading that the UK join all the forces of the world to jointly fight terrorism with Egypt, otherwise it will be a disaster for all of us.
Signed : British Egyptians.
Prime Minister and Donald Trump, President of the United States at Joint Press Statement in Washington D.C.
The monthly series
According to the statements of the Venetian historian Carlo Ridolfi (1648), a series of paintings representing the twelve months was sent to Rudolf in Prague: It is very likely that the works exhibited here are just those which belonged to the Emperor. The paintings correspond to the refined taste of an aristocratic authority: The high decorative value, the grandiosity of the iconographic program and sizeable dimensions suggest that they were intended for a great room.
In the inventory of the Archduke Leopold Wilhelm are to be found the twelve paintings recorded as works of the young Bassano: almost all are signed and have been created by Leandro towards the end of the nineties of the 16th century. The series has been preserved almost completely, and so we can still enjoy the unity of style and content. September and October are located in Prague, December is not yet reappeared. The image representing July was cut into two parts, probably for decorative considerations, but both fragments are preserved in Vienna.
The lovely hills surrounding Bassano provides the ambience in which take place the field works characterizing the respective month. The winter months of January, February and March, however - they represent a break in the rural task list - show other subjects: the return from the hunt, the carnival and a market scene. Each month is also provided with the corresponding sign of the zodiac, which appears in the middle of the clouds. The composition, wrapped in a dusky light, develops as parallel image into the landscape: the horizon forms the bluish massive of the mountain - probably the Monte Grappa - where the eye can rest.
Leandro describes the activities of the figures with great precision and carefulness in the reproduction of the details, from the working tools, en passant, the objects up to the clothes, so that the paintings in addition also represent a considerable documentary value. The artist intends to entertain the viewer in a pleasant manner and to dispel. Probably recognized some people themselves in the episodes again: for instance, in the richly-dressed lady who had served herself crops, or in the landlord who controls with his steward the works and the harvest. The monthly cycle, which has its roots in the fertile iconographic tradition of the Middle Ages, acquires in the interpretation of Leandros the character of a lively illustrated calendar, which is aimed at an aristocratic clientele.
The family of painters Bassano
Bassano, a small city, situated on the slopes of Monte Grappa in the northern Veneto, gave the family of painters Da Ponte not only the nickname, but also the fundamental inspirations for the art of the head of family Jacopo and his sons.
Jacopo Bassano was primarily active in the province, far away from the urban artists' centers, and is now considered one of the great masters of Venetian painting of the Cinquecento to the side of Titian, Veronese and Tintoretto. His fame he owes, i.a., the invention of a subject type, linking the pastoral scenes with biblical or allegorical motifs: for this reason he realized completely new and original compositions, enjoying such great popularity that the heirs of Jacopo continued to produce such paintings until the middle of the Seicento and beyond. Leandro, after Francesco the most gifted of the sons, was an irreplaceable support for the father in the workshop operation. With its vibrant and brilliant colors, he continued the fame of the Bassano family into the new century and has been, as a consequence, very successful, especially in the field of portraiture.
Die Malerfamilie Bassano
Bassano, eine kleine, an den Hängen des Monte Grappa im nördlichen Veneto gelegene Stadt, gab der Malerfamilie Da Ponte nicht nur den Beinamen, sondern auch grundlegende Anregungen für die Kunst des Familienoberhauptes Jacopo und seiner Söhne.
Jacopo Bassano war vornehmlich in der Provinz aktiv, weit entfernt von den städtischen Künstlerzentren, und gilt heute als einer der großen Meister der venezianischen Malerei des Cinquecento an der Seite von Tizian, Veronese und Tintoretto. Seinen Ruhm verdankt er unter anderem der Erfindung eines Sujettypus, der die Pastoralszenen mit biblischen oder allegorischen Motiven verknüpfte: Er realisierte damit völlig neuartige und originelle Kompositionen, die so große Beliebtheit genossen, dass die Erben Jacopos derartige Gemälde bis über die Mitte des Seicento hinaus weiterproduzierten. Leandro, nach Francesco der begabteste der Söhne, war für den Vater im Werkstattbetrieb eine unersetzliche Stütze. Mit seiner lebendigen und brillanten Farbgebung setzte er den Ruhm der Familie Bassano bis ins neue Jahrhundert fort und war in der Folge vor allem auf dem Gebiet der Portraitmalerei sehr erfolgreich.
Die Monatsserie
Gemäß den Aussagen des venezianischen Historikers Carlo Ridolfi (1648) wurde eine die zwölf Monate darstellende Gemäldeserie an Rudolf II. nach Prag gesandt: Es ist sehr wahrscheinlich, dass die hier ausgestellten Werke eben jene sind, die dem Kaiser gehörten. Die Gemälde entsprechen dem raffinierten Geschmack eines aristokratischen Auftraggebers: Der hohe dekorative Wert, die Grandiosität des ikonographischen Programms und die ansehnlichen Dimensionen lassen vermuten, dass sie für einen großen Raum gedacht waren.
Im Inventar des Erzherzogs Leopold Wilhelm finden sich die zwölf Gemälde als Werke des jungen Bassano verzeichnet: Fast alle sind signiert und wurden von Leandro gegen Ende der neunziger Jahre des 16. Jahrhunderts geschaffen. Die Serie ist fast zur Gänze erhalten geblieben, und so können wir uns auch heute noch an der Einheit von Stil und Inhalt erfreuen. Der September und der Oktober befinden sich in Prag; der Dezember ist noch nicht wieder aufgetaucht. Das Bild, das den Juli darstellt, wurde in zwei Teile geschnitten, wohl aus dekorativen Überlegungen, aber beide Fragmente sind in Wien erhalten.
Die liebliche Hügellandschaft um Bassano liefert das Ambiente, in dem sich die den jeweiligen Monat charakterisierenden Landarbeiten abspielen. Die Wintermonate Januar, Februar und März hingegen - sie stellen eine Ruhepause in der ländlichen Arbeit dar - zeigen andere Sujets: die Rückkehr von der Jagd, den Karneval und eine Marktszene. Jeder Monat ist zudem mit dem entsprechenden Tierkreiszeichen versehen, das inmitten der Wolken erscheint. Die Komposition, in ein dämmriges Licht gehüllt, entwickelt sich bildparallel in die Landschaft hinein: Den Horizont bildet das bläuliche Massive des Gebirges - wahrscheinlich der Monte Grappa -, wo das Auge Ruhe findet.
Leandro beschreibt die Tätigkeiten der Figuren mit großer Präzision und Sorgfalt in der Wiedergabe der Details, von den Arbeitswerkzeugen über die Gegenstände bis hin zur Kleidung, sodaß die Gemälde zusätzlich auch einen beträchtlichen dokumentarischen Wert repräsentieren. Der Künstler beabsichtigt, den Betrachter in angenehmer Weise zu unterhalten und zu zerstreuen. Wahrscheinlich erkannte sich so mancher in den Episoden wieder: Etwa in der reich gekleideten Dame, die sich Feldfrüchte vorlegen läßt, oder im Grundherrn, der zusammen mit seinem Gutsverwalter die Arbeiten und die Ernte kontrolliert. Der Monatszyklus, der seine Wurzeln in der fruchtbaren ikonographischen Tradition des Mittelalters hat, nimmt in der Interpretation Leandros den Charakter eines lebendig illustrierten Kalenders an, der sich an ein aristokratisches Publikum richtet.
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 María Jesús Alonso Jiménez, Permanent Representative of the Kingdom of Spain 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
H.E. Ambassador Saeed Ali Alnowais, Permanent Representative of the United Arab Emirates to the OPCW, speaking at OPCW's Fourth Review Conference.
The Conference is held at the World Forum, The Hague, the Netherlands, from 21-30 November 2018.
The closing statements in the case The Prosecutor v. Al Hassan Ag Abdoul Aziz Ag Mohamed Ag Mahmoud started on 23 May 2023 in Courtroom III at the seat of the International Criminal Court (“ICC” or the “Court”) in The Hague, The Netherlands.
Please see the attached current credit balance a statement will be forwarded to you shortly by post.
Regards
Paul
Paul Barnett
Credit Agent
0208 781 2891 (Direct)
0208 781 2840 (Group)
0208 781 2913 (Fax)
Bausch + Lomb
106 London Road
Kingston Upon Thames
Surrey, KT2 6TN
PRIVILEGE AND CONFIDENTIALITY NOTICE: The information contained in and/or attached to this e-mail message is intended solely for the use of the addressee and may contain information that is legally privileged, confidential or exempt from disclosure. If you think you received this message in error, please notify the sender immediately by replying to the email and then delete it from your computer. Do not disclose the contents to anyone. Thank you.
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.
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.
جلالة الملك عبدالله الثاني ورئيس الوزراء الكندي، ستيفن هاربر يعقدان اجتماعا ثنائيا ويدليان بتصريحات للصحفيين 29\4\2015
His Majesty King Abdullah II & Prime Minister of Canada deliver a Press statement at the beginning of their bilateral meeting 29/4/2015
520 Rutland Road N, Kelowna, BC.
Statement of Significance:
Description of Historic Place:
The historic place is the one-and-one-half-storey wood-frame McDonald Farm House, built in 1913 with Arts and Crafts detailing, and located at 520 Rutland Road in Kelowna's Rutland neighbourhood.
Heritage Value:
The heritage value of the McDonald Farm House is found in part in its being a rare, surviving farm house from the period before World War I in the Rutland neighbourhood. The attractive and well-maintained Arts and Crafts house in a mature landscaped setting provides a good reminder of the community's rural character in the early days of development.
The house is also valued for its association with the McDonald family, which was active in the early days of the Rutland community. Dan E. McDonald arrived from Ontario, after a period in Calgary, in early 1908. He cleared a plot of land at the corner of the Black Mountain and Rutland Roads and built a store and residence, the first store in the Rutland village. When Rutland post office was established in 1908, it was located in McDonald's store, and he served as postmaster from 1908 to 1911. In 1911, he sold the store to Clever and Whiteway, and built this house in 1913. He farmed and kept bees on a commercial basis near the school, and trapped on his preemption in the hills. In 1913, Dan McDonald was a machinist for the Okanagan Lumber Company. Mrs. D.E. McDonald was a charter member of the Rutland Women's Institute when it was formed in 1915.
Source: City of Kelowna Planning Department
Character-Defining Elements:
The character-defining elements of the McDonald Farm House include its:
- mature plantings throughout the lot, with a continuous lawn to the street
- residential form, scale and massing, as expressed by its one-and-one-half-storey height and rectangular plan
- medium-pitched gabled roof, with the ridge parallel to the street and a gabled dormer on the entrance slope
- bay window on the left side
- brick chimney
- horizontal bevelled wood siding, with wood shingles on the dormers
- fixed-pane and one-over-one double-hung wood-sash windows, all with plain narrow wood trim
- wood casement windows with wood trim in the dormers
- decorative wood brackets supporting the eaves on the main gables and dormer gables