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cute & little | petite fashion blog | gap bronze ochre cardigan, j.crew antique floral skirt, flower statement necklace, white blazer | spring outfit
Some cool precision grinding photos:
Image from page 45 of “The manual education college, comprising a complete statement of its aims, approaches, and final results, with figured drawings of shop exercises in woods and metals” (1906)
Image by Internet Archive Book Photos
Identifier:...
(Posted by a Precision Machining China Manufacturer)
Mission Statement is a sweet hardcore band from Virginia Beach, this is a new t-shirt that they had printed. Check them out here: www.myspace.com/mission757statement
Requisite Artist Statement: "The sacred reveals itself to those with the eyes to see, the ears to hear, the soul to accept. Often it's a simple matter of leaving the window open. Tramping the streets of Detroit with a camera is a bit of a mug's game; the easy nostalgia of period architecture, intact, the siren call of "the beautiful ruins". The city throws down a challenge to artists who would claim this raw material their own. Note: not everything is a photo op - there's a strong case to be made for temporal experience. But then, sometimes it's your job as an artist/photgrapher to open windows for others."
In other words; the best art I saw all summer.
I caught these young men in typical elegant, understated Osaka fashion during my morning walk to the train station. Minami Senba, Osaka.
Four people were arrested in downtown Calgary, Alberta, Canada on Tuesday March 17, 2009 during a protest outside the building where former U.S. president George W. Bush was making his first official speech since leaving office.
Source: www.cbc.ca/news/canada/calgary/story/2009/03/17/cgy-bush-...
15Challenges - City-scene - 2019-08-27
Gamex3Try - 2019-12-12
4 tiered statement wedding cake.
Bottom tier is a dummy cake, decorated with diamante
Chocolate mud cake covered in black fondant, with quilting design and cachous
Caramel mud with black and pink stripes
Red velvet top tier with black royal icing stencil
cute & little blog | striped knit blazer, cobalt blue silk shirt, j. crew gray pencil skirt, louis vuitton speedy 25, pearl cluster statement necklace outfit
Statement Necklace, Vintage Crystals, Red, Grey Gems by dabchickvintagegems on Etsy
This statement necklace features an antique ruby red and grey blue crystal rhinestone pendant surrounded by sparkling red crystals and grey glass beads.
Individual, hand wired beads applied to a delicate gold tone chain blend the old with the new.
The length is 18 inches but, the necklace can be lengthened with the gem topped extender or shortened for a choker style.
This is a delicate yet bold statement piece and will look stunning on anyone interested in making a stunning first impression.
A building that makes the grandest of imperial statements, this is officially part of the Government Offices Great George Street (GOGGS) complex, viewed from Parliament Street, London SW1. This segment is also known as 100 Parliament Street (100PS).
GOGGS was designed in 1898 by John Brydon, who drew inspiration from Inigo Jones’ unfulfilled design for a new Westminster Palace of the 1630s. After Brydon’s death, John Tanner completed the work in 1917, albeit diluting some of his predecessor’s original vision. The main 100PS occupants are HM Revenue & Customs, relocating there from Somerset House in 2004. The Department for Culture, Media and Sport is also based here.
GOGGS is Grade II Listed, having been praised by the Victorian Society as “an early monument of the Edwardian Baroque Revival”.
Artist Statement
These images are works in the process being refined for eventual showing..
The images in this Flickr set will be part of a NoMa photo group project I'm involved in. The NoMa (North Manhattan) Photo Group is a dynamic group of talented community minded artists who support each other and promote the work they are doing. For images of the NoMa Photo Group please check out this exciting Flickr group. See: www.flickr.com/groups/manhattanville/pool/
We are documenting the Manhattanville area (Broadway between 125th St. and 137th St. in Manhattan) that will be razed to make way for the octopus expansion of Columbia University. There are of course issues relating to the displacement of a poor and working class neighborhood that may be priced-out of the existing rental housing market through the use of QUESTIONABLE (unconstitutional) eminent domain maneuvers.
The legal concept of eminent domain allows the government and municipalities to take over and raze properties that are partially “blighted”, in order to transfer their sites to private institutions such as Columbia University. Community advocates and protesters argue that this approach to urban redevelopment favors wealthy redevelopers and private institutions at the expense of poor and working class residents, and encourages profligate municipal expenditures and tax variances in support of dubious or marginal benefit to the existing community.
“Terrain Vague” is a French term used by Spanish architect and critic Ignasi de Solà-Morales to describe ambiguous, unresolved, and marginalized spaces in the urban landscape. Terrain vague refers to sites that are often ignored in the mainstream discourse on architecture and design, such as industrial wastelands and monotonous suburban developments.
Solà-Morales notes that photographers and architects address terrain vague in differing ways. The photographer sees these spaces as places that are imbued with a storied past. Architects, however, approach these spaces as problems to be solved through design. Solà-Morales asks:
What is to be done with these enormous voids, with their imprecise limits and vague definition? Art's reaction . . . is to preserve these alternative, strange spaces. . . . Architecture's destiny [by contrast] has always been colonization, the imposing of limits, order, and form, the introduction into strange space of the elements of identity necessary to make it recognizable, identical, universal. The voids, imprecise limits and ambiguities typical of “vague terraine” conjure visions of a species of twilight zone. Rather than being submitted for entertainment and approval by Rod Serling, the haphazard spaces of discontinuous improbabilty of Manhattanville are being submitted for exploitative redevelopment.
True to Solà-Moraleshas' observation, as a group of photographers, we have chosen to address “terrain vague” by documenting aspects of a neighborhood community that will soon disappear into the mist of NYC history. The Manhattanville community has historically given sustenance and a sense of place to a succession of working-class poor but soon will give way to trendy gentrification. The proposed draconian development project is occurring in the context of an insular university institution that has continually expanded at the expense of its surrounding minority neighbors. Understandably, this has resulted in a significant amount of conflict dating back to at least the 1960's.
I found the proliferation of advertising signs in the ManhatanviIle community to be visually oppressive and amplified my own sensation of “terraine vague.” On some level I felt the huge advertising signs were selling “solutions” and “fixes” for manufactured needs that could not be openly discussed.
The intrusive messages seemed to overwhelm\ and diminish the legitimacy of signs calling for urgent action such as: “Halt Columbia University's abuses of eminent domain!”
Some billboards pictured self indulgent, self-satisfied role models enticing as they flaunt their wealth, fame, lifestyle and accomplishments. As if to say….I got mine,….and you? They insinuate to pedestrians what cannot legitimately be articulated or promised in words.
These corporate mercenaries of popular culture model poses and attitudes, that dangle an antidote to the toxic powerlessness and soul sickness of poverty.....quickly, effortlessly, magically….. Without the bother of self-awareness or struggle for social justice.
“Advertising has us chasing cars and clothes, working jobs we hate so we can buy shit we don't need.” ~From the movie Fight Club, based on the novel by Chuck Palahniuk
It is no wonder to me that the mixed messaging of political advertising and policy makers, etc., keep voters confused and easily misdirected, by so-called "wedge issuues", that appeal on the basis of low self esteem driven uncertainty and fear. Induced mass low self esteem is an interesting phenomenon that drives passive consumption of ideas, values, decision-making......and, yes, let's not forget.....material consumption!
Check out “Happiness: Lessons From a New Science”, by Richard Layard who exposes a paradox at the heart of our lives. Most of us want more income so we can consume more.
Mind control, anyone?
For me, the ideas that drive this photographic essay are connected to the vagaries of urban space usage and how the meaning of community is distorted, misdirected and shaped to fit the purposes of the power elite.
This art project hopes to bring attention to these ideas and inequities. It is expected that this work will result in an exhibition at sometime at the begining of 2008.
One video still from each "Life is Drag" video portrait (performance documentation).
lifeisdrag.com
ARTIST STATEMENT:
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).
This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.
From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.
My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).
I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.
Oslo Humanitarian Conference on Nigeria and the Lake Chad Region on 24 February. Opening statement by Norway's Foreign Minister Børge Brende (host and co-organiser).
Photo: MFA/Oslo / Ken Opprann
Judaica ・/jü-ˈdā-ə-kə/ plural noun
things pertaining to Jewish life and customs, especially when of a historical, literary, or artistic nature.
Judaica is a space for work by Jewish creators to be considered within a Jewish lens. The term ‘Jewish creators’ acknowledges the vast diversity of Jewish backgrounds and experiences and is open to anyone who identifies as Jewish regardless of their personal practices and belief systems. Judaica is a space for both overtly and covertly Jewish art. That is, both art that codes itself as Jewish through the use of easily recognizable imagery and symbols, and art that is not explicitly recognizable as Jewish but contains ideas or themes that relate to the creator’s Jewish identity. Judaica aims to combat the room-of-silence phenomena by creating a space explicitly for creators to have their work talked about within a Jewish context. Without any preconceived notions of what the self-identified Jewish artist has to be or look like, Judaica aims to amplify the voices of Jewish artists and to be the first step in a larger conversation connecting Jewish art-makers in the RISD and Brown communities.
Energy Minister Charles Hendry opens new Renewable energy consultancy , Gaohenergy, Lowestoft on his visit to East Anglia to promote the National Policy Statement consultation.
14 January 2011.
crown copyright.
Damjan Manchevski, Minister of Information Society and Administration, Republic of Macedonia
Mariya Gabriel, European Commissioner for Digital Economy and Society, European Commission;
Mr. Goran Svilanović, Secretary General, Regional Cooperation Council
Civil rights attorney Ben Crump speaks at a press conference in Minneapolis on March 28, 2021. The conference was held prior to the opening statements in the trial of former Minneapolis police officer Derek Chauvin, who was accused of murder in the death of George Floyd. Crump, representing the Floyd family, addressed the media, highlighting the significance of the "8:46" duration of Floyd's restraint, a reference to the time Chauvin's knee was on Floyd's neck. The trial took place amidst heightened national attention on racial justice and police accountability.
This image is part of a continuing series following the unrest and events in Minneapolis following the May 25th, 2020 murder of George Floyd.
Press Statement by Ministry of Foreign Affairs, Singapore: State Visit of the Governor-General of New Zealand Lieutenant General The Right Honourable Sir Jerry Mateparae and Lady Janine Mateparae, 6 to 8 July 2015
The Governor-General of New Zealand, Lieutenant General The Right Honourable Sir Jerry Mateparae will make a State Visit to Singapore from 6 to 8 July 2015 at the invitation of President Tony Tan Keng Yam. Governor-General Mataparae will be accompanied by his wife Lady Janine Mateparae and officials from the New Zealand Government House and the Ministry of Foreign Affairs and Trade.
An official welcome ceremony will be held for Governor-General Mateparae on 7 July, following which he will have separate meetings with President Tan and Prime Minister Lee Hsien Loong. President Tan and Mrs Tan will host a State Banquet in honour of Governor-General Mateparae and Lady Janine that evening.
During the course of Governor-General Mateparae’s visit to Singapore, he will be accompanied by Deputy Prime Minister Teo Chee Hean on a tour of the Treelodge@Punggol, HDB’s first Eco-Precinct. Deputy Prime Minister Teo will host Governor-General Mateparae to lunch after the tour. Minister for Defence Dr Ng Eng Hen will also host Governor-General Mateparae to lunch to reaffirm the close and long-standing defence ties between Singapore and New Zealand. Governor-General Mateparae will be accompanied by Minister for Health Gan Kim Yong to the KK Women’s and Children’s Hospital (KKH) to view ongoing collaboration between Singapore and New Zealand at the Neurodevelopment Research Centre under A*STAR’s Singapore Institute for Clinical Sciences.
Governor-General Mateparae and Lady Janine will attend an orchid-naming and tree-planting ceremony at the Singapore Botanic Gardens on 7 July.
Governor-General Mateparae’s visit underscores the excellent ties between Singapore and New Zealand as both countries commemorate the 50th anniversary of the establishment of diplomatic relations this year. There is close cooperation in the fields of trade and investment, defence, and the people-to-people sectors.
. . . . .
MINISTRY OF FOREIGN AFFAIRS
SINGAPORE
5 JULY 2015
Governor Inslee, Oregon Governor Brown, California Governor Newsom and British Columbia Premier John Horgan smile as they complete the signing of the Pacific Coast Collaboration Statement of Cooperation.
A stroll on the beach is often so enjoyable thanks to the people I meet there.
Michal was playing her guitar which attracted us and we asked her to sing, too. She did gladly and we joined in.
Michal, 23 y/o, has recently returned home to Israel from India where she had spent three months. She was looking for peace and quiet in Goa and a place to get away from family pressure.
"I was told repeatedly to start studying, do something with myself, but I just wanted to be left in peace."
India did help her to find quietude although Michal said it was too short a stay. She intends to go back someday.
Michal believes that people should do more things that they love. People shouldn't lie to themselves, they should smile more and love unconditionally.
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Statement by Mr Kai Ilchmann on behalf of Ms Kathryn Millett, Biosecure (UK), at the 22nd 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 27 November to 1 December 2017.
Natasha Stone – The Essence of Performance
Critical Reflection
Upon reflection of the creative process I have undergone during this F.M.P, I feel I have really explored the ‘Essence of Performance’; that I set out to achieve. After seeing numerous productions of different genres and really breaking down and analyzing the conventions of each performance I was then able to cross examine all of the performances to see what become the universal ‘essence’, or if there even was a universal essence.
To me, after reflecting on the ideas that I first wanted to examine in my statement of intent: ‘the three staple conventions: actor, audience, space’, I feel that there is less importance placed on the three dynamics I once thought were the core of a performance. I feel the relationship between the audience and the actor (something Marina Abromovic has explored in numerous works that I have also sited) is the essence of the performance, and the way the space is manipulated to suit the aforementioned dynamic of actor-audience interaction.
Leading up to the final exhibition, I was heavily leaning towards 2d work in the form of headshot exploration, text-based graphics and heavily conceptual work. However in the final few weeks of development I started to look deeper into anti-conventional performance pieces such as ‘Big Brother’/CCTV and started to realize the universal convention between all of the performances, all of the reality TV performances and CCTV is based on the response of the audience to the actor. Big Brother for example: if there isn’t a good relationship between the audience and the ‘performer’ (as it where), the audience votes for them to be evicted. In a stage production, if the audience isn’t responding to your work, they will either leave or respond negatively. Upon this notion I then decided to think more heavily towards a 3d performance piece. I had originally began the project with the vision of a performance piece but slowly started experimenting with more 2d based work before coming full circle and deciding that a 3d performance piece would suit the body of work more.
Experimenting and developing more I was thinking whether or not to use myself as the performer or another person; after doing some candid filming I caught a piece of gold in the form of an elder lady knitting. The piece was so captivating she then formed the basis of all of my plans.
During a piece of Artist research I was conducting on the photographer Annie Leibovitz, I came across a quote of hers regarding her collection on actor and director. She described the Actor as ‘Machine’ and the director as the controller. I then started to think about the past performances in this way and noticed that this was universally applicable to every performance I had seen: stage and CCTV/Big Brother. Stage performers are heavily directed during their rehearsal period, Big Brother has a team of directors that manipulate situations and direct them in tasks.
I then began to wonder if this was the true essence of performance? The idea of ‘the actor being directed and the audience’s response to the resulting product’. After realizing this I then decided on my final piece idea. After weeks of artist research, seeing –first hand – multiple performances of different varieties and strengths of professionalism and exploring the conventions of each to really break down the true essence, I then found my answer and began to look at ways of implementing this into my final piec
I found the creative process a tricky one. With my piece not being of an entirely physical-art based foundation, I found the challenge of presenting my ideas and explorations challenging. Being of a very photographical background I found myself capturing what I had seen and experimented in a photographical nature, however I then found it difficult to capture the essence of the performance I had witness through a 2d method. The difficulty we face as performers and resultingly the difficulty I found as an artist was capturing the essence of a live performance. Many directors refuse to have their performance filmed as it ruins the live performance ‘essence’. Without experiencing every aspect of the performance: from the smell of the room to the feel of the seats, to the vibrancy of the lights and the heat of the generators.
Without fully encompassing all of these conventions, a live performance is never truly captured via a repeatable medium (Video). Therefore artistic recordings became hard and I had to think of different ways to present my findings. Luckily I was able to manipulate the colours and sharpness in certain photos to really capture a moment in time of the production that would give the viewer a gauge of just how the performance would have looked.
Another thing I found difficult was being too heavily conceptual. I had numerous ideas and findings with very little creative outlet possible. As well as this I found it hard to get my idea across to others through the written word, not being from a performance background it was hard for the viewer to understand what I was trying to achieve through words. I resolved this by using photographs, illustrations and verbal explanation.
The final weeks leading up to the F.M.P I found very difficult. As my fellow artists were adding final touches to their pieces, finalizing type-face or glossing their painted sculptures, I was sat there planning my performance piece that I would not see until the night of the exhibition. I had decided that my idea would conform around the idea of an old lady (looking like a conventional old lady), the same one from the captivating video, would walk around the exhibition like a spectator to lull the other audience members that she is not part of the exhibition. The lady would have an ear piece in so that I could then direct her every move through the exhibition, completely taking on the convention of ‘actor as machine’ and having the director control every move and truly exploring the relationship between the actor and the audience. I had asked the Lady prior to starting if she agreed to hand over complete censorship and abdicate responsibility for her actions, over to myself for the duration of the exhibition. The lady agreed and thus I fitted her with an ear piece and gave her a bag with an air horn in it.
I directed the lady based upon the audience and their attitude. One couple were standing close to each other and so I asked the lady to completely dismiss the female and talk to the male. After which I then told her to barge through the couple and walk away. The woman was slightly offended and the man found it bemusing, yet they didn’t say a word to the lady. I then told the lady to follow certain individuals around. The individuals realized they were being followed and tried to shake off the old lady but still did not say anything to the lady.
Numerous occasions like this happened throughout the performance before the climatic air horn was released. I gave the lady an air horn because it is one of the loudest objects that I knew would resonate so deeply within the hollow cavity of the open exhibition space because of the space’s acoustics. It is such an offensive sound that makes people jump, I thought it would be interesting to see what the reaction of the audience would be if the lady let it off without their awareness. The lady hid the horn in her back and upon my direction walked into the middle of the space and let the horn off still inside the bag. The surrounding unsuspected audience members were horrified, shocked, jumped out of their skin and just confused as to where the sound came from. Not a single person confronted the lady, even after she did it for a second time. I the directed her to do the same thing but in the second performance space; she did so and the reaction was perfectly the same.
For me, the piece was a success. It was a success because the audience were unaware it was a performance piece, we explored (live) the idea of the ‘essence of performance’ and the dynamic of actor as machine being directed by another as well as exploring Marina Abromovic’s influential idea of the relationship between actor and audience.
It was interesting to see the audience’s reactions live. I was surprised by my findings in that not one single person confronted the old lady. It shows the amount of censorship we place upon our selves, a convention I explored slightly in my sketchbook, the idea that we are too afraid to say something to another individual for fear of the response of the public reaction. Having these findings and these reactions made my performance piece successful because we achieved the desired response. We were able to see, first hand, the relationship between certain audience members and the actor as well as first hand seeing the complete abdication of responsibility for ones self and ones censorship, relinquishing this to another individual that then directs you to do whatever they say: the true essence of performance: abdicating responsibility and censorship.