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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.
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B.E.P: Boom Boom Pow Just a funny statement really. I got that boom boom pow. What is this boom boom pow you speak of Black Eyed Peas?
Just watched The Daily Show with Jon Stewart. I would like to know why it's on so late in the USA? 11pm? I'm not staying up that late to watch it, I'll just Catch Up the next day. It's not even offensive. (Only to Fox News) It's just freaking hilarious. IranDecision 2009 - Classic. If you don't watch it then turn on the TV at 2025, go to More4 and wait 5 minutes until 2030. Watch for 30 minutes and laugh.
I'm on Twitter right now. Conversing about Flickr, Jimmy Choo and H&M and a lot of other interesting stuff. Come follow and introduce yourself. Don't be shy. It's my new obsession; you know like Flickr was, and still is.. Twitter just beats it a little bit.
Statement by H.E. Ambassador Edgar Elías-Azar, Permanent Representative of the United Mexican States to the OPCW 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.
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!)
This big yellow sign hangs above the stairs to remind us daily what our mission is. When I started about seven years ago, the "mission statement" took about 10 words to state; then a couple years ago, a committee was commissioned to revamp the 40-year-old statement. It now takes up the entire wall. Ah, committees.
Westfalia unveils new mission statement:
Our Mission... To deliver unparalleled warehousing solutions by earning the trust of our customers, understanding their business needs and honoring the commitments we make.
© Westfalia Technologies Inc. 2013
can you tell what the personal statement this picture means? because to me its a fairly clear statement. I'm pretty psyched about it.
maybe this one isn't as clear at stating it. I'll find something else to put up shortly...
spoiler alert:
I can shoot full frame now, & to me, subject aside, I can tell its full frame. It has killed me for so long when I see those shots where it just has that full frame look, & I don't think cropped has ever fooled me once. Taken so many images I'm fond of with cropped & will continue to shoot with the 7D, but this 6yr old camera is behind the times in so many depts, but I got ff, & I got it for a fantastic deal. Had decided against it, that I need to put the small bit of invest-able cash I had into something that would bring a return on my investment, & with video / band needs, a camera JUST so I could have ff images? Well, think it will earn its keep in stills world. Its a whole new world...
Artist`s Statement:
My work is usually a combination of strong shapes and delicate lines or rather free space. For these poster designs I used cardboard stencils and acrylic to print dynamic and flowing bodies that represent both, the movement of the tape running through a projector and the movement of a dancing body.
Rythm and color are keywords for me when it comes to Latino culture. A moving body implies the course of time simultaneously the primary element of the movie.
- Nina Weber
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.’
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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."
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Artist Statement
In today's commercialized, mechanized, specialized, computerized homogenized, society, the act of producing handmade pottery is one of social commentary. Mass produced commercial dinnerware and kitchenware are economical and readily available to fulfill our daily functional needs. In this light, creating individual ceramic vessels by hand is inefficient and even archaic. Indeed, any business person will tell you that there are easier ways to make a living.
The creation of handmade pottery resists the ceaseless homogenization of our society. There are very few objects in contemporary society that are produced by a single person beginning with their own design and taking raw materials through an entire process resulting in a final product. This kind of act of creation resonates powerfully in our collective history and psyche, but is becoming less and less common in today's world.
As such, the creation of unique handmade pottery questions the direction our society is moving. It asks questions about what our society is leaving behind as we hastily press relentlessly towards "progress". What are we losing when we consume industrial goods? What are we losing when fewer and fewer of us have the capacity to create a finished product from raw, materials? What are we losing when regional styles and differences vanish? And are we even aware of such loses?
Issues of individualism, sense of place, the creative spirit, and the role of dishes in social and family rituals are all brought into question. Indeed, the act of producing unique handmade pottery is a far more political act than it initially appears to most.
Professor Shynkaruk Began his artistic journey in his native country of Canada, where he was born and raised. After coming to the United States to pursue graduate degrees at the University of Iowa, he remained in the USA, where he has made his home for the past 20 years. Professor Shynkaruk has shown his work across the USA and internationally in over 80 professional exhibitions. He continues to actively explore the importance of the concept of beauty and the value of handwork to society and the human psyche. Professor Shynkaruk has taught at MSUM since 1998 as a Professor of Ceramics and is currently serving as Department Chair.
www.mnstate.edu/art/faculty/Wil_Shynkaruk/wil_shynkaruk.html
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.
Wandering around the city centre on St Patrick’s day, you’ll meet many diverse fun fashion statements to say the least… classy greens, sassy golds and demure nods to patriotism as people roll out in their Sunday best, while others parade full-on costumes ranging from the adventurous to the really out there ! (And that’s not including the official parade!)
This Paddy’s Day, we’re celebrating street fashion on a day of eclectic Irish fashion!
The National Leprechaun Museum and the SCOOP foundation joined up to give everyone (Dubliners and visitors) the chance to show off their Paddy’s Day Finery to the whole world, and set up a picture-book-photo-booth for them to get snapped in!
Entrants got snapped by our photographers on our set and then posted online… winners will be voted on by a worldwide audience! (There’s a range of categories and spot prizes to be won!)
Let us know your favourite by tweeting about it #lookoftheirish!
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The National Leprechaun Museum opened its doors in March 2010. Since then it has welcomed in excess of 150k visitors through its doors to explore Irish folklore, mythology and storytelling through our unique interactive experience.
Rave reviews from the likes of Time magazine, the Guardian, the BBC, and even the cast of Jackass, highlight the uniquely enjoyable experience for adults and children alike, exploring the world of Irish folklore in a series of fun and interactive spaces led by our great storytellers.
OPEN EVERY DAY!
10.30 – 18.30 (Last entry at 17.45)
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The SCOOP (Support Children Out Of Poverty / Stop Corruption On Our Planet) is a young, innovative and hard working organisation working and creating out of Dublin City, Ireland.
They endeavour to raise funds through their own events and unique ideas, in order to build schools and opportunities for children and young people caught in the poverty trap in the some of the poorest and more corrupt parts of the world.
They also wish to create a different type of charity in Ireland; one that utilises young and talented people to keep creating new and positive methods to achieve their many goals and aspirations.
Watch this space!
Registered charity CHY 18767
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Photography by Martin Bures & Jennette Donnelly
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Westfalia unveils new mission statement:
Our Mission... To deliver unparalleled warehousing solutions by earning the trust of our customers, understanding their business needs and honoring the commitments we make.
© Westfalia Technologies Inc. 2013
They Live, We Sleep
Artist Statement
“We are living in an artificially induced state of consciousness that resembles sleep. The poor and the underclass are growing. Racial justice and human rights are nonexistent.
They influence our decisions without us knowing it. They numb our senses without us feeling it. They control our lives without us realizing it.
They have created a repressive society and we are their unwitting accomplices ...their intention to rule rests with the annihilation of consciousness.
We have been lulled into a trance.
They have made us indifferent, to ourselves, to others; we are focused only on our own gain. They are safe as long as they are not discovered ...that is their primary method of survival.
Keep us asleep, keep us selfish, keep us sedated...they are dismantling the sleeping middle class.
More and more people are becoming poor. We are their cattle. We are being bred for slavery.”
– They Live
This photographic body of work is inspired by John Carpenter’s 1988 film, “They Live.” The movie was also credited by Shepard Fairey “as a major source of inspiration for his own subversive brand of street art.” They Live was the basis for his use of the word ‘OBEY’ that became his main campaign and a popular clothing brand consequently.
The protagonist of the movie, an unemployed drifter named "Nada," accidentally comes across a box of sunglasses. After putting a pair on, he realizes that they are quite special. He sees the world in black and white and discovers that it's not what it seems. The series of images I have created are like those unique sunglasses that Nada stumbled upon, aim to show the world to the viewer for what it truly is. I hope they will help people to take into consideration what they sacrifice by blindly following self-serving governments and corporations’ agendas.
Through this photographic project my intent is to encourage people to be more aware of the habitual ways of living that we have been thoughtlessly following for most of human history. It seems as though the human race would have learned by now to not put their trust in the hands of the misguiding ruling class. Unfortunately most of the humanity is still in the state of mindless consumerism and simply does not realize that their decisions, their entire lives are being manipulated.
Meaderville Volunteer Fire Department Parade Float, Meaderville, Montana (1957)
"1957 - Fairytale - Grand Prize Winner, The story of Mother Goose was the main theme of this float - Margie Pezdark was the driver of Mother Goose with Lois Brown and Mary Pezdark as aids. The three bears were depicted by Neal Mahoney, Frank Ralph and Eddie Madlena, Angelo Petroni as Jack-be-Nimble, Bruno Celli as Little Boy Blue, Ben Gianino as Tom, Tom the Pipers Son and Frank Gorsh as Old King Cole. Riding the animated fish boats were Mark Petroni, Nancy Mazzolini, Marlene Bugni, Lois Gabrielli, Jack Ossello and Johnny Celli."
Image taken from page 67 of Meaderville Volunteer Fire Department; Our Golden Anniversary Year; Fifty Years of Community Service; MVFD; 1910 - 1960 by Angelo Petroni, Fire Chief (1960).
View entire book at the Montana Memory Project.
Unique ID: mze-mead1960 pg 67
Type: Pamphlet
Contributors: Meaderville Volunteer Fire Department; Angelo Petroni - Fire Chief; Ashton Printing.
Date Digital: December 2009
Date Original: 1960
Source: Butte Digital Image Project at Montana Memory Project (read the book)
Library: Butte-Silver Bow Public Library in Butte, Montana, USA.
Rights Info: All Rights Reserved. Transmission, reproduction, or other use of protected items beyond that allowed by fair use under the copyright laws requires written permission of the copyright owners. Users must make their own assessments of rights in light of their intended use. Please see Montana Memory project Copyright statement and Conditions of Use (for more information, click here).
Permission for this digitization was generously granted by creator Angelo Petroni and owner Louis Fontana.
More information about the Montana Memory Project: Montana's Digital Library and Archives.
More information about the Butte-Silver Bow Public Library.
Search the Butte-Silver Bow Public Library Catalog.
NOPE! i just don't want the dentist to drill on my teeth today. today is the first of my many dental work appointments, getting 3 cavities filled. still have to go back for wisdom teeth out and root canal. ugh.
and i just wanted to do something a little different for my 365 today (even though i know the concept isn't new - it's frickin hard to do stuff that hasn't already been done, ya know? guess i'm not creative enough)
Shaan Banerjee, who is known for his out-of-the-box thinking and amazing work has come up with yet another hot and sensual photoshoot. The top fashion photographer in India, Shaan had teamed up with Rowa Khan and model Gehana Vasisth for the shoot. The Tamil actress is known for her bold statements and avatars in the past and even this time she has amazed her fans.
The fashion industry has seen some of the best photographers and models in the past but there only a few fashion photographers in Mumbai who can produce such astonishing results. Shaan Banerjee is one of them and he has been setting a new benchmark with every new shoot for the competitors. Shaan has teamed up with fashion designer Rowa Khan on a number of occasions and the duo has successfully changed the in and out of the fashion industry. Rowa is famous for her ethnic and contemporary dresses. Her collection of gowns is worth the mention.
Actress Gehana Vasisht has worked in a number of Tamil and Telugu movies along with some Hindi movies as well. She has worked in more than 70 commercials and was in a lead role in a TV series on Star Plus as well. She achieved her moment of fame after getting nominated as Miss Asia Bikini in 2012. Since then, she has never looked back. Presently she is the main lead in upcoming film Savitha Barbie and Nirbhaya along with Amore which is a Spanish movie.
The South Actress’s photoshoot with Shaan went amazing and the results are hot as hell! As a commercial photographer, Shaan’s knowledge of lighting and sets has always been a motivational point for other photographers. Being one of the finest celebrity photographers in Mumbai, Shaan knows how to get the best expressions in the hectic work environment and he has polished his skills beyond expectations.
Statement of Significance
The story of quartz mining on Victoria Hill lies at the heart of Bendigo's historical status as the world's richest and deepest reefing field. Gold was discovered on Victoria Hill in 1854, and by early 1855 claims had been taken up over its entire extent. Shafts were first worked by windlass, whip or whim, and primitive crushing batteries were in operation. By 1861, Victoria Hill had yielded at least 1,200,000oz in gold.
One of the early claims on Victoria Hill was owned by Prussian immigrants, Christopher Ballerstedt and his son Theodore. In 1854, they bought a claim on the hill for £80, to which they subsequently added other claims, and from the quartz veins (called spurs), worked both by shafts and a large open cut, obtained gold worth nearly £200,000. Christopher Ballerstedt was dubbed 'Father of the Hill' and has been credited as the first to debunk the theory at that time prevalent on the Bendigo field, that the gold content of reefs would diminish at depth. As his shafts plunged below the 200-foot level, the quartz remained rich in gold. His success inspired others, and so led the way to Bendigo's later status as the world's deepest and richest goldfield.
The Ballerstedts built Bendigo's grandest mansion, Fortuna. Theodore continued to work Victoria Hill after his father's death, but in 1871, convinced that his claim was exhausted, he sold both mine and mansion to George Lansell for £60,000. Lansell's mine on Victoria Hill was called the 180, and operated under his ownership until his death in 1906. The mine supplied the initial wealth that made Lansell Bendigo's 'Quartz King'. George Lansell was such a force in Bendigo's mining history that his death was cited as one of the reasons for the decline of Bendigo as a quartz mining centre,
The Victoria Hill Quartz Gold Mines are of historical, archaeological and scientific importance to the State of Victoria.
The Victoria Hill Quartz Gold Mines are historically significant as the symbolic heart of Bendigo's famous goldfield. The mines are linked to nineteenth-century individuals (Christopher Ballerstedt and George Lansell) who played prominent roles in the evolution of Bendigo. Both men's fortunes and their influence on Bendigo, originated from mining operations carried out on the hill.
The Victoria Hill Quartz Gold Mines are historically and scientifically important as characteristic examples of an important form of gold mining. Gold mining sites are of crucial importance for the pivotal role they have played since 1851 in the development of Victoria. As well as being a significant producer of Victoria's nineteenth century wealth, quartz mining, with its intensive reliance on machinery, played an important role in the development of Victorian manufacturing industry. The Victoria Hill Quartz Gold Mines are important as a manifestation of this aspect of gold mining.
The Victoria Hill Quartz Gold Mines are scientifically important, as they contain relics span nearly sixty years of mining (1854 to 1913), documenting the richest and most significant years of Bendigo's world-famous quartz mining industry. Enhancing the significance of the place are relics from the Victoria Quartz Company operations, including, at 4,870 feet, the world's deepest nineteenth-century gold mining shaft. As a postscript to the chronology of gold mining is the surviving crushing machinery (formerly part of the Bendigo Crushing Works) which was erected near the foundations of Lansell's 180 mine in 1932, to crush quartz for nearby mines. The place has a potential to yield artefacts and evidence which will be able to provide significant information about the technological history of gold mining.
[Source: Victorian Heritage Register]