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Note-Grids are a tool for collecting and connecting objects of thought (in this case, words).
They treat words and other manifestations of thought as objects that can be freely manipulated to create new meaning.
They break meaning up into individual words to facilitate a more fluid, intuitive, and improvisational approach to knowledge production.
Follow Note Grids on tumblr: notegrids.tumblr.com/
To read some direct statements about these ideas, see "Note-Grids: Statements" www.flickr.com/photos/asgood/sets/72157626654002747/
To see lots of words and patterns you can use to remix meaning, see "Note-Grids: Scores"
www.flickr.com/photos/asgood/sets/72157626782923062/
To see where this might be going, see "Note-Grids: Directions"
علينا ان نتذكر ان رئيس الجامعة لم يقابل الوفد الطلابي يوم 6 ابريل الا بعد ضغط الطلاب الذين شاركوا في المظاهرة والاعتصام امام القبة في هذا اليوم. ولم يقابل الطلاب في مؤتمر 9 ابريل الا بعد هذا الضغط. ولن يتم تطبيق حقنا الطبيعي في دعم الكتب الجامعية الا اذا مارسنا ضغط مماثل.
نحن جميعا هذه الايام نستعد لامتحانات الترم التاني, ولازم نذاكر بجد, لكن برضو لازم نتفق كلنا ان, مع اول يوم في السنة اللي جاية, نمتنع عن دفع المصروفات الدراسية الغير قانونية كوسيلة للضغط على ادارة الجامعة لتخفيضها. وفي الوقت ذاته نطالب جميعا ونصرّ على حقنا في دعم كل الكتب الجامعية بالا يزيد سعر اي كتاب عن 10 جنيه.
للاستفسار والمشاركة معنا : 0161413163
وتابعوا المدونة بتاعتنا : Hakycairo.blogspot.com
hakycairo@gmail.com
طلاب حركة حقي
للمزيد اتبع الرابط
Digital Creative layout, Art Journaling. PSE9
This is a statement of strength for me. A message to someone that I will not back down even though they scare me.
Journaling:
I’ve always considered myself a very observant person. I’ve had to be. Self protectant. Its one thing to be observant, and another to be hypersensitive to everything, everyone and every sound around you. Its enough to drive someone simply mad. In three days time, I’ve had enough crazy to want to not walk out my door. I’m tired already. I don’t want to hand over my life to anyone or any fear. I lived that already and I worked **** hard to get to where I was before all this started. I want to move about my life normal. Walk out my door with out worry. Get my mail, Walk in the park, go to my photo shoots alone. Do what I do, normal. Why the hell should I have to change my life? I shouldn’t. And I’m not. So this is my statement of strength. Of me standing up and saying oh hell no! You don’t rule me. You can’t push me around and tell me how to live my life and you sure as hell are not going to scare me into hiding in my home. FEAR DOES NOT RULE ME! Some unknown Does not rule me either. I decide and I’ve decided this stops. So for the person out there that is wishing me harm, Hear me. It is your warning.
Credits:
FYA Strength Bundles by:
Cilenia Curtis
Aria
Angie Young
Fonts: Segoe print, Engravers MT, Freestyle Script
Artist Statement
This portfolio represents my exploration of light, texture, and perspective. Through these seven images, I aimed to capture both the quiet and the dynamic moments that surround us daily, from natural landscapes to urban environments.
Each photograph was chosen to reflect a balance between observation and emotion. Some images focus on movement and energy, while others emphasize stillness and contemplation. I intended the sequence to create a visual rhythm, inviting the viewer to move through the portfolio with both attention and curiosity.
Photography, for me, is a way to notice the unnoticed—to see beauty in everyday moments, patterns, and contrasts. This collection represents my creative journey, highlighting the ways I interpret the world visually while developing my technical and artistic voice.
The closing statements in the case The Prosecutor v. Alfred Yekatom and Patrice-Edouard Ngaïssona are scheduled from 9 to 12 December 2024 at the seat of the International Criminal Court in The Hague, The Netherlands. They are accused of war crimes and crimes against humanity allegedly committed in the Central African Republic.
NASA Administrator Bill Nelson, center, delivers remarks during a bilateral meeting with Korea AeroSpace Administration (KASA) Administrator Youngbin Yoon Thursday, Sept. 19, 2024, at the Mary W. Jackson NASA Headquarters building in Washington. Photo Credit: (NASA/Keegan Barber)
Artist Statement
This portfolio represents my exploration of light, texture, and perspective. Through these seven images, I aimed to capture both the quiet and the dynamic moments that surround us daily, from natural landscapes to urban environments.
Each photograph was chosen to reflect a balance between observation and emotion. Some images focus on movement and energy, while others emphasize stillness and contemplation. I intended the sequence to create a visual rhythm, inviting the viewer to move through the portfolio with both attention and curiosity.
Photography, for me, is a way to notice the unnoticed—to see beauty in everyday moments, patterns, and contrasts. This collection represents my creative journey, highlighting the ways I interpret the world visually while developing my technical and artistic voice.
Source: Collected Works of Mahatma Gandhi, Volume 3, Facing Page 160. Published by the Ministry of Information and Broadcasting, Government of India with the kind permission of the Navajivan Trust, Ahmedabad.
Statement
During my current course I have been encouraged to explore a variety of fine art media and techniques from drawing using a sewing machine to life drawing and print making. I particularly enjoy experimenting with mixed media and contemporary sculpture including sound.
In my recent work I have been exploring the possibilities of manipulating sound, images and video through both digital and analogue experimentation. Using various sound recorders, samplers, cassette players & software I have created sound sculptures to accompany videos which I have also tampered with and made interventions. I have taken inspiration from the documentary ‘’RiP- A Remix Manifesto’’ about the musician Girl Talk and the issues faced with Sampling and copyright laws. I have a particular fascination with hacking, repurposing and using found images and sounds to create something entirely new. The Occupy Movement has also influenced my work; people trying to find a voice and a sense of community through a political action- ‘’To Belong to Something’’.
The digital ‘’glitched’’ images I have included were created by several digital manipulation techniques such as editing source code and converting and editing Jpegs in editing software made for editing sound. The idea of trying to delete or mask ones identity in the age of social media by literally breaking the images in what seems a futile attempt to erase any evidence that you had ever existed is an intriguing concept. What will we leave behind when we are gone?
It means whatever you want it to mean.
This ones been in my head for a few days.
Lighting isn't perfect, but I don't own a boom. Would have liked to see my key directly in front and above of me instead of to the left. Fill is a softbox low right.
Unique handmade polymer clay statement earrings / dangle drop earrings / boho botanical minimalist / handmade jewelry
STATEMENT real estate verkoopt voormalig Paleis van Justitie te Utrecht., STATEMENT real estate verkoopt namens opdrachtgever de markante kantoorvilla., STATEMENT real estate verhuurt kantoorvilla in hartje Vreeswijk.
STATEMENT real estate verhuurd bedrijfsruimte namens Hansteen Netherlands B.V. , Van Appeldoorn Transport huurt in Amersfoort.
Jongeneel huurt bedrijfsruimte in Utrecht. ,Maandag® huurt in Utrecht
Zoeker 500 m² kantoorruimte in diverse steden. , STATEMENT real estate heeft kantoorruimte verhuurd op "Havenzicht" in Nieuwegein
STATEMENT real estate heeft kantoorruimte verhuurd aan Kobaltweg 44 in Utrecht
Start bouw Palmtorens in augustus. , STATEMENT real estate is verheugd te hebben aangehuurd voor Rabobank Utrecht e.o
Maandag® huurt in Eindhoven. , STATEMENT heeft namens Eurocommerce kantoorruimte verhuurd in Amersfoort.
RGD huurt bedrijfs- en kantoorruimte in Houten Kantoorruimte aan de Graaf Karellaan in Nieuwegein verhuurt door STATEMENT
Maandag® huurt in Maastricht. , STATEMENT koopt namens Fortis MeesPierson een distributiecentrum te Venlo aan
STATEMENT treedt op namens Stichting De Rading., Maandag® huurt in Maastricht.
Alison Saar, Born Los Angeles, CA 1956
Rouse, 2012, wood, bronze, paper, antler sheds, and stamped ceiling tin,
The word "rouse" means to awaken and animate, and this sculpture evokes the self-awakening and personal transformation we often experience when encountering a turning point in life. Alison Saar made Rouse when her daughter left for college. The artist began thinking about "being menopausal . . . moving into new territory in my work . . . ready to let this other part of me mature and come out and be realized."
The massive antlers cradle a delicate, translucent adult figure in a fetal position, like a creature preparing to emerge from its cocoon. Scattered on the ground below are antlers that suggest a root network and, as the artist notes, mark "the passage of time to bring a child to adulthood."
“When I’m working with specific ideas, information from cultures outside of my own, I seek to understand them through my own personal experience in relation to everything I feel: my pain, my understanding of love or anger, what I hope for and dream about.”
–– Alison Saar, 1995
Alison Saar’s sculptures and installations are rooted in her interests in materiality and histories of art, religion, and spirituality from a global range of communities, including the African diaspora and Indigenous peoples, among others.
Saar was raised by the accomplished artists Betye and Richard Saar, whose distinct careers shaped her artistic development. Saar’s father, a classically trained art conservator at the Los Angeles County Museum of Art (LACMA), encouraged her to read books on Michelangelo, which influenced the solid and muscular physicality of her sculpted figures. Her mother’s artwork—assemblages of found objects that explore spirituality, folklore, and Black experience—fostered Saar’s interests in self-taught, African, Mexican, Native American, East Indian, and Asian art. In 1963, Saar moved with her parents to Laurel Canyon, a semirural enclave in Los Angeles, where she began the intensive engagement with found materials that proved crucial to her artistic practice, foraging for objects that she viewed as having “memory and spirit and a sense of that history.”
From 1974 to 1978, Saar attended Scripps College in Claremont, studying art of the African diaspora with Dr. Samella Lewis while making abstractions that attempted to, in her words, “evoke spirit through color and a very ethereal form.” In 1981, she received her MFA from the Otis Art Institute in Los Angeles, carving her first wooden figurative sculptures for her thesis. A year later, Saar moved to New York City and began the Studio Museum in Harlem’s Artist in Residence program in 1983. There, Saar constructed larger-than-life sculptures of women and men from salvaged tin ceiling tiles and wood. In 1991, Saar began bronze-casting public artworks, creating figurative statues that responded to their sites through layered cultural and historical references.
In the 1990s, Saar became a mother and began integrating this new experience into her work. She collaborated with her mother on works and shifted her subject matter to be “very female.” This mode culminated in Rouse (2012, SAAM), made when her daughter left for college. During this period, Saar also addressed current events such as the AIDS epidemic, Hurricane Katrina, and racial violence, creating an array of works that “attempt to distill bigotry to its essence in order to dispel it.” In the years following President Barack Obama’s election, she continued to probe racism through works that recast historical Black literary characters from racial stereotypes to autonomous subjects, such as in Reapers (2021, SAAM).
Imbuing urban and rural detritus with personal and cultural references, Saar’s career-long engagement with figuration takes “the ordinary” and goes “with it into the surreal.” As she once stated, “I’ve always treated the body as a courier for ideas, and within this shell we can understand and feel an experience better than a cerebral understanding.”
Authored by Gabriella Shypula, American Women’s History Initiative Writer and Editor, 2024.
____________________________________
"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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Up to an inch of rain is possible following yeasterday's wind event which saw 40-50 mph gusts.
I realize these are not photographs, I don't expect you to comment but you are more than welcome to, they are for my own reference.
Fine Art by April Lerman -
April Lerman is an aspiring photographer that I share my equipment with from time to time.
April takes well composed and sometimes spontaneous photos that always amaze me.
April's Art always has something to say, an emotion to stimulate.
Canon EOS 40D
EF 24-105mm F4 IS
Statement
(An Open Photoshoot by Artmovement Studio)
Express yourself with words that best describe you, from powerful to fierce,
fashionable to fab... Wear your powerful black clothes, struck that pose and get your 2 soft copy pictures right away after your shoot!
The fee is 800 php inclusive of hair and make up and styling by team artmovement studios. If you deposit before the shoot, you get 1 more edited photo!
For inquiries/reservations, please contact
Rapyu- 09173493471
Ojie - 09285054887
Deposit your registration fee at BDO with the following details:
BDO account number: 1380224452
Account name: Raphael Laurent U. Yu
Inform us once deposit has been done.
Additional edited soft copy photo is also available at 100 php each.
This july 9 2011 (Saturday) at Artmovement Studios from 1pm onwards! See you guys!
Here we go again.
Better to err on the side of caution.
Even though the last one was a false alarm for many, I hope people take this one seriously.
Note-Grids are a tool for collecting and connecting objects of thought (in this case, words).
They treat words and other manifestations of thought as objects that can be freely manipulated to create new meaning.
They break meaning up into individual words to facilitate a more fluid, intuitive, and improvisational approach to knowledge production.
Follow Note Grids on tumblr: notegrids.tumblr.com/
To read some direct statements about these ideas, see "Note-Grids: Statements" www.flickr.com/photos/asgood/sets/72157626654002747/
To see lots of words and patterns you can use to remix meaning, see "Note-Grids: Scores"
www.flickr.com/photos/asgood/sets/72157626782923062/
To see where this might be going, see "Note-Grids: Directions"