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Details of a pigeon's wing as it balances on one of our feeders trying to get at some seeds. Primary and secondary wing feathers are clearly seen along with the covert feathers underneath. These are surprisingly delicate structures and it's not often we get the chance to get a good look at them like this
Edited ISS055 image of the Richat Structure in the Sahara Desert in Mauritania. Color/processing variant.
18 – John L & Mary A Matheson Residence. 2067 S Hobart Blvd. 1909, Robert L Rohrig, Builder: Los Angeles Planing Mill Company.
The Matheson Mansion is currently (2013) threatened by redevelopment. When West Adams Heights was included in the Harvard Heights HPOZ, this house was listed as a “Noncontributing Structure,” because it was assumed the façade had been remodeled far beyond its original intent. In fact, aside from new windows and some minor elevation changes it looks much as it did when built, according to neighborhood preservationists trying to save the structure. The house suffered a devastating fire in the upper floors, when the elderly resident left a space heater unattended. Even worse, the house is still spot zoned R4 (the designation for an apartment building). Even though the original fixtures and furniture have been sold at auction, as the family prepared for the sale of the house, the character of this impressive mansion still shows through. Windows of stained art glass remain in the back of the house, which are probably Judson Studio glass, as well as remnants of the original and extensive gardens, most-likely designed by an expert landscaper like A E Hanson. The smoke and water-damaged interior reveals a rich and well thought-out design of a master architect. Hopefully, a buyer with a preservation mindset can be found for this house. John L Matheson was a merchant in early Los Angeles, dealing in men’s and women’s clothing and furnishings from a shop at 301-303 South Broadway.
West Adams Heights
“Nowadays we scarcely notice the high stone gates which mark the entrances on Hobart, Harvard, and Oxford streets, south of Washington Boulevard. For one thing, the traffic is too heavy, too swift; and then, again, the gates have been obscured by intrusions of shops and stores. At the base of the stone pillars appears the inscription “West Adams Heights.” There was a time when these entranceways were formidable and haughty, for they marked the ways to one of the first elite residential areas in Los Angeles. . . In the unplanned early-day chaos of Los Angeles, West Adams Heights was obviously something very special, an island in an ocean of bungalows—approachable, but withdrawn and reclusive—one of the few surviving examples of planned urban elegance of the turn of the century.”
- Carey McWilliams, “The Evolution of Sugar Hill,” Script, March, 1949: 30.
Today West Adams Heights is still obviously something special. The past sixty years, however, have not been kind. In 1963 the Santa Monica Freeway cut through the heart of West Adams Heights, dividing the neighborhood, obscuring its continuity. In the 1970’s the city paved over the red brick streets and removed the ornate street lighting. After the neighborhood’s zoning was changed to a higher density, overzealous developers claimed several mansions for apartment buildings. Despite these challenges, however, “The Heights,” as the area was once known, has managed to regain some of its former elegance.
The West Adams Heights tract was laid out in 1902, in what was then a wheat field on the western edge of town. Although the freeway now creates an artificial barrier, the original neighborhood boundaries were Adams Boulevard, La Salle Ave, Washington Boulevard, and Western Avenue. Costly improvements were integrated into the development, such as 75-food wide boulevards (which were some of the first contoured streets not to follow the city grid), lots elevated from the sidewalk, ornate street lighting, and large granite monuments with red-brass electroliers at the entrance to every street. These upgrades increased the lot values, which helped ensure the tract would be an enclave for the elite.
One early real estate ad characterized the neighborhood stating: “West Adams Heights needs no introduction to the public: it is already recognized as being far superior to any other tract. Its high and slightly location, its beautiful view of the city and mountains make t a property unequaled by any other in the city.”
The early residents’ were required to sign a detailed restrictive covenant. This hand-written document required property owners to build a “first-class residence,” of at least two stories, costing no less than two-thousand dollars (at a time when a respectable home could be built for a quarter of that amount, including the land), and built no less than thirty-five feet from the property’s primary boundary. Common in early twentieth century, another clause excluded residents from selling or leasing their properties to non-Caucasians.
By the mid 1930’s, however, most of the restrictions had expired. Between 1938 and 1945 many prominent African-Americans began to make “The Heights” their home. According to Carey McWilliams, West Adams Heights became known “Far and wide as the famous Sugar Hill section of Los Angeles,” and enjoyed a clear preeminence over Washington’s smart Le Droit Park, St. Louis’s Enright Street, West Philadelphia, Chicago’s Westchester, and Harlem’s fabulous Sugar Hill.
West Adams Heights, now also known as Sugar Hill, played a major role in the Civil Rights movement in Los Angeles. In 1938 Norman Houston, president of the Golden State Mutual Life Insurance Company, and an African-American, purchased a home at 2211 South Hobart Boulevard. Legal Action from eight homeowners quickly ensued. During that period, other prominent African-Americans began to make Sugar Hill their home – including actress Hattie McDaniels, dentists John and Vada Summerville, actress Louise Beavers, band leader Johnny Otis, and performers Pearl Baily and Ethel Waters, and many more. On December 6, 1945, the “Sugar Hill Cases” were heard before Judge Thurmond Clark, in LA Superior Court. He made history by become the first judge in America to use the 14th Amendment to disallow the enforcement of covenant race restrictions. The Los Angeles Sentinel quoted Judge Clark: “This court is of the opinion that it is time that [African-Americans] are accorded, without reservations and evasions, the full rights guaranteed them under the 14th Amendment.” Gradually, over the last century people of nearly ever background have made historic West Adams their home.
The northern end of West Adams Heights is now protected as part of the Harvard Heights Historic Preservation Overlay Zone (HPOZ). The Historic West Adams area of Los Angeles (which includes West Adams Heights) boasts the highest concentration of turn-of-the-century homes west of the Mississippi, as well as the highest concentration of National Historic Landmarks, National Register of Historic Places, National Historic Districts, State Historic Landmarks, Los Angeles Cultural-Historic Monuments, and Historic Preservation Overlay Zones in the city. The entirety of West Adams Heights should be nominated as a National Register Historic District, for the quality of homes, the prominence of the architects, notoriety of the people who lived in the neighborhood, and the role it played in civil rights.
Perhaps a quote adapted from a fireplace mantle in the Frederick Rindge mansion best symbolizes the optimism which exists in West Adams: “California Shall be Ours as Long as the Stars Remain.”
New Leaf Structured Settlements
3700 Koppers Street Suite #143
Baltimore MD 21227
(410) 538-2752
1-800-517-7671
Vought-Sikorsky Aircraft Division's OS2U Kingfisher was the U. S. Navy's primary ship-based, scout and observation airplane during World War II. Rex Beisel, a design engineer at Vought-Sikorsky Aircraft Company, crafted the OS2U in 1937. Beisel also designed the Vought F4U Corsair fighter (see NASM collection). Beisel's Navy scout was a two-seat monoplane that employed revolutionary spot welding construction to create a smooth, non-buckling fuselage structure. He also used old technology to save weight and increase performance when he covered the wings with fabric aft of the main spar. The Kingfisher handled well in slow flight, thanks to several innovative control features. In addition to the deflector plate flaps that hung from the trailing edge of the wing, the ailerons also drooped at low airspeeds to function much like extra flaps. Beisel also incorporated spoilers to supplement aileron control at low speeds.
The Kingfisher could carry a respectable load. For antisubmarine work, ordnance men could suspend two 45 kg (100 lb) bombs or two 146 kg (325 lb) depth charges. A fixed .30 caliber machine gun was mounted in front of the pilot to fire forward. A gunner seated several feet behind the pilot fired another .30 caliber machine gun on a flexible mount.
The Navy contracted for the prototype XOS2U-1 on March 22, 1937, and this airplane first flew in July 1938, equipped with an air-cooled Pratt & Whitney R-985-4 Wasp Junior radial engine. The first production Kingfisher, the OS2U-1, was delivered early in 1940 and assigned to the battleship "USS Colorado." Fifty-four OS2U-1s soon followed. By early 1941, Vought had built 159 OS2U-2s and the Navy had stationed these airplanes at Naval Air Stations in Pensacola, Florida, Pearl Harbor, Hawaii, and Alameda, California. The next version, the OS2U-3, was fitted with a Pratt & Whitney R-985-AN-2 or -8 engine. This aircraft had more fuel capacity in self-sealing fuel tanks and armor protection for the crew. This was the last production model and Vought built more of them than any other variant. The Naval Aircraft Factory outside Philadelphia, Pennsylvania, also manufactured the Kingfisher under the designation OS2N-1. All production ended in 1942.
Under the Lend-Lease program, the United States sent many Kingfishers to Great Britain where they served in the Royal Navy as the Kingfisher I. Other countries received Kingfishers both during and after the war including Australia, the Soviet Union, Uruguay, Chile, Mexico, the Dominican Republic and Cuba.
The Kingfisher could perform a variety of tasks - training, scouting, bombing, tactical and utility missions such as towing aerial gunnery targets and chasing practice torpedoes, and even anti-submarine warfare in the Atlantic Ocean. Most OS2Us operated in the Pacific Theater where Kingfisher pilots rescued many downed airmen.
In 1942, a Navy pilot flying a Kingfisher rescued America's World War I ace, Capt. Eddie Rickenbacker, and the crew of a B-17D Flying Fortress (see NASM collection) forced to ditch in the Pacific. With Rickenbacker and two other passengers, the bomber and its five-man crew had left Hickam Field, Hawaii, bound for Canton Island in the Phoenix Islands group, 2,898 km (1,800 miles) southwest of Hawaii. The Flying Fortress wandered off course and the crew got lost. When the aircraft eventually ran out of fuel and ditched, the eight survivors put to sea aboard three life rafts. Several weeks passed without food or water. By chance, a Kingfisher crewed by Lt. Willam F. Eadie, pilot, and L.H. Boutte, radioman, spotted the raft carrying Rickenbacker and two other crewmen. Eadie strapped the sickest man into the gunner's seat, and then he lashed Rickenbacker and another man to each wing. A Kingfisher could never take off with such a load, so Eadie began to taxi toward his base on Funafuti Island, about 64.4 km (40 miles) distant. Soon a Navy Patrol Torpedo boat met the airplane and the other five men were soon rescued. Only one of the eight failed to recover from the long ordeal.
The U.S. Navy accepted the museum's Kingfisher, OS2U-3 (Bureau of Aeronautics serial number 5909), on March 15, 1942. In April it left Naval Air Station (NAS), New York and arrived at NAS Norfolk. The following month, it was assigned to the recently commissioned battleship "USS Indiana." After the Indiana arrived in the Pacific, Navy pilots flying this OS2U performed a variety of missions including bombing, utility, and administrative chores at many locations. In December 1942, Navy planners assigned the airplane to the Com F Air scouting squadron VS-5-D-14 (later designated VS-55) at White Poppy, a codename for New Caledonia. Following a six-month stay in the fall of 1943 at NAS Alameda, California, for overhaul, and to receive new combat equipment, the aircraft was shipped to Pearl Harbor and rejoined the "Indiana" in March 1944. This Kingfisher had now flown for 957 hours, 300 of them aboard the "Indiana."
On July 4, 1944, "Indiana" was underway near Rota and Guam to support naval air strikes on those two islands. Lt. jg. Rollin M. Batten, Jr., was flying the NASM OS2U-3 when he was vectored to rescue two U. S. airmen shot down over Guam. Accompanying Batten was Lt. jg. Jensen. Ignoring the fire from nearby Japanese gun batteries, Batten picked both men up and returned them to the "Indiana." This rescue earned Batten the Navy Cross. The award citation reads, in part, "With utter disregard for his own safety, he fearlessly brought his plane down within a mile of many shore batteries, and, in the face of an intense barrage directed at him by the enemy guns, proceeded calmly and deliberately to rescue a downed pilot and his crewman who were swimming in the water and also under enemy gunfire. His intelligent and courageous appraisal of the situation was responsible for the successful rescue, after which he took off cross-wind with the additional load, under extremely difficult circumstances."
By August, this Kingfisher was flying in the Carrier Aircraft Service Unit-34, or CASU-34. This was its last Pacific assignment and the Navy shipped it to NAF Alameda aboard the USS "Bougainville" in December 1944. After six months at Alameda, the Navy shipped the floatplane back to NAS Norfolk. It flew very little and underwent a variety of overhauls and inspections before Navy personnel finally processed the airplane for storage in the spring of 1947. A year later, Kingfisher 5909 was earmarked for the National Air Museum (NAM, now NASM, the National Air and Space Museum). It was prepared for "flyaway to NAS Weeksville (Elizabeth City, North Carolina) for storage until such time as called for by the proposed NAM." However, in January 1949, it returned to NAS Norfolk and remained stored there until the summer of 1960.
In October, the Navy transferred the OS2U to the NAM and it was trucked to what is now the Paul E. Garber Facility in Suitland, Maryland. The Museum lent the aircraft to the USS Massachusetts Memorial at Battleship Cove, Massachusetts, in July 1968 and the Kingfisher returned to the Garber Facility in December 1980. A full-up restoration began in November 1983 and was completed in April 1988. Many components were discovered missing and proved difficult to find during the project. Edward Good of St. Petersburg, Florida, donated the main float and beaching gear and Doan Helicopters Inc., of South Daytona Beach, Florida, provided the wing floats.
Massive Sports Hall with a strong PVC roof and sides, 4 Days to Complete PVC Roofing and sides. This picture was taken when the covered had just been brought across the structure.
Church of the Immaculate Conception.
The central church in Antibes was first built in the 11th century with stones used from earlier Roman structures. Its current façade was constructed in the 18th century and blends Latin classical symmetry and religious fantasy. The interior houses some impressive pieces such as a Baroque altarpiece and life-sized wooden carving of Christ's death from 1447.
Saracen Towers in Antibes
The tower near the cathedral housing the bells , 40 meters high
Located on the town walls of Antibes, the towers "said Saracen" which dates back to the eleventh and early twelfth century, had a protective role for the city of Antibes.
Indeed the devastating Saracen invasions forced the city to protect themselves.
One of the towers; next to the cathedral measures 40 meters high and houses the cathedral bells said.
Her neighbor is integrated into the Picasso Museum overlooking the waterfront.
To access either pass by the old city and the Provencal market or Promenade Admiral de Grasse, and mounted the Souchère Dor (near the cathedral).
The Museum Picasso
formerly the Château Grimaldi at Antibes, is built upon the foundations of the ancient Greek town of Antipolis. Antibes is a resort town in the Alpes-Maritimes department in southeastern France, on the Mediterranean Sea.
History
In 1608 it became a stronghold of the Grimaldi family and has borne their name ever since. In 1702 it became the town hall of Antibes.
From 1925 the chateau was known as the Grimaldi Museum. In 1946 it was the home for six months of the artist Pablo Picasso. Today the museum is known as the Picasso Museum, the first museum in the world to be dedicated to the artist.
Picasso himself donated works to the museum, most notably his paintings "The Goat" and "La Joie de Vivre". In 1990 Jacqueline Picasso bequested many works by Picasso to the museum. These included 4 paintings, 10 drawings, 2 ceramics and 6 etchings. These are displayed at the Château in addition to the 3 works on paper, 60 etchings and 6 carpets by Pablo Picasso which the museum collected between 1952 and 2001. Today the collection totals 245 works by Picasso.
Periods
Blue (1901â1904)Rose (1904â1906)African (1907â1909)Cubism (1910â1919)
Major works
with a Dove in hell (1901)The Blue Room (1901)Femme aux Bras Croisés (1902)The Old Guitarist (1903)La Vie (1903)Portrait of Angel Fernandez de Soto (1903)Portrait of Suzanne Bloch (1904)The Actor (1904)Family of Saltimbanques (1905)Garçon à la pipe (1905)Les Noces de Pierrette (1905)Boy Leading a Horse (1906)Les Demoiselles d'Avignon (1907)Le pigeon aux petits pois (1911)Bottle, Glass, Fork (1912)Three Musicians (1921)Reading the Letter (c.1921)The Three Dancers (1925)Vollard Suite (1930-37)La Lecture (1932)Le Rêve (1932)Nude, Green Leaves and Bust (1932)Nude in a Black Armchair (1932)Jeune Fille Endormie (1935)Guernica (1937)The Dream and Lie of Franco (1937)Woman in Hat and Fur Collar (1937)The Weeping Woman (1937)Maya with Doll (1938)Dora Maar au Chat (1941)Bull's Head (1942)The Charnel House(c.1944-48)Tete de femme (Dora Maar) (1950s)Baboon and Young (1951)Massacre in Korea (1951)Sylvette (1954)Les Femmes d'Alger series (1955)Don Quixote (1955)Las Meninas (1957)Jacqueline (1961)Chicago Picasso (1967)
Partners
Fernande Olivier (1904 to 1911)Eva Gouel (1912 to her death in 1915)Olga Khokhlova (married 1918, to her death in 1955, mother of Paulo)Marie-Thérèse Walter (1927 to 1935, mother of Maya)Dora Maar (1936 to 1944)Françoise Gilot (1944 to 1953, mother of Claude and Paloma)Geneviève Laporte (during the 1950s)Jacqueline Roque (married 1961 to Picasso's death
1973)
Colleagues and friends
Carlos Casagemas Marc Chagall Georges Braque Julio Gonzalez Max Jacob
Henri Matisse Jaime Sabartès
Museums
Musée Picasso (Antibes) Museu Picasso (Barcelona) Musée Picasso (Paris) Museo Picasso Málaga (Malaga) Museo Casa Natal (Malaga)
Movies
Van Renoir tot Picasso (1948)Visit to Picasso (1949)Guernica (1950)Picasso (1955)The Mystery of Picasso (1956)The Adventures of Picasso (1978)Surviving Picasso (1996)Picasso: Magic, Sex & Death (2001)
sculptures by Germaine Richier and Joan Miro.
1946 Germaine Richier La Forêt, x 29 x 15 cm, musée Picasso (Antibes)
1948 Germaine Richier la feuille
1946 Germaine Richier la vierge folle
1955 Germaine Richier Le Grain
Blocked Doorway at Pueblo del Arroyo, one of the great houses along Chaco Wash. Sometimes preservation specialists have blocked doorways like this one if the stonework begins to show signs of weakness, deformation or possible collapse. Sometimes doorways, windows or other openings have been blocaded by the Park Service to control unauthorized access to sensitive areas. Chaco Culture National Historical Park. San Juan Co., New Mexico.
This ice cube showed some fascinating cracks in the afternoon heat. In particular, air began to bubble up through one of the larger cracks to the top of the ice cube.
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
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links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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وینسVenetsiya
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venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
This brick structure is on the banks of the River Wear, Sunderland, just below the football ground "the Stadium of Light" (built on the site of the old Wearmouth Colliery). It is part of a coal staithe and was used for the quick loading of coal into ships or colliers, bulk coal carrying cargo ships.
At 6:12PM on September 19, 2019 the Los Angeles Fire Department responded to a reported structure fire in the 3900 block of W 1st St in Koreatown. Firefighters arrived to find a detached garage fully engulfed in flames. 40 firefighters took 23 minutes to fully extinguish the fire. A nearby utility pole was exposed to flames, but all adjacent properties were protected from the blaze. There were no reported injuries.
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Chris Conkle
LAFD Incident: 091919-1301
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National Trust House, originally the former Department of Primary Industries, is one of nine heritage listed buildings that faced mass renovations during the Queens Wharf Development.
Previously administration for the National Trust of Queensland, a quarter of the building was a museum for locals and tourists to learn about Brisbane's riverside settlement and establishment whilst the remainder of the structure was used for administrative and archival purposes. An architect firm was located at the sub-basement level.
National Trust House was a very large building with confined rooms spread throughout each level, proving to be quite a challenge to document before the big change. After several visits, the organisation finally vacated the premises in early December where the former Department of Primary Industries building awaited refurbishment to become a microbrewery.
Every room in the building felt as though it had multiple stories to tell as it had, throughout its life, served several different purposes in forming the evolution of Queensland as a colonial settlement.
The former Department of Primary Industries building, finished in unpainted render and painted brickwork, is built on a steeply sloping site with two storeys and basement fronting William Street and a lower three-storeyed wing at the rear fronting Queen's Wharf Road. with a hipped rib and pan galvanised iron roof.
The building was originally built as an Immigration Depot, and construction began in 1865 and completed in 1866.
The building was constructed on part of the former Commandant's Garden. The garden had been part of an attempt to establish some principles of behaviour at Penal Settlements throughout the Colony of New South Wales by the introduction of a Code of Regulations by Governor Darling which, amongst other things, entitled the Commandant to four acres of garden to be tended by up to three gardeners.
A wharf had been constructed c.1825 in front of the adjacent Commissariat Stores and was originally known as King's Wharf, until 1837 when it became Queen's Wharf after the ascendancy of Queen Victoria. Queen's Wharf was the point of disembarkation of immigrants to the free colony from 1848 to 1897.
Successive colonial governments actively pursued a programme of immigration of free settlers after the Penal Settlement had closed down. The first immigrants to come direct from overseas arrived on 15 December 1848 on the barque Artemisia. The first immigrants were housed temporarily in the Old Military Barracks which were located where the former Treasury Building now stands. By the 1860s the barracks had deteriorated to such an extent that they were described in the local press as wretched and dilapidated hovels... repugnant and harrowing and an abominable shed. The decision was made to erect a new facility, and the site was selected being a short distance from Queen's Wharf.
Construction began in 1865 and completed in 1866. Designed by the office of Queensland's first Colonial Architect, Charles Tiffin, the building was originally single-storeyed with basement to William Street with a three-storeyed wing at the rear. The rear wing contained three large separate wards, each 57 feet by 32 feet; one for single women at the William Street level, with married couples at the basement level and single men at the sub-basement level, which was also ground level at the rear. To each of these wards was attached a kitchen and bathroom, each on opposite sides. Earth closets were incorporated in a timber structure attached to the southwest of the building, and each ward had a separate entrance from the street. There were also residences for the matron and wardsman, and two rooms for the use of clerks and the Immigration Board in the William Street section. The sanitary arrangements were extensive, with a 2,500 gallon tank supplying water to the whole of the building through lead pipes, with a condensing apparatus in operation at the river which pumped water to the building to supplement the supply of rain water. A luggage room was located on the nearby wharf, as immigrants were not allowed to take baggage into the depot.
The building had a hipped slate roof, unpainted brick walls, and footings of porphyry on weathered rock, and the rear section to Queen's Wharf had internal timber posts and beams supporting timber floor joists. The contractor was Mr J Petrie, and plumbers were Messrs Stewart and Watson. The original estimate was £3,800, but it was likely to have exceeded this estimate by several hundred pounds due to the construction of a substantial fence around the property, as well as a washing shed and luggage room.
In December 1887, a new Immigration Depot at Kangaroo Point opened, and the William Street depot acted as a back-up facility until 1889. The ground floor was still being used in January 1890 as a ward for old men.
In 1890 the building was adapted to form the first offices for the newly established Department of Agriculture. The Department was created in 1887, one of a number of steps taken in the expansion of the role of government during the late 1880s and 1890s, and in 1904 became the Department of Agriculture and Stock, and in 1963 became the Department of Primary Industries. From 1890 onwards the old Immigration Depot was progressively altered and extended to accommodate offices and laboratories primarily for the Department of Agriculture and Stock, and subsequently for other government departments.
By December 1890 the Museum of Economic Botany was accommodated within the building. The following year the Minister of Agriculture was accommodated in the former Immigration Depot. The Minister appears to have been housed in the location previously occupied by the museum, at the rear of the building on the ground floor and the museum was relocated in 1893 to the basement (formerly single men's quarters). This area was partitioned, bunks were removed and a five foot high dado of vertically jointed pine was formed.
In 1897 the Stock Branch of the Colonial Secretary's Department was transferred to the Ministry of Agriculture. In 1898 tenders were called for extensions to the building, including two additional wings at either end and an extra storey to the William Street elevation. The extensions were designed by Thomas Pye, chief draftsman and assistant architect, and John Murdoch, draftsman and assistant architect, under Government Architect Alfred Brady. The form, scale and details of the alterations became the model for all subsequent additions. The tender by Caskie and Thompson was accepted. The extension was of load-bearing cavity brick set in lime-based mortar, with timber floors, and timber roof framing sheeted in galvanised iron rib and pan tiles. External walls were unpainted cement render, and internal walls plastered. The work included the installation of a central skylight in the rear section, and pressed metal ceilings and timber partitions were installed on the ground level of the rear section pre-1916. A toilet block containing earth closets with a nightman's stair was also constructed in 1899.
These extensions reflect the expansion of the Department at this time, particularly the growth in accommodation for entomologists and plant pathologists, as this area of plant science was to continue to expand in response to Queensland's growth in primary production.
In 1900 criticisms of plasterwork (specifically the external rendering over old brickwork to form quoins) led to a royal Commission of Inquiry. Remedial work was subsequently carried out in 1906. Prior to 1915, the southern doorway over the lightwell to William Street was enclosed and replaced with a sash window. In 1916 a new wing was constructed to the south (demolished 1994), consisting of foundation, basement, ground and first floor. This extension accommodated the Agricultural Chemical Laboratory, Entomology and Plant Pathology branches. It was built by day labour, and was intended to form the northwest wing of a new building, with the intention being to demolish the earlier sections of the building. Further extensions to the building were carried out in 1923, 1929, 1935 and 1936.
In 1922 a new staircase was added between the front and rear sections of the building, and the toilet block was reworked in 1924 to replace the original earth closets with water closets.
In 1940 a connection was made between the old photographic studio and the storeroom, and in 1944 the photographic studio suffered major damage by fire. The vertically jointed timber boarding to the rear verandahs was removed C.1951 and replaced with fibrous cement sheeting. Due to the confined nature of the area, a gradual drift from the site began in the 1950s, with the Department of Primary Industries vacating the building in 1989. In 1994 the post-1899 extensions were demolished to make way for a proposed new government office complex.
Source: Queensland Heritage Register.
Down at the end of the Leslie Street Spit, I found something vaguely ominous.
Mamiya 645 AFD with ZD digital back. 1/350" @ f/3.5, 35mm f/3.5 lens. ISO 200, WB cloudy.
Post in Capture One and Photoshop.
(for further information please go to the end of page and by clicking on the link you will get them!)
University of Music and Performing Arts Vienna
Motto tradition and innovation
Founded in 1817
State sponsorship
Location Vienna, Austria
Rector Werner Hasitschka
About 3,000 students
Employees about 850 of which about 140 professors
www.mdw.ac.at site
The University of Music and Performing Arts 2007
Columned hall to staircase, Kaiserstein
Pillar staircase around open shaft, Kaiserstein
Institute building and former main building, including the Academy Theater, Lothringerstraße 18
The University of Music and Performing Arts Vienna (mdw) is an Austrian university located in third District of Vienna highway (Landstraße), Anton-von-Webern-Platz 1. It claims to be the greatest art university in Austria and greatest university of music worldwide. Approximately 3,000 students are supported by more than 850 teachers. It is since 2002 structured into 24 institutions offering the artistic, artistic-scientific and purely scientific doctrine. Since 2002 Werner Hasitschka is rector.
History
Already 1808 was discussed on the establishment of a conservatory of Music according to Parisian model (Conservatoire de Paris). The 1812 founded Society of Friends of Music in Vienna this venture had set as it main task, so that already in 1817 a singing school could be launched, which laid the headstone for such an institution. Thus the year 1817 is considered the official founding year of the mdw. In 1819 with the Engagierung (engagement) of violin professor Joseph Böhm instrumental lessons have been started.
With short interruptions during the 19th Century the curriculum was expanded massively, so that in the 1890s more than 1,000 students could be counted. In 1909, this private institution was nationalized on resolution of the emperor and was now kk Academy of Music and Dramatic Art.
With the nationalization it also received an own house: in collaboration with the Vienna Konzerthaus Society from 1912 in Liszstraße a building together with a sample stage (today Academy Theater) was built, into which already in January 1914 could be moved. After World War I, the institution was called State Academy (1919). In 1928, the Academy has been extended to a drama seminar (Reinhardt-Seminar) and a music educational seminar. Between 1938 and 1945 it was continued as a Reichshochschule (Academy of the German Reich) by exclusion of Jewish teachers and students.
After the war, in 1946 the institution again became an art school, from 1970 to 1998 it was called University of Music and Performing Arts, since 1998 it is a university.
In 1952 Walter Kolm-Veltée established special training for film design. In 1960, a film class, led by Hans Winge, was added. In 1963, the two courses were combined into the newly founded "Film and Television Department". There were other additional courses, and since 1998, the department is also known as the Vienna Film Academy.
Building
In addition to its headquarters, the mdw-campus at Anton-von-Webern-Platz in the third district, are other branches in 3rd District in Ungargasse 14, am Rennweg 8, in the Metternichgasse 8 and 12 as well as in the Lothringerstraße 18. In the first district of Vienna teaching locations are situated at Karlsplatz 1 and 2, at the Schubertring 14, at the corner of John Street/Seilerstätte and in the Singerstraße 26. Furthermore, in the 4th District in Rienößlgasse 12, in 13th district in the Schoenbrunn Palace Theater as well as at the Palais Cumberland in the Penzingerstrasse.
Campus
The monumental functional purpose building in the sober, classicist forms of Hofbauamtes located at the former Wiener Neustadt channel (rapid rail line), is located at the Anton-von-Webern-Platz 1. 1776 there on the suggestion of Emperor Joseph II. an animal hospital was built in the former Jesuit dairy farm. 1821-1823 followed a new building by Johann Nepomuk Amann, being planned a sprawling complex. The main building with a long façade extends to the left Bahngasse, there are numerous additions. A major contract received the Kaisersteinbrucher master stonemasons, the spacious entrance hall with Tuscan columns, pilasters and mullioned pillars, the spacios pillar staircase around open shaft, all made of light Kaiserstein with typical blue translucent embeddings - a special room for friends of the emperor stone (Kaiserstein). By 1996, the building was the seat of the University of Veterinary Medicine and its predecessor institutions.
In 1996 the building was chosen as the new seat of the University, and completely renovated by architect Reinhardt Gallister. The historic structure was preserved, elements such as glass, wood and stone are the defining stylistic devices and modern technology and equipment was connected with good room acoustics. Studios, classrooms and halls can be rented externally, too.
Disciplines of study
Composition and Music Theory
Conducting
Sound engineer
Instrumental study
Church Music
Educational Studies
Singing and opera directing
Performing Arts
Film and Television
Doctoral Studies
Summer Campus
The isa - International Summer Academy is the musical summer campus of the University of Music and Performing Arts Vienna. More than 200 students from over 40 nations are taking part in two weeks of master classes of the highest calibre in the Semmering region and in Vienna. The summer campus was founded in 1991 as an initiative of Michael Frischenschlager. The isa arose from the euphoria over the fall of the Iron Curtain with the aim, exceptionally talented young students, mainly from the Central and Eastern European countries (CEE countries), allow musical encounters and build international relationships. Since 2005 Johannes Meissl is artistic director of the isa.
Institutions
Institute for Composition and Electro-Acoustics
Institute for Music Conducting
Institute for Analysis, Theory and History of Music
Institute for Keyboard Instruments (podium/concert)
Institute for Bowed and other String Instruments (podium/concert)
Leonard Bernstein Institute for Wind and Percussion instruments
Joseph Haydn Institute for Chamber Music and Special Ensembles
Institute for Organ, Organ Research and Church Music
Institute for Singing and Music Theater
Institute for Drama and Acting Direction (Max Reinhardt Seminar)
Institute for Film and Television (Film Academy Vienna)
Institute for Music Education
Institute for Music and Movement Education and Music Therapy
Institute of Musical Style Research
Institute of Popular Music
Institute Ludwig van Beethoven (keyboard instruments in music pedagogy)
Hellmesberger - Institute (string & other bowed instruments in Music Education)
Institute Franz Schubert (wind and percussion instruments in Music Pedagogy)
Institute Antonio Salieri (singing in Music Pedagogy)
Institute Anton Bruckner (music theory, ear training, ensemble direction)
Institute for Folk Music Research and Ethnomusicology
Institute for Viennese Sound Style (Musical Acoustics)
Institute for Music Sociology
Institute of Culture Management and Cultural Studies (IKM)
Science
Apart from artistic training form the scientific institutions (or full professors and university lecturers with great teaching qualification - venia docendi) a significant part of the university's work. A special feature of the MDW is the high interconnectedness of science and art. The right to award doctorates is the foundation of a university, and is realized at the MDW in the PhD graduate program. Departments of scientific work in this connection are:
Dramaturgy
Film Studies
Gender Studies
History and Theory of Popular Music
Gregorian chant and liturgy
Historical Musicology (including analysis, music theory and harmonic research)
Stylistics and performance practice
Cultural Business Operations
Musical Acoustics
Music Education
Sociology of Music
Music Theory
Music Therapy
Systematic musicology within interdisciplinary approaches
Folk Music Research, Ethnomusicology
Known graduates
Claudio Abbado
Barbara Albert
Peter Alexander
Christian Altenburger
Maria Andergast
Walter Samuel Bartussek
Johanna Beisteiner
Erwin Belakowitsch
Achim Benning
Zsófia Boros
Thomas Brezinka
Florian Brüning
Rudolf Buchbinder
Friedrich Cerha
Gabriel Chmura
Mimi Coertse
Luke David
Yoram David
Jacques Delacôte, French conductor
Jörg Demus
Helmut German
Johanna Doderer
Iván Eröd
Karlheinz Essl
Matthias Fletzberger
Sabrina Frey
Beat Furrer
Rudolf Gamsjäger
Raoul Gehringer
Nicolas Geremus
Wolfgang Glück
Wolfgang Glüxam
Eugen Gmeiner
Walter Goldschmidt
Stefan Gottfried
Friedrich Gulda
Robert Gulya
Ingomar Auer
Christoph Haas (born 1949), Swiss conductor
Georg Friedrich Haas
Hans Hammerschmid
Gottfried Hemetsberger
John Hiemetsberger
Robert Holl
Mariss Jansons
Leo Jaritz
Mariama Djiwa Jenie, concert pianist and dancer
Thomas Jöbstl
Thomas Kakuska
Bijan Khadem-Missagh, violin
Angelika Kirschschlager
Hermann Killmeyer
Patricia Kopatchinskaya
Leon Koudelak
Bojidara Kouzmanova
Tina Kordić
Klaus Kuchling
Rainer Küchl
Gabriele Lechner
Wolf Lotter
Gustav Mahler
Edith Mathis
Zubin Mehta
Tobias Moretti
Tomislav Mužek
Helmut Neumann
Josef Niederhammer
Ernst Ottensamer
Erwin Ortner
Rudolf Pacik
Harry Pepl
Günter Pichler
Josephine Pilars de Pilar
Peter Planyavsky
Stefanie Alexandra Prenn
Armando Puklavec
Carole Dawn Reinhart
Gerald Reischl
Wolfgang Reisinger
Erhard Riedlsperger
Jhibaro Rodriguez
Hilde Rössel-Maidan
Michael Radanovics
Sophie Rois
Gerhard Ruhm
Kurt Rydl
Clemens Salesny
Heinz Sandauer
Klaus-Peter Sattler
Wolfgang Sauseng
Nicholas Schapfl
Agnes Scheibelreiter
Heinrich Schiff
Michael Schnitzler
Peter Schuhmayer
Christian W. Schulz
Wolfgang Schulz
Ulrich Seidl
Fritz Schreiber
Kurt Schwertsik
Ulf-Diether Soyka
Christian Spatzek
Arben Spahiu
Götz Spielmann
Othmar Steinbauer
Hermann Sulzberger (b. 1957), Austrian composer
Roman Summereder
Hans Swarovsky
Jenő Takács
Wolfgang Tomböck
Karolos Trikolidis, Greek-Austrian conductor
Mitsuko Uchida
Timothy Vernon (b. 1948), Canadian conductor
Eva Vicens harpsichordist from Uruguay, lives in Spain
Annette Volkamer
Johanna Wokalek
Adolf Wallnöfer
Gregor Widholm
Bruno Weil
Hermann Wlach
Paul Zauner
Herbert Zipper
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