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Near the Village of Chalna
Dacope, Bangladesh
December, 2009
In 2009, many of the villages around Dacope, Bangladesh were adversely affected by the impact of Cyclone Aila. Devastated by tremendous flooding, many village families lost their lives....their homes, their loved ones, and their livelihoods (farming rice in the paddies) to this storm. Over six months after the storm, the people of the village continue to live in inadequate temporary shelter on embankments, as well as lack of drinking water, sanitation, and adequate food for their families. Additionally, the flood waters have transformed into permanent rivers in areas that would have once been their rice patties into vast rivers of water that have engulfed entire villages.
Please enjoy these photographs, but also contemplate what your life would be like if you lived in these conditions. The realities captured in these images reflects the impact of climate change upon some of the most remote and vulnerable village populations of our planet.
www.stylespotted.com/spot_profiles/139-Temporary-showroom... Berlin Mode Fashion Shopping Designer Avantgarde Temporary Showroom
This temporary stop closure notice at Edgecombe Crescent bus stop explaining that the route 10 that serves this stop will be ‘temporarily’ suspended due to the COVID pandemic. However, the route 10 never returned, with the section through Elson being taken over by the re-introduced route 11 and then the section along Nobes Avenue being taken over by the 9A, leaving this section unserved. I have some old timetable books that show the 10’s route and timetable.
there are times in every person's life when we step out of our shoes, out of character, and run off somewhere that not everybody can see or understand. but we will come back, one day.
broken temporary air duct in Howard-Tilton Memorial Library. just last Friday, FEMA nixed the money for the library to add two floors and put a permanent HVAC system on the roof. The permanent HVAC might have to go back in the basement, which took on 8 feet of water in August 2005.
"Temporary Presences," solo exhibition of hand-colored photographs by Helen Glazer, as installed at Nailya Alexander Gallery, New York, June-July 2012
Commercial Road, outside The Sir John Cass Department of Art, Media & Design, London Metropolitan University, Aldgate.
Temporary classrooms at Pibor Boys Primary School in South Sudan, constructed by Plan International and have a life span of up to 5 years.
AAC Temp Fence provides temporary fencing to secure construction sites and building sites in Ballarat and surrounding regions.
AAC Temp Fence
24 Ramage Road
Buninyong VIC 3357
Australia
0408 709 797
UNTITLED #8, 9, 28, 17, 21, 30 (FROM THE
"INAUGURATION" SERIES) - 2009
Catherine Opie, American, b. Sandusky, Ohio, 1961
Catherine Opie's photographs include a series of portraits and American urban landscapes, ranging in format from large-scale color works to smaller black-and-white prints. Moving from the territory of the body to the framework of the city, Opie's various photographic series are linked together by a conceptual framework of cultural portraiture. Catherine Opie's Inauguration series continues her exploration of documentary photography and examines the historic significance of the inauguration of President Barack Obama. These photographs capture this moment in American history and reveal not only its glory but also the aftermath which is not revealed in the media.
The "Untitled" Series (Jan 20th, 2009) captures the aftermath of the half-million-strong gathering on the National Mall that witnessed the first inauguration of Barack Obama on January 20, 2009. A JumboTron live video feed of Barack and Michelle Obama waving to the crowd occupies the upper left of the photograph. Tall scaffolding holds aloft lighting and speakers, and vertically bisects the image. A stationary truck supports a JumboTron and waits, ready to transport the temporary broadcasting equipment and crowd barriers. Surrounding the JumboTron are the last of the people gathered to watch the historic occasion, their backs almost universally turned away from the photographer’s lens. They are uniform in layers of clothing to protect against the cold temperatures, evidenced by the rows of bare trees on either side of the image. The Capitol building is in the middle distance, pale against a wintry blue sky. The temporary nature of the gathering is suggested by the trash strewn across the ground, camp chairs, and a discarded wooden crate.
Untitled, #1 (Jan 20th, 2009) is part of a series of one hundred photographs Catherine Opie took over three days at the 2009 presidential inauguration. The Inauguration series includes portraits of individuals and groups, details of Washington, D.C., and the event preparations. The photographer took the images with a medium-format Hasselblad H2 digital camera. This photograph is about the size of an opened broadsheet newspaper, yet it documents a moment that official press images often overlook—the aftermath of large political events. Time is an important quality of the work. The term of presidency is of a set length, the crowd and its debris are temporary, and the moment Opie captures is fleeting yet iconic. The new president’s wave to the crowd is, at the beginning of his term, still buoyant and hopeful.
The mantra of Obama’s first election campaign was one of hope and change, and the jubilant crowd was large enough to necessitate the deployment of multiple JumboTrons. This image explores another side of being part of this community of celebrants, almost anticlimactic in their dissipated state. Opie’s photograph highlights the act of image making and the transmission of images as a political tool across the ages. The live feed of the Obamas stands in for a presence too far away for these people to witness with their naked eyes. This idea is extended to us, the viewers of her photograph. The image is taken from eye level to suggest our own inclusion in the historic inauguration of America’s first black president. It also suggests a connection to the community gathered on the National Mall, a site that has hosted many previous political events.
Emerging in the 1990s, Opie established an artistic voice through photographic series that investigate individual and group identities. Inauguration forms part of Opie’s wider engagement with American politics and collective action, as captured in her photographs of Tea Party rallies, Boy Scout gatherings, and antiwar marches. This series is also part of a broad tradition of documentary photography of the American landscape and its people. It is in direct dialogue with William Eggleston’s 1976 Election Eve, which charted the hours before the election of President Jimmy Carter, and Robert Frank’s photographs of the 1956 Democratic National Convention in Chicago. Just fifty years after the 1956 convention, Obama, then an Illinois senator, would make a key speech at the 2006 Democratic National Convention.
collections.currier.org/objects-1/info/14131?sort=0
learninglab.si.edu/search/?f%5B_types%5D%5B%5D=resource&a...
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Revolutions: Art from the Hirshhorn Collection, 1860-1960 hirshhorn.si.edu.
Dates: Through April 20, 2025.
"The Hirshhorn’s not like other museums in town. You’ll rarely see a run of masterpieces to match an art history textbook like you’ll find at the National Gallery of Art. The Hirshhorn doesn’t trumpet the work of its namesake founder, the way that the Phillips Collection builds exhibitions around the vision of Duncan Phillips. And the Hirshhorn isn’t a crystal-cool stage for a handful of elite artists, a la Glenstone.
No doubt, the Joseph H. Hirshhorn Museum and Sculpture Garden has a collection that can stand up to any of them. His gift to the Smithsonian Institution in 1966 comprised almost 6,000 paintings and sculptures by the 19th and 20th centuries’ most vital artists — a figure that doubled with a bequest of his remaining works upon his death in 1981.
But rarely is very much of it on view. Especially over the past decade or so, the museum has learned to love its Gordon Bunshaft-designed building, mounting ambitious installations that sometimes take up an entire minor arc of the Brutalist doughnut.
So the museum’s 50th anniversary this year is an opportunity to step back and see the collection in its original light. A chance to look back on the collection’s most important pictures, perhaps a moment to highlight new scholarship in art history or achievements in conservation. But the Hirshhorn’s not like other museums in town — and for its 50th birthday, the museum is throwing a bash.
“Revolutions: Art from the Hirshhorn Collection, 1860-1960” is a delightful romp through the permanent collection, featuring a gobsmacking number of artworks. The first of three planned anniversary exhibitions, this one focuses on modernism in all its lights, exploring the period through a truly maximalist presentation of paintings and sculpture. Better than a greatest-hits exhibition, “Revolutions” remixes the museum’s best B-sides and rarities, while still making a case about the long 20th century in art.
From Grandma Moses to Rashid Johnson, “Revolutions” spans a ludicrous range of painters. Right from the start, the show dials up the contrasts: The first works to greet viewers are a stately 1884 portrait by society painter John Singer Sargent hanging next to an electric 2020 portrait by Ghanaian star Amoako Boafo. Roughly speaking, these works could serve as chronological capstones for the Hirshhorn’s collection. But there’s something else to this pairing: It’s an unlikely diptych that tees up the push-and-pull between figuration and abstraction that defines the collection — and the century.
Curated by the Hirshhorn’s Marina Isgro and Betsy Johnson, “Revolutions” is chockablock with artworks. More than 200 paintings, sculptures and drawings — with the odd photograph thrown in, and a plan to rotate some artworks — trace the flow of ideas from early modernism to the postwar era. That’s a ton of work: For comparison, when the museum mounted a collection show in 2016, it included some 75 pieces.
The first gallery alone showcases a couple dozen works, including a salon-style hang of portraits by the likes of Édouard Vuillard, Thomas Eakins and Mary Cassatt. The show is chronological-ish, with contemporary works (like Boafo’s “Cobalt Blue Dress”) sprinkled throughout to break the very light logic of the show’s organization. The rooms have themes, but these are subordinate to the show’s overall flow, which focuses on pairings and dialogues. Artworks wink at one another from across decades and continents, like the geometric Lakota beadwork painting by Dyani White Hawk from 2022 hanging amid constructivist compositions by László Moholy-Nagy and Nadia Léger originally made a century earlier.
Contemporary selections such as Boafo and White Hawk emphasize and sometimes upend ideas in the collection. They’re just infrequent enough in “Revolutions” that they pop like exclamation points. Loie Hollowell’s three-dimensional painting “Boob Wheel” (2019) is an abstraction of the figure rooted in the artist’s own pregnancy, adding a maternal element (and a shade of sex) to the gallery. Nathaniel Mary Quinn’s “Literacy Lab” (2019), a multimedia piece that looks like three different drawings for an “exquisite corpse” — in fact, it’s just a single composition — holds its own alongside two cubist paintings by Picasso.
While it’s a busy painting show, sculpture takes center stage in “Revolutions,” part of a concerted effort to put more shine on the museum’s sculptural holdings, including the magnificent bronzes in the sculpture garden (currently undergoing a renovation). For the exhibit, the Hirshhorn has revived the light well, a vintage solution for displaying sculpture by placing works on an elevated podium under even, suspended lighting. These retro displays put a spotlight on works by Barbara Hepworth, Jean Arp, Max Ernst and more — smaller sculptures that are easy to overlook in any setting. One of the most magical groupings in the show is a wall-size vitrine that features delicate suprematist marionettes by Aleksandra Exster, futurist flower sculptures by Giacomo Balla and a peerless dada painting by Sonia Delaunay.
Isgro and Johnson find a few chances within the permanent collection to rattle long-standing dogma in art history: for example, by hanging a 1945 painting by the mercurial and long-overlooked artist Janet Sobel that predates the remarkably similar 1949 piece by Jackson Pollock nearby. Throughout the show, the curators elevate marginalized voices without being pedantic about it. Mid-century works by Haitian artists Rigaud Benoit, Hector Hyppolite and Castera Bazile occupy the same kind of space as Willem de Kooning.
In some ways, the Hirshhorn of “Revolutions” is the one I want to visit over and over. There is far too much great work from the 20th century locked away in the vaults of collections like this one. Fernand Léger’s “Nude on a Red Background” (1927) should never be put out of sight. And why condemn Balla’s futurist flowers to wither in the dark? Yet dynamic new artworks such as Torkwase Dyson’s “Bird and Lava #4” (2021) and Flora Yukhnovich’s “Lipstick, Lip Gloss, Hickeys Too” (2022), shown in context with the entire collection, make the case that the central ideas animating the 20th century still have juice. History never ends and all that, but Isgro and Johnson are pressing a more specific point, that the Hirshhorn museum continues to trace the loops and echoes of the many modernisms Joseph Hirshhorn followed from the start.
Maybe the most surprising moment comes at the very beginning. Looking at the Boafo-Sargent pairing by the entrance, to the right and almost behind the viewer stands Constantin Brancusi’s “Torso of a Young Man” (1924). A Futurist Manifesto-grade sculpture with this mega-wattage would normally hold pride of place in any collection. Here, it’s presented in an ambiguous position: possibly an anchor, possibly an afterthought. It’s as if to say the museum is still investigating what the 20th century means and how the pieces fit together, a project with no end in sight.
www.washingtonpost.com/dc-md-va/2024/04/10/hirshhorn-revo...