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From the August 2016 return trip to Siem Reap and the Angkor complex:
I love the Angkor complex, Siem Reap, and the Cambodian people so much that I returned again for about a week to photograph as much of the “non-major” sites as I could. Some of them are slightly far from Angkor Wat (by that, I mean to say more than 10 kilometers away), and usually require a little more money to get to. Also, some of the sites (Beng Mealea, Phnom Kulen) are not included in the Angkor ticket price and have an additional admission fee.
I don’t know if there’s a set number of how many sites belong in the Angkor complex, though I’m sure it would vary. (Do you only count the major sites like Angkor Wat, Bayon, Ta Prohm? Do you add the sites that aren’t included in the standard “Angkor Pass,” but are clearly of the same era? Do you include sites that aren’t even named (as are one of the sites in this series)? All in all, I’ll put a very rough number at…50 sites in the Siem Reap area, and that includes the sites that are about 100 km away. Of those, I would say I’ve been to all but 5-10 now. All are included here with the exception, obviously, of the sites that I didn’t visit. (Off the top of my head, I can say they include Koh Ker & that respective group, which is about 120 km ENE of Siem Reap; Phnom Krom, one of the three “mountains” with temples; Ta Prohm Kel; and Mangalartha.)
In practical terms, I’m afraid that with the volume of shooting (about 1,500 frames in the past 7 days), photos will start to look redundant to those who don’t have the same interest in ancient/historical architecture or Angkor as I do. That being said, there are a few things besides temples here. The Old Market area (now Night Market/Pub Street) is represented – a little – and Phnom Kulen has a pretty nice waterfall which is also in this series. Also, I tried to catch a few people in here, though didn’t get as many as I would’ve liked.
I had my friend Mao (tuktuk driver) take me around for 5 of these 7 days this time around. As I mentioned last time, he may cost a little more than what you can arrange through a hotel/guesthouse, but he’s well worth the money (and, in the grand scheme of things, not too expensive; I paid less than $200 for the five days, two of which were “long” trips). He loves his country and heritage, he knows what he’s showing you, he’s flexible, he gives you enough ice water to keep you hydrated, and he’s just a good guy. (He even bought me a birthday cake for cryin’ out loud…) Anyway, I highly recommend Mao. You can find him here: www.facebook.com/mao.khvan (or on Trip Advisor: www.tripadvisor.com/Attraction_Review-g297390-d10726821-R... )
Now that shameless plugs and other assorted rhetoric are out of the way, it’s time to get on to the temples, ruins, and other miscellany.
The third full day back in Siem Reap was just revisiting sites that we’d seen in May. It started, for the second day in a row, sometime before five in the morning to go see a sunrise-that-wasn’t. (If I thought yesterday’s at Sra Srang was a stretch to call it good, then today’s was…well…it wasn’t. I didn’t even bother taking the cameras or tripod out.)
This trip around the small circuit was almost identical to the one we did in May. As such, I didn’t actually get out and shoot at every single stop this time like I did last time. The sunrise started at the exact same spot outside the Angkor Wat western gate. However, instead of touring the grounds briefly as we did in May, we actually left quite early from Angkor Wat to head over in caravan (three tuktuks, as today happened to be with a group of eight other people) to Ta Prohm around 7:00, after eating breakfast at a nearby restaurant.
While at Ta Prohm, I wandered around on my own (which I tried to do whenever possible while Mao was entertaining the group) for about an hour. I regretted having left my tripod in the tuktuk (as I did in May, too; it seems idiots never learn). However, I got out the P&S and managed to shoot quite a few of the apsaras, at least.
From Ta Prohm, we crossed the street due south to Banteay Kdei, where I passed on shooting. It’s not a major temple and I shot it fairly well in May. The only difference this time is, instead of coming in the east gate next to Sra Srang, they went in the west gate due south of Ta Prohm’s east gate. After a bout of restlessness, I did eventually get out and shot one or two frames of the west gate just as they were finishing up.
Next up was Ta Keo, one of the “mountain temples,” which we’d also seen in May. In May, however, it was close to 40 degrees Celsius with a blazing sun and I didn’t feel like climbing the rather steep stairs to the upper level. So, I intentionally did that immediately upon returning here this time. The view from the top isn’t terribly stunning. Just trees in most every direction, though you’re around the level of the treetops. Climbing down while lugging a tripod and camera gear was a bit challenging, though – especially since I’m not as spry as I once was. (For that reason alone, and knowing how steep the climb – albeit short – and how narrow the steps are on the upper mount, I intentionally abandoned the group to get a head start.)
The next two stops – Thommanon & Chao Say Tevoda, followed by the Victory Gate – I skipped, as I knew they were very quick stops and, like May, I’d already catalogued them. The next major stop was Bayon where, again, I abandoned everyone and took the tripod to go around the outer wall shooting the murals as much as I could in an hour. By the time we finished, we headed back to the same restaurant where we had breakfast (though I was quite unimpressed; I definitely prefer Khmer Country Kitchen on the north side of Sra Srang) and we passed an hour or so eating. Around 1:45, we went back across the street to Angkor Wat, but most of the group – keep in mind, these are people 10-20 years younger than I and in much better shape – were complaining about fatigue and just wanted to go to their hotel pools or other restaurants in town. So…after a very quick run through Angkor Wat, we finally wrapped up the day around 3:00.
Heading back to My Home Tropical Garden Villa (my home away from home in Siem Reap), I grabbed a shower, rested up, and spent yet another night around the Old Market. At least Friday (my 43rd birthday) and Saturday, Mao didn’t take any customers just to make sure I could go anywhere and see anything I wanted. Though today wasn’t a bust by any means, I was definitely looking forward to Friday and Saturday.
As always, I hope you enjoy this set. I appreciate you taking time to look. If you have any questions, please feel free to send me a message or leave it via comment.
A unique, interactive exhibition inviting visitors to step into the shoes of individual migrants and experience their real life challenges opened today at the United Nations in Geneva.
“We recognize that at least half of all of those on the move are women, many of them with small children. They are also by far the most vulnerable along the migratory route and even after they get to their destination,” said William Swing, Director General of the International Organization for Migration. “No one, regardless of sex or gender, should be left alone and behind. This can be achieved only by adapting our services, our programs, and understanding the impact that gender can have on all that we do.”
Also speaking at the opening were Michael Moeller, Director-General of the United Nations Office at Geneva, Ambassador Geert Muylle, Permanent Representative of Belgium; Tressa Finnerty, Humanitarian Affairs Counsellor at the U.S. Mission; and Sigrun Habermann, Chief of the UN Library’s Cultural Diplomacy and Outreach Section.
Developed by the International Organization for Migration (IOM) in collaboration with the University of Applied Sciences and Arts of Southern Switzerland (SUPSI), the exhibition was co-sponsored by the U.S. Mission and the Permanent Mission of Belgium. It will remain on display on the ground floor of Building E at the United Nations Office in Geneva until October 3rd.
U.S. Mission Photo/Eric Bridiers
This crosswalk design – showing a fork, knife, and spoon – was used sporadically in the Santurce and Condado barrios.
Villa Mana Bali is an exceptional six-bedroom holiday villa in Bali, located in the Canggu area and offering fabulous rice field and mountain views. The revolutionary architecture and interior design embraces space and exudes style, featuring floors of continuous poured black concrete and walls crafted in a combination of glass, stone and wood. With 3.7 metre high ceilings, a sexy black décor, rooftop accommodation, water features, hanging gardens, custom designed furnishings and state-of-the-art technology, the property is vast, unique and undeniable chic.
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An elegant narra Ah-Tay bed with unique adornments
Late 19th Century
Silay City, Negros Occidental
Narra wood, Solihiya
231 x 205 x 129 cm (91 x 80 3/4 x 50 3/4 in)
The headboard is carved with delicate tracery of scrolls and vines motifs, framed in ogee arch in the middle. The vines seem to have proliferated from the pumpkins carved on the supporting posts. The perfectly shaped halved pumpkin carved with deep ribs and pointed edges has become Ah-tay's famous signature that he incorporated in most of his beds.
The pumpkin, the narrow lyre-shaped scrolls, encased beads and grooved discs decorate the posts, ending with a stylized crowned pineapple topped with twisted finial, which serves as anchors for the canopy. Along all four sides of the canopy - under the vaulted center - are carved cluster of mangoes and leaves.
In most Ah-tay beds - original and copies alike - grapes, roses, acanthus leaves usually adorn this part; this is the first example of Ah-tay bed to have surfaced that features mangoes on the badge. A truly unique and significant detail. Mango is the national fruit of the Philippines and widely recognized as one of the best varieties in the world, if not the best.
One may inevitably speculate a possible fond and significant association of the original owner to the revered fruit for having them carved on the badge, thereby essentially honoring it. Supporting the refurbished woven solihiya sleeping surface are frames carved with similar scrolls, grooved discs and beads found on the posts; and rounded, tapered and robust-looking legs carved with disc rings and bun feet. The very fine workmanship of the carvings, down to the minute details, and the imposing regal elegance of this bed overall is testament to the lasting and mystical legacy of Ah-tay. It is extremely rare to find a bed of this age in its original patina and with an unusual mango motif.
Estimate PHP 400,000 - 430,000
Lot 419 of the Salcedo Auctions auction on 23 September 2017. Please see salcedoauctions.com for more details.
A one-off bookwork featuring audio cassette. The book is a series of photographs made by projecting small pieces of paper ephemera onto photographic paper. The pages are the original photographic images on glossy photo paper. The audio cassette contains a unique short soundwork, ‘Static’. The cassette is housed in a hinged metal construction created specially for the book by Susan Heath.
Calligraphy for the campaign to launch of the first licensed shopping mall premium class in Kazakhstan, which brings together such brands as Chanel, Louis Vuitton, Prada, YSL and many other. The phrase in the three languages, combining a type and calligraphy is used in all materials of the campaign.
Client: Capital Partners
Agency: McCann Erickson Kazakhstan
Creative Director: Sergey Radionov
Art Director: Inna Plavskaya
Photographer: Andre Pinces
This year, Osage Artist and Fashion Designer, Dante Biss-Grayson, is showcasing his work during the 100th year anniversary of the Santa Fe Indian Market at the La Fonda Hotel from his Sky-Eagle Collection in partnership with Sovereign Santa Fe Art Expo.
The show is entitled New Native Fashion: Empower by the Sky-Eagle Collection & Sovereign Santa Fe and will benefit The Coalition to Stop Violence Against Native Women. (CSVANW) nonprofit. www.csvanw.org
Amber Midthunder, star of the new movie "Prey" a prequel to the "Predator" movie, was slated to walk the runway with Biss-Grayson's New Native Fashion: EMPOWER, he designed a “NARU” look to play homage to the recent runaway hit where Amber plays NARU. Native American Badass! Makeup Artist, Indigenous Eyecon @calijem on Instagram worked her magic on @aeroprey models!
About Dante Biss-Grayson and Sky-Eagle Collection
Artist, Designer, Poet, Writer, Activist
Being half Native American, of the Osage Nation, Dante uses the archetype as an image to guide his artistic process, getting into a trance-like state and letting the work find itself. He adheres to the Zen tradition of simple strokes converging with one idea, leaving on the canvas one decisive expression.
Dante Biss-Grayson’s art is an expression of his experiences as a combat veteran combined with the PTSD those experiences begot him. Having studied art before enlisting, he became reacquainted with painting as a means of confronting and expressing the loss, the absurdity, and the beauty of war. He writes that he “grew up as the apprentice/protégé and son of [artists] Earl Biss and Gina Gray,” surrounded by the radical art of the 1960s/70s-era Institute of American Indian Arts.
Visit www.skyeaglecollection.com for shopping and fashion and more info.
About Sovereign Santa Fe
SSF is a Contemporary Native American Arts exhibition, guest curated by Tony Abeyta showcasing cutting edge indigenous creativity. Sovereign’s mission is to create a platform to highlight ‘NewSchool’ Native American Arts and its elusive relationship between traditional and contemporary. Established to give vibrant Native American artists an on-trend platform to showcase and share their accomplished works and talents.
Organized by FaraHNHeight Fine Art, SSF2022 fosters a community of forward-thinking artists. The exhibition features contemporary paintings, sculptures, and fashion.
SSF2022 is an interactive experience, that allows visitors to view and experience contemporary native artists’ works, including but not limited to: Jonathan Warm Day Coming, Danielle SeeWalker, Isaiah Stewart, Raven Arbuckle, Santiago Rivera, Robyn Tsannajinnie, Micha Wesley, Nizhonniya Austin, Jesse Raine Littlebird, Derayna DeClay, Ivan Lee, Felicia Gabaldon, Elwin Shorthair, Dante Biss-Grayson, Patrick CloudFace Burnham, Dustin Mater, Rick Gendron, Preston Pierre, Randy Barton, Sean Deloria Blackwolf, Jay Smiley, Jeremy Singer, Billy Hensley, etc.
This year, Sovereign Santa Fe is designed as a more intimate yet immersive experience, fewer artists than in years past but larger scale work. Some participating artists will be showcasing their unique contemporary native creativity on larger platforms.
Designed by Leonard Willeke, who created innovative designs for homes in Detroit and Grosse Pointe. This melds Arts/Crafts architecture with the Prairie Style, also implementing Tudor revival elements. The interior makes use of opulent materials and more traditional designs.
On arrival, both locomotives will pose for photographs in a unique line up beside our own newly restored and operational 4079 “Pendennis Castle” and cosmetically restored 5051 “Drysllwyn Castle”. Following the line up, the two visiting locomotives will be turned and take coal and water before heading off back home.
2023 marks an important anniversary in the history of the Great Western Railway. 100 years ago, No. 4073 Caerphilly Castle was completed and put into service. This marked the beginning of what is considered by many as the most successful Express Passenger steam locomotives the UK ever produced - the Castle Class.
To celebrate this, Didcot Railway Centre in partnership with Vintage Trains at Tyseley, are working to bring you two very special events. We will bring together four restored Castles in one place. At Didcot we will see 4079 Pendennis Castle and 5051 Drysllwyn Castle alongside Tyseley’s 5043 Earl of Mount Edgcumbe and 7029 Clun Castle for a few hours on Saturday 4th March. In return, Pendennis Castle will make a visit to Tyseley later in the year and be displayed on an open day. To have all four together in one place on the same day is an amazing achievement. Join us in March to help us celebrate this very rare event.
7029 – Clun Castle, is a relative newcomer to mainline steam having been built in 1950 by British Railways to the famous Great Western Railway Castle class design. She took the record for the shortest timed point to point journey from Plymouth to Bristol in 1964 from the previous record holder, City of Truro. This epic run by the last of her class in every day service ensured 7029's preservation and she came to Tyseley to begin a distinguished second career in preservation.
5043 – Earl of Mount Edgcumbe, is Vintage Trains' second member of the Castle Class, but unlike the others was built in 1936 and so is an authentic GWR locomotive, named after one of the directors of the GWR. When first withdrawn from service, she was consigned to Barry Scrapyard but found too good to destroy. Tyseley Locomotive Works rebuilt 5043 to exacting standards and she has run far and wide for Vintage Trains, including unfamiliar territory such as Stirling and Edinburgh in Scotland. 5043 is back in action after returning to Steam in the second half of 2021 after a 10 year boiler overhaul.
4079 – Pendennis Castle, was the seventh of 171 Castles built and was completed at Swindon in February 1924. On the 2nd April 2022, ‘Pendennis Castle’ was launched back into traffic following a 20+ year overhaul. Since then, she has won a number of awards for both the restoration and her service history. She will be having a couple of holidays to other Railways this year so stay tuned for her various exploits!
5051 – Drysllwyn Castle/ Earl Bathurst, was built at Swindon in May 1936. She was renamed ‘Earl Bathurst’ in August 1937 and carried that name for the rest of her GWR and BR life. Both names are regularly used on the locomotive at Didcot. She was rescued by a Society member and brought to Didcot in February 1970. She then ran many main line specials between (in the early years with Didcot's vintage train) until 1986 when the main line ticket ran out. The engine then ran at Didcot until the boiler certificate ran out in 1990. Following a second overhaul she was returned to service, and enjoyed runs out on the mainline once more, and visits to other preserved railways as well as Didcot duties. In 2008 the latest boiler certificate expired and the locomotive is now on static display until such time as a further overhaul can take place.
BLANCPAIN – VILLERET Metiers d'Art studio - The Great Wave Platinum Unique piece - Ref: 6612-3433-63AB PR
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source: dreamy whites old-door-headboard-diy
This photo effectively meets this week's project goals because of the way shape is used to enhance the photo. The unique heart shape formed in the center of the walnut gives the image a distinctive focal point along with an awed or touched mood. The organic shapes created by the leaves and shadows in the background also enhance the photo by giving contrast between the geometric shape of the focal point and the organic shapes in the background. It took a while to unearth a walnut with a shape such as this, but once this one was discovered I shot it at many different angles and compositions until I felt I had found the right one. Even though the colors used in this picture would fall under the scheme of analogous, I feel like it enhances the photo by allowing the differing shapes to add the contrast. The final image was shot at an aperture of f4.5 but later edited with a center focus tool that then blurred the background slightly. The saturation was also increased to help bring out the orange and the sharpness increased to add detail.
One of my favorite elements about this photo would be the heart shape in the center of the walnut. It's such a unique feature that is not seen every day, which I feel adds to the overall appeal and mood of the image. However, one thing I wish to change would be to have the bottom left side of the walnut in focus. It seems too distracting since it's supposed to be part of the sharp, detailed focal point. Apart from that, I believe this image fulfills the requirements for shape because of the way the contrasting organic and geometric shapes in the background and focal point enhance the image.
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William Stone Images - Limited Edition Fine Art Prints
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We celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied and multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
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Love how the OM 50mm works on wide apertures, the sharpness is impressive.
Tallahassee, Florida. April 2008
Among the collateral events of the 55th Venice Biennale, Dora Garcia’s “The Joycean Society” at Spazio Punch on the island of Giudecca is one of the most compelling, despite a presentation that looks forbidding at first glance.
Garcia is the winner of the 45th International Contemporary Art Prize (PIAC), which is awarded every three years by Monaco’s Pierre Foundation. For the first time, the winner’s work is being shown in Venice, though Garcia herself was also here two years ago when she represented Spain at the 2011 Biennale. The artist is also known for participating in international exhibitions such as Documenta 13 and the Lyon Biennale; her work has been exhibited at Tate Modern, MACBA, and the Pompidou Center.
With artistic direction by Abdellah Karoum, a permanent member of the prize committee and the future director of Mathaf in Doha, Garcia devoted several years of research to a project that consists of a show and a film about a group of readers of James Joyce’s “Finnegans Wake.”
The setting includes wallpaper with enigmatic diagrams and sketches and a table with several annotated works by Joyce, including “Finnegans Wake” and a book on the exhibition. In a video playing on a parallel wall, different protagonists are plunged into the hermeneutics of texts by Joyce, with some Freud thrown in.
“It’s a natural process where I translate my thinking into the physical space, so to speak. The books on the table are the three works by Joyce: 'Ulysses,' 'Finnegans Wake,' and 'Dubliners,' altered and annotated by me — enhanced, you could say,” Garcia told BLOUIN ARTINFO.
The video is the culmination of the artist’s lengthy observations of this book club over the course of several meetings where the commentators developed their interpretations. According to Garcia, “The Joycean community are all the book’s potential readers — this strange book was written for this enigmatic public.”
“The film’s structure is very simple: the length is determined by a reading session, almost in real time. Already this gives meaning, structure, and a time frame. Afterwards I inserted other conversations that helped me to construct the four characters of the story: the book club, Joyce’s grave, the academics, and the devoted Joycean,” Garcia said.
This installation thus becomes an invitation to the literary journey that is “Finnegans Wake.” Between the project's filmed scenes and the reality of the space and the tools presented by the installation, a “critical” space is opened up. Here, the viewer is confronted with the cognitive difficulty that this book represents and is led to activate his/her senses, especially the imagination. Garcia’s exhibition offers an exploration that is connected to knowledge without making knowledge its goal.
“‘Finnegans Wake’ is a book that chooses its readers; however, it’s not a book that touches everyone,” Garcia says. “It’s a book for people who want to understand the world absolutely, almost Indiana Joneses of language. So it’s an elitist book, but not for the rich or the beautiful, but for the brave who are skeptical at the same time.”
The uniqueness of this project lies in the deep understanding of Joyce’s writing and the dialogue that Garcia sets up with the Irish author's work: The viewer doesn’t learn anything, but something is shown that resembles a horizon for intellectual fulfillment. This, it seems, is what Garcia is getting at when she says, “I think that ‘Finnegans Wake’ is utopian because this text is written for the future, for a viewer who is not there yet…. I don’t question this utopia, I celebrate it.”
To this, we might add that this “viewer who is not there yet,” in addition to perhaps implying a messianic reference, also supports the idea that knowledge is developed not through a linear and discrete process, but through the interplay of connections within language itself.
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