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The Brisbane Courier
Wed 28 Nov 1888
Brisbane Tramway Company
[...] Since the printing of the report the company had sold to the Townsville Omnibus Company a considerable number of light horses which were unfit for the Brisbane traffic, and had formerly been used on the "feeders." They had also disposed of four waggons and three omnibus, the lot coming to nearly £700. This had relieved the company of a considerable number of animals and vehicles for which they had no present use, and they had agreed to take payment for this rolling-stock and these horses in shares in the Townsville company. He [the chairman] had looked into the matter very carefully when he visited Townsville, and he believed the little 'bus company there would be an extremely remunerative investment. The town was so laid out that there were no hills on the routes, and the wear and tear would be but small. At any rate, the board was convinced that they had done the right thing in getting rid of these 'busses on the terms agreed to, and had experienced considerable difficulty in getting rid of them.
He could not allow the opportunity to pass without mentioning the point that was casually mooted at the last annual meeting - namely, the possibility of substituting electricity for horses as their traction power. During the twelve months that had elapsed since that meeting there had been an immense development in the phase of electical science. There was now in Richmond City, Virginia, USA, an electrical street railway that had been running for a number of months with absolute success at a cost of less than half of what the same company had previously expended for the propulsion of their cars by horses or mules. The result of the success of this new system had been very marked in America, and one of the most important effects was that the West End Boston Company had absolutely determined to adopt the system.
Queensland State Archives Item ID 436348, Photographic material
The Brisbane tramway network served the city of Brisbane, Australia, between 1885 and 1969. It ran on standard gauge track. The electric system was originally energised to 500 volts, and subsequently increased to 600 volts. All tramcars built in Brisbane up to 1938 had an open design. This proved so popular, especially on hot summer nights, that the trams were used as fundraisers and often chartered right up until the last service by social groups.
Most trams operated with a two-person crew – a driver (or motorman) and a conductor, who moved about the tram collecting fares and issuing tickets. The exceptions to this arrangement were on the Gardens line (Lower Edward Street) where the short duration of the trip meant it was more effective for passengers to simply drop their fare into a fare box as they entered the tram; and the "one man cars" which operated in the early 1930s.
The peak year for patronage was in 1944–45 when almost 160 million passengers were carried. The system route length reached its maximum extent of 109 kilometres (68 mi) in 1952. The total track length was 199 kilometres (124 mi), owing to many routes ending in single, rather than double, track. Single track segments of the track were protected by signalling which operated off the trolley wire. By 1959 more than 140 kilometres (87 mi) of track were laid in concrete, a method of track construction pioneered in Brisbane.
The last track opened was in O'Keefe Street Woolloongabba, in May 1961. However, this track was not used in normal passenger service and was merely used to reduce dead running from Logan Road back to Ipswich Road Depot.
Of the Australian capital cities which closed their networks between the 1950s and 1970s (only Melbourne and Adelaide retained trams, although Adelaide only had one line in operation), Brisbane was the last capital city to close its tram network. Despite the decision to shut down the network, Brisbane's trams were held with great affection by locals, and one commentator described their removal "one of the most appalling urban planning mistakes in the city’s history". There have been ongoing proposals since the early 1990s to reinstate a functional tram network.
Brisbane expanded to become one of the most dispersed cities in the world by the 1870s. In the early years of Brisbane's settlement walking was the most convenient way to get around as most people choose to live close to their workplace. In 1875, the railway line to Ipswich opened up some areas in western and southern districts, however fares were expensive, as was owning a horse.
By 1885 an omnibus service reached almost every part of Brisbane. Omnibuses consisted of a strongly constructed wooden wagon with seating for males on the roof and a back-door entrance to the interior.
On 10 August 1885 the Metropolitan Tramway and Investment Company began official horse-drawn tramway services for the public. The 18 tramcars were built from highly polished cedar and mahogany in the United States by JG Brill Company and John Stephenson Company. Fares were expensive, with the typical patron belonging to the middle class. Some even used the services to go home for lunch. Depression struck in 1893 and combined with 1893 Brisbane floods the horse-drawn tramway services saw large drops in patronage.
The first electric tramway ran along Stanley Street, in South Brisbane on 16 June 1897. Horse-drawn carriages were still being used in 1899.
In 1900 local residents were agitating to have the Kelvin Grove tramway extended along Enoggera Road to the Newmarket Hotel in Newmarket. However, a new bridge over Enoggera Creek would be required.[5] Also there were concerns that the close proximity of the proposed tramway would take revenue away from the railway line. However these concerns were resolved and the tramway extension to the Newmarket Hotel was opened on Monday 27 July 1903.
Up until the end of World War I, Brisbane's trams were the primary method used for travelling within the city.
Between 1923 and 1934 tram services in Brisbane were greatly expanded. Brisbane's tramway system came under the control of the newly merged Brisbane City Council (BCC) in 1925.
After seven years of agitation, Brisbane's tram service was extended to Grange in July 1928. The opening ceremony was attended by the Lord Mayor of Brisbane, William Jolly, and two Members of the Queensland Legislative Assembly, James Stevingstone Kerr and Charles Taylor. The mayor had threatened not to attend any ceremony for the opening of the tram service because two rival groups were organising separate celebrations; he would only attend if there was a single ceremony.
Until 1934, the trams carried mail between the Brisbane General Post Office and suburban post office branches, and also acted as mobile postboxes
Through the 1940s and 1950s the tram system enjoyed strong political support within the council, which continued to expand the tram network and upgrade its fleet with some of the most advanced trams in Australia. Trolleybuses were introduced in 1951. The last tramway to open was in March 1961. Clem Jones became Lord Mayor of Brisbane the same year, and all new route construction was cancelled.
By 1948 Brisbane's trams failed to return a profit as they could not compete with the more efficient bus services. Urban development, often well away from public transport, the rise of suburban shopping centres and the relative decline in the cost of motorcars meant that as elsewhere, Brisbane's public street transport system increasingly had to compete with the private motor car and patronage slowly declined from a post war peak of 148 million passenger journeys in 1946, to approximately 64 million passenger journeys in 1968.
Political support for the tram system waned in the 1960s, particularly so after the Paddington tram depot fire on 28 September 1962. 67 trams were destroyed, which represented 20% of the entire fleet. Brisbane's Lord Mayor Alderman Clem Jones was pro-freeway and private car. The Kalinga, Toowong, Rainworth and Bulimba ferry routes closed in December 1962.
In common with many other cities, Brisbane converted its remaining tram lines between 1968 and 1969 to all bus operation. The last trolley buses ran on 13 March 1969 and the final trams ran on 13 April 1969. Photographs of this last tram ride, organised by Grahame Garner and other tramways workers are in the University of Queensland Fryer Library collection. The tramway closure was notable for the speed with which it was carried out. Over 300 replacement Leyland Panther buses were purchased, at the time the largest single bus purchase in the world. Most older, wooden trams were stripped of metal parts and then burnt at the City Council's yard at Cribb Street, Milton (adjacent to the tramway workshops). The bodies of later, all-metal cars were sold as sheds and playground equipment.
The Brisbane Tramway Museum Society was formed in 1968 to preserve some of Brisbane's trams. At present the museum has 24 Brisbane trams in its collection, with 6 operational; California type tram 47, Ten Bench tram 65, Baby Dreadnought tram 99, Dropcentre tram 341, Four Motor tram 429, and the last tram built and officially operated in Brisbane, Four Motor Phoenix tram 554. Tramway operations commenced at the museum at Ferny Grove in 1980.
There have been several proposals from both the Brisbane City Council and state government to return a tram or light rail system to Brisbane since the 1990s. The most prominent of these include the ambitious 1997 Brisbane Light Rail Transit proposal. The plans escalated to a Queensland government tender for four company consortia to purchase new trams, construct and operate the system in 1 the project was projected to cost A$235 million but was subsequently vetoed in favour of expanding the existing bus network.
These various proposed options included a line from Roma Street station to Queensland University of Technology’s CBD campus along George Street, CBD to West End and University of Queensland via Victoria Bridge and Melbourne Street and CBD to Fortitude Valley via Wickham Terrace.
In 2007, following several failed road and tunnel projects and based on the recommendations of the Brisbane City Council's 2006 CBD masterplan, Premier Peter Beattie announced $250 million of state government funding for an extensive light rail system to rival Melbourne's and significantly larger than those of Sydney or Adelaide. The plan, at the centre of the government's "Smart City" plan, was to link South Brisbane to New Farm and Bowen Hills with future extensions down the newly created South Eastern and Inner Northern Busways, bridges and pedestrian spines.[14] In the March 2008 Brisbane city elections, the Queensland Greens campaigned on a more comprehensive plan. However, by June 2008 progress had stalled, without an official project announcement, the Brisbane City Council once again distancing itself from the plan due to cost of the investment (estimated at $600 million for the New Farm link) and instead giving consideration of diverting the funds to enhancing the bus and CityCat ferry systems.
Types of trams
Unlike many other systems, Brisbane never adopted an alphabetical or numerical system for classifying its trams (cf Melbourne trams), preferring instead to use official descriptions, such as "standard centre aisle car", or "drop-centre saloon car”.
Horse trams
- single deck saloon
- single deck cross bench
- double deck - open top deck, lower saloon
Electric trams
Converted electric trams
Delivery of early combination cars was delayed and as a result the tramway company decided to convert many of the horse tram to electric operation, as a temporary expedient. Despite this, many of these converted cars remained in passenger service well into the 1930s.
California Combination car
The prototype Brisbane electric tram (No 1) was built at the Melbourne cable tram workshops from the body of a horse tram, and had 5 saloon windows instead of the usual 4 windows on the new-built Combination cars, with one fixed and one tip-over seat on each end platform.
Large Combination cars
These three trams were built in 1904 from three single deck horse trams, similar to the new-built California Combination trams but with 6 saloon windows as opposed to 4 on the new trams, and a single fixed cross-bench seat on each end platform instead of 2 tip-over seats each end. Withdrawn from service 1925 to 1930s.
Saloon cars
Each tram in this class was constructed by joining two single deck saloon horse trams together on a single motorised chassis. Their long, enclosed bodies gave rise to their nickname of "coffin cars". They were built in 1897, when delivery of new electric trams was delayed. 6 cars in this class. They were all withdrawn from service by 1930.
"Summer" cars
The 6 bench horse trams were motorised and later most were lengthened to accommodate 10 cross benches. One car was to remain in service until 1958 as an advertising car.
New-built electric trams
California Combination
Officially referred to as "Standard Combination" trams, but more popularly referred to as "matchboxes". They had a central 4 window saloon with 2 tip-over cross-bench seats on each end platform. There were 62 trams in this class, built between 1897 and 1904, with the last one withdrawn from passenger service in 1952. Two, (nos 14 and 15), were converted into "scrubber" cars (track maintenance cars). Several were used as advertising cars, with 47 and 53 being used as one man cars on the Gardens shuttle route.
Nine Bench Cars
These 4 trams were constructed in 1897 and 1898 by the Brisbane Tramways Company. They were cross bench cars with no centre aisle. Two of the benches (those attached to the end bulkheads) were fixed and the other seven benches were tip-over. They could carry 45 seated passengers, plus standees. Two were withdrawn from service in 1938, the other two were probably withdrawn in 1943.
Brills
These 20 cars were officially "bogie open tip-over cross-bench cars". They were a standard design tram built by JG Brill Company of Philadelphia, although two were built by the Brisbane Tramways Company, presumably under licence from the Brill Company. They each had 4 fixed back-to-back benches and 8 tip-over benches. The first 8 had clerestory roofs, the remainder had plain roofs. The first 8 were also fitted with couplings for trailers, but the trailers were eventually motorised (see "light twelve bench cars" below.) As these trams only had hand brakes, operating a coupled set was physically demanding on drivers. In later years these workhorses were very dilapidated and had diagonal cross bracing on each bulkhead to reduce body sway. One tram was involved in a bad accident in 1944 and was converted to centre aisle design (see Special Dreadnoughts). They were gradually withdrawn from service between 1937 and 1952.
Light Twelve Bench Cars
These eight cars were originally built as trailers between 1901 and 1903, but were motorised in 1912. They had 12 fixed back-to-back benches and could carry 66 passengers. They were all withdrawn from service between 1948 and 1951.
Standard Ten Bench Cars
There were 32 of these sturdy little single truck trams constructed in Brisbane. 28 were built by the Brisbane Tramways Company between 1907 and 1921 and a further 4 were built by the Brisbane Tramways Trust between 1923 and 1925. They had fixed, back-to-back bench seating carrying 50 seated passengers (plus standees). They were commonly called "toastracks" or "jumping jacks". In 1936 4 of these cars were converted to Baby Dreadnoughts (see below); another two were converted to this class in 1944. Apart from one car converted to an advertising car and another retained for historical purposes, they were all withdrawn from service between 1952 and 1955.
Dreadnoughts
Officially referred to as standard centre-aisle trams, 65 trams in this class built between 1908 and 1925. These trams could carry 90 passengers. The last 21, which were built for the Brisbane Tramways Trust between 1924 and 1925, had 12 windows, remainder built with 6 windows. Originally they were built with open end platforms, but these were enclosed in the 1930s. Some received "streamlining" with oval windows and skirting around their bogies. The attached picture illustrates the differences between various members of this class. The tram in the foreground is a 12 window Dreadnought (built by the Tramways Trust), still with seats on its end platforms and no streamlining. The tram ahead of it is an older, 6 window Dreadnought (built by the Tramways Company), but with its end seats removed and streamlining around its windows and skirting below the body of the tram.
"Special" Dreadnoughts
Each of these four cars was unique in their own way. Two were outwardly like the Dreadnoughts. Tram 100 was built in 1903 as the Tramway Company Manager's personal "Palace" car, fitted with carpets, plush seat covers and further interior decorations. Converted to regular passenger use in 1918 and was withdrawn from service in 1958. Tram 110 was built in 1906 as the prototype for the Dreadnoughts, but it had different trucks, which resulted in high steps. It was withdrawn from service in 1952. Tram 101 was built in 1899 originally with no solid roof, just a canvas awning suspended from a lightweight frame. It was withdrawn from service around 1935. Tram 104 was converted in 1943 from a Brill 12 bench car that had been badly damaged in an accident. In its converted form this tram had design features derived from the Four Motor, Dropcentre and Baby Dreadnought tram designs. It was withdrawn from service in 1958.
Stepless Car
Known as "big Lizzie", also sometimes referred to as a "New York type tram", tram 301 was intended to be the first of a fleet of inter-urban trams. It was built by JG Brill Company in 1912 and imported in 1914. It was unusual for a Brill stepless car in that it was partially made of timber, rather than the normal all-metal construction. It was the first fully enclosed tram in Brisbane. Heavy and troubled by poor road clearance, it usually only saw service on the West End – Ascot line and was withdrawn from service in 1935.
"One man" trams
Between 1929 and 1930, 9 Dreadnoughts were converted to "one-man" operation, as a cost-saving measure. These trams were operated with drivers only and without conductors. They were only used on the Rainworth and Red Hill routes. Passengers were required to enter the tram from the front entrance and pay the driver as they entered. For this reason these trams had a distinctive colour scheme which included red and white diamonds on their front aprons. In May 1934 one man operation was abandoned and these trams were repainted in normal colours.
Two combination trams were also converted to one man operation for use on the Gardens route. The first tram was converted in 1925, the second in 1930.
"Baby" Dreadnoughts
Sometimes called "small centre-aisle" or "single truck saloon" cars, the 6 trams in this class were built primarily for the hilly Spring Hill route. They were built in two batches: the first four in 1936 were converted from 10 bench trams, the last two were built in 1943 using the underframes from 10 bench trams, making the last two trams in this class the non-bogie cars built in Australia. These trams were fitted with special sanders allowing sand to be dropped not only in front, but also behind, their wheels, in case the trams slipped backwards on the steep section of the Spring Hill line. They were withdrawn from service in 1958–1959, one car was preserved.
Dropcentres
The most numerous of Brisbane's trams, there were 191 trams of this class built between 1925 and 1938. Officially called "bogie drop centre combination cars", (usually shortened to "dropcentre" or "droppie") these trams' distinctive drop centre compartment was open to the elements, with only canvas blinds to provide protection for passengers in cold or wet weather. Although designed to be operated using airbrakes, most cars in this class were instead built with rheostatic brakes and hand brakes. However, the last 17 cars (Nos 370–386) were built with airbrakes. Subsequently, many of the older cars in this class were retrofitted with airbrakes and had their rheostatic braking systems removed. Early cars were built with open ends (meaning the drivers were unprotected from the elements) but later cars were built with enclosed ends (or "vestibules"). The ends of all the earlier cars of this class were enclosed by 1934. These trams were last used in regular service in December 1968.
Four Motor (FM) trams
Officially referred to as "drop centre saloon cars", or "four motor cars", they were popularly referred to as "400s", "FM's" or "silver bullets". They were the first class of trams built in Brisbane with airbrakes. 155 were constructed by the Brisbane City Council between 1938 and 1964, with a maximum carrying capacity of 110 passengers. Trams 400–472 were built with wide centre doors, 407 was altered to narrow centre doors and renumbered 473 (and the tram to be numbered 473 entered service as 407), trams 474–554 built with narrow centre doors. Through the 28 years during which they were built, many innovations were introduced, such as fluorescent lighting, helical gears, resilient wheels, remote controlled controllers and streamlined construction techniques. Early versions had canvas blinds in the doorways, while later versions had sliding doors. The last 8 trams were built from components salvaged from the Paddington tram depot fire and were painted light blue with phoenix emblems below the motorman's windows, to symbolise that the trams had risen from the ashes of the fire.
Workshops, power houses and administration
Workshops and administration for the electric tram system were initially located in cramped quarters at Countess Street, at the western side of the Roma Street railway yards (now the site of the Roma Street Parkland), but in 1927 were relocated to Milton. Access to the workshops was from Boomerang Street in Milton, off Milton Road. Head Office was accessed from Coronation Drive (then known as River Road).
Power for the electric trams was originally drawn from a power station operated by the tramway company adjacent to its Countess Street depot and workshops. As the tramway company increased both the number of trams and the length of routes, the power supply rapidly became inadequate. Additional power generating units were installed at Light Street depot and a further powerhouse was built on Logan Road, Woolloongabba, adjacent to the Woolloongabba railway line. Inadequate power supply was to remain a problem while the tramways remained in private hands. With the takeover of the system in 1922 by the Brisbane Tramways Trust (and subsequently the City Council) considerable investment was made in many areas including power generation and distribution. A larger powerhouse was built in New Farm which commenced generation in 1928 and was sufficient for both the needs of the tram system and other consumers.
The original Countess Street powerhouse was demolished and material from it was used to construct the new Tramways headquarters.
Used our babyphoto's, put them in a frame from CoffeeShop Rita ,
www.thecoffeeshopblog.com/p/coffeeshop-storyboards-and-fr...
the frame comes with a vintage texture giving the photo's an old look. Then i used my Cabinetcard as a background and added the quote and finally I added my own old paper texture 2.
Honey you still make me so happy and i still love you deeply !!! and you do give me strength !!!
Created for 20th MMM Challenge
EXPLORE Worthy, Mini Challenge #8 - BE MY VALENTINE (Art from 2013)
Please don't use this image on websites, blogs or other media without my explicit permission.
© All rights reserved
used the live view mode to get the boat shed in focus and sharpened a little in photoshop. Still a little mist on the water - a lovely day.
used dmc #4180 variegated pink perle cotton. This is also for the Feeling Stitchy's Rainbow of Stitches contest
[PHOTO CONTEST] #ByeByeRoaming 📱📱📱 Roaming charges in the EU are history! Discover Europe and call, text and use data at the same price as you pay at home.
How will you spend your first summer 🌞with FREEDOM OF SHARING pictures all around EU at no extra cost?
Show us your SUMMER photos all AROUND EUROPE, the nicest SPOTS you discover in EU, the FUNNIEST or ROMANTIC shot of your EUROPEAN trip, the most stunned MOMENT you catch on camera in EUROPE... it is completely up to you, what we want, is just YOU to share and show YOUR freedom of sharing in EU at no extra cost for ever and ever😊!! Don’t forget ☝️to use the hashtag #ByeByeRoaming and to tag @europeanparliament. We will REGRAM the best shots during the whole summer and 3 WINNERS will be invited to the European Parliament in Strasbourg on the 15th November to take over our Instagram account during the European Lux Film Prize award 🎥! Last but not least, a selection of the best entries will be EXHIBITED at the Parlamentarium, the visitor centre of the European Parliament - one of the most visited museums in Brussels.
RULES ☝️: ✔ Use the hashtag #ByeByeRoaming and tag @europeanparliament;
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✔ Be ready to travel to Strasbourg between 14-15 November 2017.
Get snapping and best of luck! 👏
Read more: www.europarl.europa.eu/news/en/headlines/eu-affairs/20170...
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The dOCUMENTA (13) was the thirteenth edition of the quinquennial contemporary art exhibition documenta. It took place between 9 June until 16 September 2012 in Kassel. The exhibition was held under the theme Collapse and Recovery. Exhibits could be seen in several venues in the city, among others in the Fridericianum museum,[1] in the Orangerie and in the Karlsaue, a large urban park.[2]
Its artistic director was the curator Carolyn Christov-Bakargiev[3] who was chief curator of the Castello di Rivoli - Museo d'Arte Contemporanea in Turin and, in 2008, also head of the Biennale of Sydney.
Participants
The Museum Fridericianum during the exhibition
A Lida Abdul, Bani Abidi, Etel Adnan, Korbinian Aigner, Vyacheslav Akhunov, Barmak Akram, Khadim Ali, Jennifer Allora & Guillermo Calzadilla, Maria Thereza Alves, Francis Alÿs, Ayreen Anastas, AND AND AND, Ida Applebroog, Mohammad Yusuf Asefi, Doug Ashford, Tarek Atoui, Kader Attia
B Alexandra Bachzetsis, Nanni Balestrini, Amy Balkin, Judith Barry, Gianfranco Baruchello, Ahmed Basiony, Thomas Bayrle, Jérôme Bel, Gordon Bennett, Rossella Biscotti, Manon de Boer, Alighiero Boetti, Anna Boghiguian, Carol Bove, Kristina Buch, Andrea Büttner, Gerard Byrne
C CAMP (founded 2007 from Shaina Anand, Sanjay Bhangar and Ashok Sukumaran), Janet Cardiff and George Bures Miller, Emily Carr, Mariana Castillo Deball, Paul Chan, Kudzanai Chiurai, Constant, Daniel Gustav Cramer, Critical Art Ensemble, Abraham Cruzvillegas, István Csákány, Attila Csörgő, Antoni Cumella
D Salvador Dalí, Marie Darrieussecq, Tacita Dean, Mark Dion, Thea Djordjadze, Willie Doherty, Trisha Donnelly, Sam Durant, Jimmie Durham
E Haris Epaminonda, Cevdet Erek
F Guillermo Faivovich & Nicolás Goldberg, Matias Faldbakken, Geoffrey Farmer, Omer Fast, Lara Favaretto, Ceal Floyer, Llyn Foulkes, Abul Qasem Foushanji, Chiara Fumai
G Rene Gabri, Ryan Gander, Dora García, Mario Garcia Torres, Theaster Gates, Jeanno Gaussi, Mariam Ghani, Simryn Gill, Édouard Glissant, Julio González, Tue Greenfort
H Zainab Haidary, Fiona Margaret Hall, Tamara Henderson, Susan Hiller, Horst Hoheisel, Judith Hopf, Khaled Hourani mit Amjad Ghannam and Rashid Masharawi, Pierre Huyghe
I Sanja Iveković
J Toril Johannessen, Joan Jonas, Brian Jungen and Duane Linklater
K Rudolf Kaesbach, Robin Kahn & National Union of Sahrawi Women, Masood Kamandy, Amar Kanwar, William Kentridge, Hassan Khan, Erkki Kurenniemi
L Horacio Larraín Barros, Dinh Q. Lê (in collaboration with Vũ Giáng Hương, Quang Tho, Huynh Phuong Dong, Nguyen Thu, Truong Hieu, Phan Oanh, Nguyen Toan Thi, Duong Anh, Minh Phuong, Kim Tien, Quach Phong, Nguyen Thanh Chau), Gabriel Lester, David Link, Maria Loboda, Mark Lombardi, Aníbal López, Renata Lucas, Marcos Lutyens und Raimundas Malašauskas, featuring Sissel Tolaas
M Goshka Macuga, Anna Maria Maiolino, Catherine Malabou, Nalini Malani, Man Ray, Maria Martins, Francesco Matarrese, Fabio Mauri, Julie Mehretu, John Menick, Christoph Menke, Gustav Metzger, Lee Miller, Aman Mojadidi, Moon Kyungwon & Jeon Joonho, Gareth Moore, Giorgio Morandi, Rabih Mroué, Zanele Muholi, Christian Philipp Müller
N Arne Nordheim, M. A. Numminen
O Objects damaged during the Lebanese Civil War (1975–1990), Shinro Ohtake, Rahraw Omarzad, Roman Ondák, Füsun Onur, The Otolith Group
P Christodoulos Panayiotou, Giuseppe Penone, Claire Pentecost, Hetti Perkins, Susan Philipsz, Pratchaya Phinthong, Sopheap Pich, Lea Porsager, Michael Portnoy, Margaret Preston, Seth Price, Ana Prvacki
R Walid Raad, Michael Rakowitz, Araya Rasdjarmrearnsook, Doreen Reid Nakamarra, Pedro Reyes, Gunnar Richter, Stuart Ringholt, Ruth Robbins und Red Vaughan Tremmel, Juana Marta Rodas und Julia Isídrez, Paul Ryan, Hannah Ryggen
S Natascha Sadr Haghighian, Anri Sala, Charlotte Salomon, Issa Samb, Ines Schaber, Tino Sehgal, Ashkan Sepahvand, Albert Serra, Tejal Shah, Wael Shawky, Zolaykha Sherzad, Nedko Solakow, Song Dong, Tamás St. Turba, Alexandra Sukhareva, Imre Szeman
T Mika Taanila, Mohsen Taasha, Alexander Tarakhovsky, Javier Téllez, Aase Texmon Rygh, Warwick Thornton, Time/Bank (e-flux: Julieta Aranda & Anton Vidokle), Warlimpirrnga Tjapaltjarri, Rosemarie Trockel
V Rattana Vandy, Vann Nath, Adrián Villar Rojas, Jeronimo Voss
W Jessica Warboys, Lori Waxman, Clemens von Wedemeyer, Apichatpong Weerasethakul in collaboration with Chaisiri Jiwarangsan, Lawrence Weiner
Y Yan Lei, Haegue Yang
Z Akram Zaatri, Zalmaiï, Anton Zeilinger, Konrad Zuse[4][5][6]
Die dOCUMENTA (13) war die dreizehnte Ausgabe der documenta, einer der weltweit bedeutendsten Ausstellungen für zeitgenössische Kunst. Sie fand vom 9. Juni bis zum 16. September 2012 in Kassel unter der künstlerischen Leitung von Carolyn Christov-Bakargiev statt und hatte 904.992 BesucherInnen.[1] Die Ausstellung stand unter dem Leitmotiv Collapse and Recovery (englisch für Zusammenbruch und Wiederaufbau).[2] Satelliten der Ausstellung befanden sich in Afghanistan mit Kabul und Bamiyan (9. Juni bis 16. September 2012), in Ägypten mit Alexandria und Kairo (1. Juni bis 8. Juli 2012) und dem kanadischen Banff (2. August bis 15. August 2012).
Die Documentaleitung veröffentlichte die Namen von über 300 Teilnehmern. Davon trugen 187 Künstler und Künstlergruppen mit allen Formen künstlerischer Äußerungen, wie Bilder, Druckgrafiken, Skulpturen, Performances, Installationen, Filmen und Environments, zu der Ausstellung bei. Weitere 108 Teilnehmer waren durch Vorträge, Seminare, Kongresse, Dichterlesungen oder Schriften in der Documenta-Reihe 100 Notizen – 100 Gedanken beteiligt.
Museum Fridericianum mit dOCUMENTA (13)-Beflaggung
Inhaltsverzeichnis
1 Leitungsteam
2 Findungskommission
3 Schreibweise als Logo
4 Leitmotiv
5 Eröffnung
6 Teilnehmende Künstler
7 Ausstellungsorte
8 Streit im Vorfeld
9 Filme
10 Publikationen
11 Literatur
12 Weblinks
13 Einzelnachweise
Leitungsteam
Carolyn Christov-Bakargiev (2010)
Als künstlerische Leiterin wurde die US-amerikanische Kuratorin Carolyn Christov-Bakargiev ausgewählt, sie war Chefkuratorin des Castello di Rivoli – Museo di Arte Contemporanea in Turin und war 2008 auch Leiterin der Biennale of Sydney.
Projektleiterin ist die Kunsthistorikerin Christine Litz. Ihr obliegt es, die Konzepte der Leiterin Carolyn Christov-Barkagiev und ihrer Kuratoren umzusetzen.[3] Ab Juni 2012 wurde Litz als Direktorin an das Museum für Neue Kunst (Freiburg im Breisgau) berufen[4] und Jenny Dirksen und Christoph Platz übernahmen die Leitung der Abteilung sowie die Abwicklung der Ausstellung.[5] Die kuratorische Abteilung übernahm die spanische Kunsthistorikerin Chus Martínez. Sie ist gleichzeitig Mitherausgeberin der Schriftenreihe 100 Notizen – 100 Gedanken. Bevor sie 2009 Kuratorin am Museu d’Art Contemporani de Barcelona wurde, war sie Leiterin des Frankfurter Kunstvereins.
Als Leiterin der Publikationsabteilung wurde die in New York lebende deutsche Autorin und Publizistin Bettina Funcke benannt.[6] Sie ist gleichzeitig Mitherausgeberin der Schriftenreihe 100 Notizen – 100 Gedanken. Sie war bis 2007 Redakteurin bei der Dia Art Foundation (heute Dia Center for the Arts) und von 2007 bis 2010 leitende Redakteurin bei der New Yorker Ausgabe der Kunstzeitschrift Parkett. Sie ist Mitbegründerin von The Leopard Press und dem Continuous Project Kollektiv. Mit der Publikation der Schriften wurde der Hatje Cantz Verlag beauftragt.
Die Kommunikationsabteilung wurde bis September 2011 von Kathrin Lutz geleitet.[7] Im Oktober 2011 lösten sie Terry Harding und Henriette Gallus ab.[8]
Für die organisatorische Abwicklung ist – seit 1996 – der Geschäftsführer der documenta und Museum Fridericianum Veranstaltungs-GmbH Bernd Leifeld verantwortlich.
Die Ausstellung wurde am 9. Juni 2012 durch Bundespräsident Joachim Gauck eröffnet.[9]
Findungskommission
Am 3. Dezember 2008 wurde der Auswahlprozess für die künstlerische Leitung der kommenden documenta abgeschlossen. Der Vorschlag der neunköpfigen Findungskommission wurde vom Aufsichtsrat der documenta einstimmig bestätigt. Die Findungskommission der documenta 13 bestand aus:
Iossif Markowitsch Bakschtein – Direktor des Instituts für Probleme der modernen Kunst Moskau
Manuel J. Borja-Villel – Direktor Museo Nacional Centro de Arte Reina Sofia Madrid
Kathy Halbreich – Stellvertretende Direktorin Museum of Modern Art New York
Paulo Herkenhoff – Freier Kurator und bis 2006 Direktor des Museu Nacional de Belas Artes in Rio de Janeiro
Oscar Ho – Direktor MA Programme in Cultural Management, Chinesische Universität Hongkong
Udo Kittelmann – Direktor Museum für Moderne Kunst Frankfurt/Main
Kasper König – Direktor Museum Ludwig, Köln
Elizabeth Ann Macgregor – Direktorin Museum of Contemporary Art Sydney
Rein Wolfs – Künstlerischer Leiter der Kunsthalle Fridericianum Kassel
Schreibweise als Logo
Hinweisschilder vor dem Fridericianum
101 013–1 der Deutschen Bahn AG mit Werbeaufschrift im Hauptbahnhof Mannheim am 14. März 2012
Im April 2010 wurde die „visuelle Identität“ der 13. documenta vorgestellt. Sie wurde von der Mailänder Grafikdesign-Agentur Leftloft entwickelt. Diese documenta verzichtet auf ein traditionelles Logo. Stattdessen wird die Schreibweise des Wortes als Symbol genutzt. Der Name wird am Anfang mit einem kleinen d geschrieben, die folgenden Buchstaben sind Großbuchstaben, gefolgt von der in Klammern gesetzten 13. Eine einheitliche Schriftart gab es nicht, diese variierte je nach Anwendung.
Die Grafikdesigner schrieben zu ihrem Entwurf:
„Diese visuelle Regel soll besagen, dass die Lehren dieser documenta (das lateinische ‘documentum’, von dem das Pluralwort ‘documenta’ stammt, bedeutet ‘Lehre’ und gelegentlich bezeichnet es auch eine ‘Ermahnung’) nicht pedantisch sein werden. Wir setzen vielmehr eine lebendige, pluralistische, ideenreiche und stetig zunehmende Entwicklung in Gang. Viele, auch die Öffentlichkeit, werden in den kommenden Jahren in diesen Prozess involviert werden. Der Höhepunkt, im Jahr 2012, stellt nur einen Moment einer viel längeren Reise dar, durch die Klammern um die dreizehn wird das deutlich.“
Die künstlerische Leiterin, Carolyn Christov-Bakargiev, verwies auf die Tradition der Kleinschreibung der documenta seit ihrem Beginn in den 1950er Jahren und bemerkte:
„Während dies in ihren Anfängen eine radikale demokratische Geste und eine Entscheidung des Designs war, ist heute die Nicht-Großschreibung von Wörtern ein Beispiel für eine von vielen unbeabsichtigten Gesten der digitalen Welt, die Nachrichten über Netzwerke und rund um den Globus schickt. Die normalen Schreibregeln umzudrehen, indem man das restliche Wort in Großbuchstaben schreibt, erfordert aktives Engagement, Aufmerksamkeit und einen gewissen Mehraufwand an der Tastatur.“[10]
Leitmotiv
Das Leitmotiv der dOCUMENTA (13) lautet Zusammenbruch und Wiederaufbau (engl. Collapse and Recovery). Es wurde rund ein Jahr vor Beginn der Ausstellungseröffnung offiziell vorgestellt. Es bezieht sich zum einen auf die Geschichte der Stadt Kassel in den letzten 60 Jahren, in denen nach der Vernichtung durch die Bombardierung im Zweiten Weltkrieg der – bis heute nicht abgeschlossene – Wiederaufbau erfolgte. Mehrere Arbeiten, wie das Projekt trail von Natascha Sadr Haghighian, nehmen ganz unmittelbar auf das Leitmotiv Bezug. Die Künstlerin stellt eine Leiter an die Begrenzungsmauer der Straße Schöne Aussicht, über die die Besucher einen steilen Abhang erreichen, der 1955 aus Kriegstrümmern der Henschel-Werke aufgeschüttet wurde. Über ihn führt ein schmaler, unbefestigter und nicht ungefährlicher Pfad zum Talgrund der Karlsaue.[11] Zum anderen, virulent, ist das Leitmotiv für den Ausstellungsort Kabul, das dort um die Bedingungen Belagerungszustand, Hoffnung, Rückzug und Bühne erweitert wurde.[12]
Eröffnung
Am 21. Juni 2010, zwei Jahre vor Eröffnung der dOCUMENTA (13), wurde – entgegen der üblichen Gepflogenheiten – bereits die erste Arbeit öffentlich eingeweiht. Die Skulptur Idee di Pietra („Ansichten eines Steins“) von Giuseppe Penone, ein Vertreter der Arte Povera und mehrfacher documenta-Teilnehmer, wurde am Rande der Karlsaue aufgestellt. Die Arbeit war bereits auf der 16. Biennale of Sydney, die Carolyn Christov-Bakargiev 2008 kuratiert hatte, präsentiert worden. Es handelt sich um eine fast neun Meter hohe Bronzeskulptur in der Form eines Baumes, in deren oberem Teil ein großer Stein ruht. Neben der Skulptur wächst ein kleiner, echter, junger Baum. Penone war selbst anwesend und stellte seine Arbeit vor:
„[…] Wenn die Bedeutung des Malens das Bedecken ist und die Bedeutung der Skulptur das Entdecken, dann wird die Malerei durch die Schwerkraft charakterisiert und die Skulptur durch die Kraft, die der der Schwerkraft entflieht, die Kraft des Lichts. Das Werk, das ich hier zeige, hat mit beiden Konzepten zu tun. Der Stein ist ein Mineral und die stabilsten Farben gewinnt man aus Steinen. Der Stein verweist auf die Schwerkraft. Das Pflanzliche entzieht sich der Schwerkraft, es wächst in die Höhe, als direkte Folge des Sonnenlichts. Die Struktur der pflanzlichen Welt wird durch das Licht bestimmt, das das Gewicht der Zweige und Blätter anzieht. Bronzeguss braucht die Schwerkraft und nutzt die Struktur der pflanzlichen Welt, um die flüssige Bronze in der Gussform zu verteilen. […]“
Bewusst war der Tag der Sommersonnenwende als Datum für die Veranstaltung gewählt worden. Die Verantwortlichen betrachteten die Aktion als einen Beitrag zur Geschichte der Außenskulptur im Rahmen der documenta-Ausstellungen und sahen in ihr insbesondere auch eine Einstimmung auf die in zwei Jahren stattfindende offizielle Eröffnung.[13]
Am 9. Juni 2012 eröffnete der damalige Bundespräsident Joachim Gauck die Kunstausstellung.
Teilnehmende Künstler
Giuseppe Penones Idee di Pietra
A Lida Abdul, Bani Abidi, Etel Adnan, Korbinian Aigner, Vyacheslav Akhunov, Barmak Akram, Khadim Ali, Jennifer Allora & Guillermo Calzadilla, Maria Thereza Alves, Francis Alÿs, Ayreen Anastas, AND AND AND, Ida Applebroog, Mohammad Yusuf Asefi, Doug Ashford, Tarek Atoui, Kader Attia
B Alexandra Bachzetsis, Nanni Balestrini, Amy Balkin, Judith Barry, Gianfranco Baruchello, Ahmed Basiony, Thomas Bayrle, Jérôme Bel, Gordon Bennett, Rossella Biscotti, Manon de Boer, Alighiero Boetti, Anna Boghiguian, Carol Bove, Kristina Buch, Andrea Büttner, Gerard Byrne
C CAMP (gegründet 2007 von Shaina Anand, Sanjay Bhangar und Ashok Sukumaran), Janet Cardiff und George Bures Miller, Emily Carr, Mariana Castillo Deball, Paul Chan, Kudzanai Chiurai, Constant, Daniel Gustav Cramer, Critical Art Ensemble, Abraham Cruzvillegas, István Csákány, Attila Csörgő, Antoni Cumella
D Salvador Dalí, Marie Darrieussecq, Tacita Dean, Mark Dion, Thea Djordjadze, Willie Doherty, Trisha Donnelly, Sam Durant, Jimmie Durham
E Haris Epaminonda, Cevdet Erek
F Guillermo Faivovich & Nicolás Goldberg, Matias Faldbakken, Geoffrey Farmer, Omer Fast, Lara Favaretto, Ceal Floyer, Llyn Foulkes, Abul Qasem Foushanji, Chiara Fumai
G Rene Gabri, Ryan Gander, Dora García, Mario Garcia Torres, Theaster Gates, Jeanno Gaussi, Mariam Ghani, Simryn Gill, Édouard Glissant, Julio González, Tue Greenfort
H Zainab Haidary, Fiona Hall, Tamara Henderson, Susan Hiller, Horst Hoheisel, Judith Hopf, Khaled Hourani mit Amjad Ghannam und Rashid Masharawi, Pierre Huyghe
I Sanja Iveković
J Toril Johannessen, Joan Jonas, Brian Jungen und Duane Linklater
K Rudolf Kaesbach, Robin Kahn & La Cooperativa Unidad Nacional Mujeres Saharauis (The National Union of Women from Western Sahara), Masood Kamandy, Amar Kanwar, William Kentridge, Hassan Khan, Erkki Kurenniemi
L Horacio Larraín Barros, Dinh Q. Lê (in Zusammenarbeit mit Vũ Giáng Hương, Quang Tho, Huynh Phuong Dong, Nguyen Thu, Truong Hieu, Phan Oanh, Nguyen Toan Thi, Duong Anh, Minh Phuong, Kim Tien, Quach Phong, Nguyen Thanh Chau), Gabriel Lester, David Link, Maria Loboda, Mark Lombardi, Aníbal López, Renata Lucas, Marcos Lutyens und Raimundas Malašauskas, featuring Sissel Tolaas
M Goshka Macuga, Anna Maria Maiolino, Catherine Malabou, Nalini Malani, Man Ray, Maria Martins, Francesco Matarrese, Fabio Mauri, Julie Mehretu, John Menick, Christoph Menke, Gustav Metzger, Lee Miller, Aman Mojadidi, Moon Kyungwon & Jeon Joonho, Gareth Moore, Giorgio Morandi, Rabih Mroué, Zanele Muholi, Christian Philipp Müller
N Arne Nordheim, M. A. Numminen
O Objects damaged during the Lebanese Civil War (1975–1990), Shinro Ohtake, Rahraw Omarzad, Roman Ondák, Füsun Onur, The Otolith Group
P Christodoulos Panayiotou, Giuseppe Penone, Claire Pentecost, Hetti Perkins, Susan Philipsz, Pratchaya Phinthong, Sopheap Pich, Lea Porsager, Michael Portnoy, Margaret Preston, Seth Price, Ana Prvacki
R Walid Raad, Michael Rakowitz, Araya Rasdjarmrearnsook, Doreen Reid Nakamarra, Pedro Reyes, Gunnar Richter, Stuart Ringholt, Ruth Robbins und Red Vaughan Tremmel, Juana Marta Rodas und Julia Isídrez, Paul Ryan, Hannah Ryggen
S Natascha Sadr Haghighian, Anri Sala, Charlotte Salomon, Issa Samb, Ines Schaber, Tino Sehgal, Ashkan Sepahvand, Albert Serra, Tejal Shah, Wael Shawky, Zolaykha Sherzad, Nedko Solakow, Song Dong, Tamás St. Turba, Alexandra Sukhareva, Imre Szeman
T Mika Taanila, Mohsen Taasha, Alexander Tarakhovsky, Javier Téllez, Aase Texmon Rygh, Warwick Thornton, Time/Bank (e-flux: Julieta Aranda & Anton Vidokle), Warlimpirrnga Tjapaltjarri, Rosemarie Trockel
V Rattana Vandy, Vann Nath, Adrián Villar Rojas, Jeronimo Voss
W Jessica Warboys, Lori Waxman, Clemens von Wedemeyer, Apichatpong Weerasethakul in Zusammenarbeit mit Chaisiri Jiwarangsan, Lawrence Weiner
Y Yan Lei, Haegue Yang
Z Akram Zaatri, Zalmaiï, Anton Zeilinger, Konrad Zuse
Ausstellungsorte
Die dOCUMENTA (13) umfasst neben Ausstellungsorten im gesamten Stadtraum von Kassel und in der Umgebung, auch Orte außerhalb Europas. In Kassel sind Kunstwerke an so zahlreichen unterschiedlichen Plätzen zu sehen, wie bei keiner anderen Documenta zuvor. Neben öffentlichen Gebäuden wie der Handwerkskammer, der Zentralbibliothek und dem Ständehaus, wurden auch private Kinos, Kaufhäuser und Hotels einbezogen. Die meisten Künstlerpräsentationen konzentrieren sich um den Friedrichsplatz, den Kulturbahnhof (Hauptbahnhof) und in der Karlsaue.[14]
Ausstellungsorte in Kassel und Umgebung:
Das Museum Fridericianum ist mit Werken von 32 Künstlern wieder Mittelpunkt der Documenta. Zusätzlich werden in der Rotunde 28 plastische Arbeiten oder artifizielle Objekte gezeigt, unter anderem von Judith Hopf, Man Ray und Lawrence Weiner.
Die documenta-Halle wird, neben frühen Zeichnungen von Gustav Metzger, die verdeckt in Schaukästen in der Vorhalle präsentiert werden, vor allem durch Arbeiten von Thomas Bayrle geprägt. Zwischen einem 8 Meter × 25 Meter messenden Papprelief Carmageddon auf der linken Wand und dem 8 Meter × 13,4 Meter messenden Flugzeug von 1982 bis 1983 stellte der Künstler aufgeschnittene Automotoren auf. Der Lärm der sieben Motoren wird aus Lautsprechern von eintönigen, sich immer wiederholenden Gebeten begleitet, die Bayrle in Frankfurter Kirchen aufgenommen und rhythmisiert hat. Es ist die größe Einzelpräsentation die bisher in der documenta-Halle zu sehen war.[15]
Ottoneum
Karlsaue
In der Neuen Galerie werden 18 künstlerische Positionen ausgestellt. Die Künstlerin Andrea Büttner zeigt in ihrem vorderen Raum neben zwei monochromen Farbflächen drei archaische, großformatige Holzschnitte, im zweiten Raum zeigt sie unter anderem ein Video, das sich auf eine umfangreiche Recherche zu den Arbeiten des Ordens Kleine Schwestern Jesu im Vergnügungspark von Ostia bei Rom bezieht und bei der zwei Ordensangehörige über ihre Arbeit berichten.[16]
Kassel Hauptbahnhof
Das Gloria-Kino ist – wie auch bei der Documenta 12 – Vorführungsort des Filmprogramms. Tagsüber wird eine Diainstallation von Trisha Donnelly gezeigt.
Ehemaliges Elisabeth Krankenhaus (Oberste Gasse 4)
Nie realisierte Moschee (Untere Karlsstr. 14)
Im lichtlosen Bode-Saal des Grand City-Hotels Hessenland zeigt Tino Sehgal eine viel beachtete Performance. Die eintretenden Besucher werden von 12 Akteuren, einzeln oder in kleinen Gruppen, umgeben, die sie hör- und fühlbar singend, summend, kriechend, schnalzend in einem choreografisch festgelegten Grundrhythmus umtanzen und dabei versuchen, die Eingetretenen in das Geschehen einzubeziehen.[17]
ehemaliges Kino Kaskade[18]
Verschiedene Orte in der Kasseler Innenstadt
Gedenkstätte Kloster Breitenau in Guxhagen
This is an example of another cupcake business deceiving their customers by using OTHER cake/cupcake companies photos.....not a good idea as months after removing the pictures..this one is still out there in the public domain! Very annoying as I DO NOT want my name in any way, shape or form associate with her "company". Moral of the story....do not repeatedly lie when starting a business as it will come back at you!
Note: this photo was It was published in an undated (Jan 2010) Squidoo blog titled "Fastest Way to Lose Weight." And it was published as an illustration in an undated (Jan 2010) Squidoo blog titled "Free Printable Exercise Log - Get in Shape for 2010!" It was also published as an illustration in an undated (Feb 2010) Body Building Supplements blog with the same caption as the one I used for this Flickr page. And it was published in a Mar 27, 2010 Health Knowledge blog with the same title as the caption that I used for this Flickr page. It was also published on an Apr 5, 2010 weight-loss blog, with the same title as the caption that I used for this Flickr page. And it was published in an Apr 19, 2010 Peruvian blog titled "¡Qué buena vida!" It was also published in an Aug 5, 2010 blog titled "South Beach Diet Exercise - Does It Work?" And it was published in an undated (late Nov 2010) blog titled "Im young, is there a good chance of losing the skin on my tummy after weight loss?" and another undated (late Nov 2010) blog titled "Pros & Cons Of The Weight Loss Product Alli Capsules."
Moving into 2011, the photo was published in a Jan 3, 2011 blog titled "Cool Weight Loss Products images." And it was published in a Jan 4, 2011 blog titled "Fast Weight Loss – How Real Americans Can Lose Weight at Home." It was also published in a Jan 9, 2011 blog titled "Milk may help you lose weight!" And it was published in an Apr 9, 2011 "Weight Loss for Idiots" blog titled "Bioslim – A Natural Weight Loss Supplements." It was also published in a Jul 5, 2011 "Business Insider" blog titled "14 Tips And Tricks For Overcoming Anxiety And Fear." And it was published in an Oct 16, 2011 blog titled "The Lifehacker Workout – Easy to follow, and stick to…" It was also published in an Oct 29, 2011 blog titled "Here Are 7 Ways The Crappy Economy Has Actually Improved Our Lives." And it was published in a Nov 1, 2011 blog titled "Calme Muscle Construct Diet plans photos."
Moving into 2012, the photo was published in a Jan 6, 2012 blog titled "Ejercicios para adelgazar piernas." It was also published in an Apr 16, 2012 blog titled "New York State: a (relatively) healthy place to live." And it was published in a May 16, 2012 blog titled "On Facebook All Day? 6 Worst Habits For Your Heart!," as well as a Jun 22, 2012 blog titled "Dieting and Exercising." It was also published in a Jul 22, 2012 blog titled "Pack On More Muscle With These Muscle Building Tips! " And it was published in an Aug 6, 2012 blog titled "What You Should Know About Muscle Building," as well as an Aug 29, 2012 blog titled "Muscle Building Advice That Anyone Can Try Out." It was also published in an Oct 8, 2012 blog titled "Great Guide On How You Could Get Bigger Muscles ," as well as an Oct 18, 2012 blog titled "Great Tips For Packing On Some Muscle." And it was published in a Nov 11, 2012 blog titled "Does it really matter if you Jog first thing in the morning, or later in the day?" It was also published in a Dec 23, 2012 blog titled "How To Build Muscle And Start Looking Great."
Moving into 2013, the photo was published in a Jan 1, 2013 blog titled "Solid Advice For Building A More Muscular Physique." It was also published in a Jan 7, 2013 blog titled "Tips For Achieving Your Weight Training Goals." And it was publshed in a Jan 10, 2013 blog titled "Three Ways To “Possibly” Lose Weight," as well as a Jan 22, 2013 blog titled "Bodybuilding Is Easy By Using This Advice." It was also published in a Jan 28, 2013 blog titled "Try Out Some Of These Weight Training Tips!" And it was published in a Feb 19, 2013 blog titled "Put On More Size With This Muscle Building Advice." It was also published in an undated (late Feb 2013) blog from Singapore, titled "Calisthenics: A Surprising Alternative to Weight Training." And it was published in a Feb 28, 2013 blog titled "Muscle Development Tips For A Bigger And Better Body!", as well as a Mar 3, 2013 blog titled "Check Out Some Of These Bodybuilding Tips!" It was also published in an undated (early Apr 2013) blog titled "Proven Weight Training Tips For A Better Body" And it was published in an Apr 2, 2013 blog titled "Obsessions With the Body; Do They Produce Health?" It was also published in an Apr 7, 2013 blog titled "Increase Your Muscle Mass With These Tips!."
**************************************
For the past several years, my family has spent a week, in early January, at the Club Med village in Punta Cana, on the southwestern shore of the Dominican Republic. (Our first visit to Club Med was back in 1985, and some photos of last year's trip can be seen here.)
This year's visit coincided with the awful earthquake that struck Port-au-Prince, Haiti -- about 260 miles away, on the eastern coast of the island of Hispaniola. From what I understand, the fault line went straight west, in our direction, but then cut south at approximately the border between Haiti and the Dominican Republic. In any case, none of the vacationers at Club Med felt even the slightest tremor; we got all of our news of the ensuing events just like everyone else, by watching CNN. But because we expected the capitol city of Santo Domingo to be chaotic and congested with relief efforts, I decided to skip a daylong trip that I had tentatively planned to photograph the churches and markets of what turns out to be the oldest city in the Western hemisphere (settled in 1497 by Christopher Columbus' brother).
In recent years, most of my photographic efforts have focused on the vacationers who fill the beaches and pool -- especially the children, who come from Canada, France, Venezuela, and various other parts of the world besides the United States. So I decided to focus on something else this year, and ... well, you can judge the results for yourself...
Picture taken in London, England.
Don't use my picture in any way without my permission!
Please visit my website
1997 Subaru Imprezza Turbo Rally Car used by Colin McRae and his Co Driver Nicky GristBuilt by Prodrive as part of the Subaru World Rally Team, driven by Colin McRae to win Network Q RAC Rally GB 1997 and won the Manufacturers Championship for Subaru. I bought it in 2012 and fully restored it to exact specification as used by Colin. The car has featured at several notable events since including Goodwood Festival of Speed, Salon Privé and London Classic.
I love Olives. Today, June 1 is National Olive Day. This is what you call a "poster stamp" (see below for more info on those). This is from my personal collection of paper ephemera. In fact, it's the only poster stamp I have left. I've sold all my others. I kept this one because I had planned on making a print of it someday. Yes, June 1 is National Olive Day, but according to this poster stamp, California Ripe Olive Day was May 16 1916. Wow, that is 100 years ago.
I see a lot of Olive trees living in California. Some are just in people's yards!!!
Info from wiki on poster stamps.
If you like them, you can also google them or look on ebay. Overall they are pretty cheap. I think I paid $1-$2 for this one. I might have some of the old ones that I've sold still scanned on my computer. I should also mention this stamp is not 100 years old, but a replica of a poster of that time. It's probably from the 1960s.
en.wikipedia.org/wiki/Poster_stamp
©All Rights Reserved.
Please do not use this photo on websites, facebook, books or blogs without my explicit written permission.
It looked like the second track has not been in use later in the evening, as you see the small snow caps on the rails.
A free download, a diecut with the Friends dictionary definition and a butterfly for this card.
Simple CAS:
One of dozens of similar hand-painted advertising signs for F.M. Light & Sons stretching along US 40 for miles either side of Steamboat Springs, Colorado. I stopped and found a fine store selling Western wear of all sorts....but no $6.98 cowboy hats.
I used six Satellite Modules (high power RGB LED arrays), six ShiftBars (three channel LED controllers), a Seeeduino, and a ShiftBrite Shield to build a New Year's ball for our own mini Times Square event. The ball was a "sparkleball" made of about 120 16oz plastic cups hot-glued together. We threw a rope over a branch and lowered it at midnight...it lit up the whole yard!
Used as mobile HQ for "The Tartan Army" sponsored by the Daily Record during France '98,seen here at Lathalmond Bus Museum.
Patrons use computers in an internet cafe that was assisted by a microloan from the Social Welfare Fund. Republic of Yemen. Photo: Dana Smillie / World Bank
Photo ID: DS-RY027 World Bank
Usei:
- 01 camada do endurecedor de unhas Mavala Scientifiqué, da Mavala
- 01 camada da base reestruturadora e fortalecedora Dna Nails Technology. da Risqué
- 02 camadas do "novo" roxo Burguesinha, da Ellen Gold
- pinceladas do glitter lilás Barcelona Girl, da Top Beauty, nas pontas das unhas
- pinceladas do glitter roxo London Girl, da Top Beauty, nas pontas das unhas
- 01 camada da Cobertura Intensificadora da Cor, da Colorama
Meninas, essa é a minha contribuição para a campanha No H8, contra o bullying, que acontece no mundo todo hj. Vejam mais sobre a campanha aqui.
Eu sinceramente não sei o que acontece com as marcas de esmalte. Lançam esmaltes DIVOS, e um mês depois, qdo já está todo mundo batendo pino pra ter o seu, mudam a cor. Pode?!?!? Não, não pode!!! Olha o Burguesinha que eu usei aqui, e vejam se se parece com o que eu usei hj... Eu vi o danado na perfumaria, e tive que comprar só pra sanar a minha curiosidade. E eu estava certa! Escureceram o bonito e tiraram toda a pegada neon dele! :O :O :O Que pecado!!!!! Mas enfim... Esse Burguesinha tem uma cor bonita. É um roxo escuro, e bem pigmentado. O brilho é lindo e a secagem é rápida.
Resolvi fazer uma ombré com os mini glitters hexagonais nas cores lilás e roxo. Usei o Barcelona Girl e o London Girl. Eles são bem carregadinhos. Gostei mto. Não são grosseiros, fazendo uma textura na unha. E ficam ainda mais bonitos qdo finalizamos com o top coat.
Como fiz as unhas tarde da noite, o acabamento não ficou mto bom, mas enfim... Pra participar da campanha, tá valendo!
this book uses the traditional japanese embroidery technique of sashiko to embellish a variety of sewing projects. traditional sashiko uses the repition of many tiny stiches to create an overall pattern.
the projects in this book use the same embroidery process to create large and small images, repeating patterns, geometric shapes, and other cute designs. projects include: bags, furoshiki (wrapping cloth), pouches, book covers, pot holders, tea cozies and coasters, placemats and aprons, napkins, cushion covers, curtains and tablecloths, hanging decorations/ornaments, vase covers, and ideas for embroidery on clothes.
all the written directions are in japanese, but there are clear photos of basic stitches, and patterns and diagrams for all the projects. the projects have a bit of a range from simple to intermediate difficulty, although with some sewing experience, you should be able to recreate all the projects in this book. for even a complete beginner, you can use all the embroidery ideas and make the simpler projects. the patterns for the sewing projects are included (they overlap, so you need to photocopy them and then cut out the ones you are using), as are the embroidery patterns.
71 pages.
Use crafty scraps (felt, bits of pretty paper & card, leftover sequins & buttons) to make pretty gift tags.
bugsandfishes.blogspot.com/2011/12/how-to-crafty-scrap-gi...
Description: Although Thomas Smillie, the Smithsonian's first photographer and curator of photography, used images to catalog much of the institution's physical object collection, he also extensively photographed pages of books on topics of personal interest to him as a way of copying the material for future use. Smillie also photographed letters and documents as a method of preserving the Smithsonian's records.
Creator/Photographer: Thomas Smillie
Birth Date: 1843
Death Date: 1917
Born in Edinburgh, Scotland, in 1843, Thomas William Smillie immigrated to the United States with his family when he five years old. After studying chemistry and medicine at Georgetown University, he took a job as a photographer at the Smithsonian Institution, where he stayed for nearly fifty years until his death in 1917. Smillie's duties and accomplishments at the Smithsonian were vast: he documented important events and research trips, photographed the museum's installations and specimens, created reproductions for use as printing illustrations, performed chemical experiments for Smithsonian scientific researchers, and later acted as the head and curator of the photography lab. Smillie's documentation of each Smithsonian exhibition and installation resulted in an informal record of all of the institution's art and artifacts. In 1913 Smillie mounted an exhibition on the history of photography to showcase the remarkable advancements that had been made in the field but which he feared had already been forgotten.
Medium: Cyanotype
Culture: American
Geography: USA
Date: 1890
Collection: Thomas Smillie Collection (Record Unit 95) - Thomas Smillie served as the first official photographer for the Smithsonian Institution from 1870 until his death in 1917. As head of the photography lab as well as its curator, he was responsible for photographing all of the exhibits, objects, and expeditions, leaving an informal record of early Smithsonian collections.
Repository: Smithsonian Institution Archives
Accession number: RU95_Box77_0030