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Gangplank Academy - April 19, 2011
'Visual Communication through Sketching' with Jeremie Lederman of Big Red Ape.
I couldn’t decide which of these two versions of “Pit Stop” to post, so I’ll post both of them. I also wasn’t sure which one would be best at the top of my photostream – the one people wouldn’t probably see first. I think the sepia version is the better choice.
taken from the sketchbook titled ' Contrasts'.
VISUAL LIBRARIES - Leave your Mark.
A collaborative, visual project which encourages you to sign out a Visual Library Book and ‘Leave Your Mark’.
A Visual Library Book is whatever you want it to be, a sketchbook, a journal, a diary, a notepad.
You can ‘Leave Your Mark’ in whatever way you want, ranging from drawing, writing, sewing, adding photographs, markings, printing and sticking. How you make your marks is entirely up to you. All we ask is that you have fun with the different themes.
45 Visual Library Books have been placed in Portsmouth Central Library and each has its own theme ranging from; Portsmouth, My City, When I Open My Eyes, Whilst I Was Waiting, Love, What’s in My Pocket and Memories. The intention is for you to feel free to explore the Visual Library Books and choose a theme that you like.
For Further Details: Dr Maureen O'Neill and Claire Sambrook
maureen.oneill@port.ac.uk | claire.sambrook@port.ac.uk
In Association with: Rhodia, Seawhite, Portsmouth City Council, University of Portsmouth, COPIC Pens
International artist Calum Colvin explains how he was inspired by Sams Burns Yard to create his photographic sculptural works of Art.
Vera é artista visual, com vasta experiência nas artes plásticas e outras derivações das artes visuais. Sempre desenvolvendo o sentido lúdico, efêmero e experimental do pensamento criativo.
Seu ateliê, na Vila Olímpia, sempre está cheio de amigos e convidados que, além da boa conversa, podem degustar suas diversas expressões artísticas.
Seus quadros, wearing art e performances já são de conhecimento público, porém, seu ateliê tem espaço para outra paixão, a gastronomia, e assim há muitos anos Vera pesquisa e desenvolve esta outra forma de arte.
INTHANG presents
"Visual T shirts" exhibition
"ietsmooisaandemuur" Gallery
schilderstraat 17A
's-Hertogenbosch
The Netherlands
Tel +31 (0)73 6132971
2 June - 30 June 2007
Opening reception: 2 June 2007, Saturday, 3-5pm
hours Fri-Sat 12-5pm and by appointment
Artists:
ANYMALFUNCTION
BurtonwoodandHolmes
Chika Ito
Gerard van Selst
Kees van den Boogaart
Marrie Hoedelmans
Massimo Arena
Matteo Bertelli
Michael Ronaldo Cabreza
Wim Habraken
INTHANG is pleased to present "Visual T shirt"
exhibition in 's-Hertogenbosch, the Netherlands.
"Visual T shirt" represents a wide selection of
artists working internationally. Each artists created
inspiring images for this exhibition. Original images
are exclusively handprinted(limited edition) at kurtface
silkscreening studio with Printmaster Wim Habraken.
In addition to this unique collaboration, all the
images are printed on Eco T shirts which is fair
traded and organically grown by Bo Weevil.
The gallery will have about twenty T shirts hanging.
Purchase of T shirts will be by ordering.
Orgenized by Massimo Arena and Chika Ito.
For further information please visit www.inthang.net
or contact info@inthang.net
INTHANG
Clarastraat110
5211LB
's-Hertogenbosch
The Netherlands
Vinilos, formas troqueladas, displays, cajas de luz. Retoque, impresión y montaje de imágenes de alta calidad para moda, para aplicaciones en puntos de venta, stands, displays, decoración de interiores. Personalización y acabados de calidad. www.sabatebarcelona.com
A imagem apresenta o majestoso Mosteiro de Santa Maria da Vitória, mais conhecido como Mosteiro da Batalha, em Portugal. A narrativa visual desta fotografia mostra o exterior do mosteiro, com sua imponente fachada gótica emoldurada por uma vegetação exuberante, incluindo uma palmeira alta e arbustos verdes com folhagens em tons de verde e amarelo, e um gramado bem cuidado em primeiro plano.
A história do Mosteiro da Batalha começa em 1386, por iniciativa do Rei D. João I, em agradecimento à Virgem Maria pela vitória portuguesa na Batalha de Aljubarrota, travada em 1385, que assegurou a independência do reino de Castela e consolidou a Dinastia de Avis. A construção se estendeu por mais de 150 anos, resultando em uma fusão de estilos arquitetônicos, predominantemente o Gótico e o Manuelino.
No exterior, a arquitetura do mosteiro é um espetáculo de elementos decorativos. Embora a imagem não mostre detalhes ampliados, é possível observar a complexidade e a riqueza do trabalho em pedra. A fachada principal, por exemplo, é conhecida por seu grande portal (Portal Ocidental), que incorpora elementos do Gótico final e já influências do Manuelino. Este portal possui múltiplas arquivoltas ornamentadas, que são as molduras em arco que contornam a entrada, e é ladeado por contrafortes, estruturas salientes que servem para sustentar as paredes.
As janelas do mosteiro, típicas do estilo gótico, são altas e estreitas, muitas vezes com rendilhados em traceria, criando padrões intrincados na pedra que parecem rendas. O conjunto do mosteiro exibe uma profusão de pináculos poligonais, torres e torreões que se erguem verticalmente, acentuando a imponência da construção. As gárgulas, figuras esculpidas em pedra que servem como escoamento de água da chuva, também são elementos decorativos presentes no mosteiro, muitas vezes em formas de animais ou figuras grotescas.
O estilo Manuelino, que se desenvolveu mais tarde na construção do mosteiro, especialmente em áreas como o Claustro Real e as Capelas Imperfeitas, é caracterizado por elementos decorativos inspirados na Era dos Descobrimentos, como motivos marítimos, cordas, conchas, ramos de coral, flores de lótus, troncos, folhas e a esfera armilar, símbolo do Rei D. Manuel I. Embora esses detalhes sejam mais proeminentes em outras partes do mosteiro, o exterior já prenuncia essa riqueza ornamental.
A imagem, com sua luz solar brilhante e céu azul, realça a cor clara da pedra calcária do edifício, que se harmoniza com o verde vibrante da paisagem circundante, criando uma cena de beleza e grandiosidade que reflete a importância histórica e arquitetônica do Mosteiro da Batalha.
Through window to outside
So dark and eerie
Scary and hazy
They live
Behind bars
So bright and clear
Comforting and warm
I live
Re-THINGing Gesture in Contemporary Sculpture Practice displayed at Esplanade Jendela (Visual Art Space).
Vinilos, formas troqueladas, displays, cajas de luz. Retoque, impresión y montaje de imágenes de alta calidad para moda, para aplicaciones en puntos de venta, stands, displays, decoración de interiores. Personalización y acabados de calidad. www.sabatebarcelona.com
Against Yale University’s Celebration of Hate, Slavery, Racism, and White Supremacy: Yale students and New Haven human rights activists petition a name change for Calhoun College in a letter delivered to Dr. Peter Salovey, as well as an end to Yale Police Department harassment and intimidation, 189 Elm Street, New Haven, Connecticut, Friday, September 23, 2016.
Peter Salovey
Office of the President
Yale University
PO Box 2082229
New Haven, CT 06520-8229
Re: Calhoun College: Change the Name
Dear President Salovey:
The conversation over the names of Yale’s colleges and their connection to slavery and the ongoing issues related to racism exploded into the national consciousness in July with the smashing of the stained glass window at Calhoun College that depicted 2 enslaved people in a field of cotton.
The man who broke the window said the offensive nature of the images was pointed out to him by a Yale alumnus who was at Calhoun for his reunion. Yes, he was an African-American.
A generation ago, the image of a black man in chains cowering at Calhoun’s feet was also removed. The removal of the offensive windows does not remove their underlying purpose or meaning because Calhoun himself was such a prominent proponent of slavery.
Yale’s conversation about slavery and its connection to the university appears to be limited to its campus, despite the fact that the university is surrounded by a diverse population, the majority of whom are people of color. The people of New Haven, whether residents working in the dining halls, staffing an office or policing on campus, want to participate in that conversation because they have a stake in its outcome.
We, a coalition of Yale alumni/alumnae, Yale faculty, Yale students, residents of New Haven, political leaders and organizations, hereby petition you, President Salovey, and the Yale Corporation Board, to take immediate action to remove the name of “Calhoun” from the College and to rename it consistent with the great message embodied in the Amistad memorial outside of City Hall.
Signed
The Low-Residency MFA in Visual Studies presents a lecture by neuroscientist Brian Dunn.
Brian Dunn is an editor, educator, and researcher in the field of human affective neuroscience. He and his colleagues use functional magnetic resonance imaging (fMRI) to identify the neural correlates of human emotional experiences. Since 1994, he directly collaborates with studio and recording artists on the neural and psychological bases of their concerns. He is currently completing a PhD at Concordia University’s Center for Studies in Behavioral Neurobiology in Montreal.
July 26, 2012.
Photography by: Matthew Miller '11.
Photos by Rey Ramon, Visual Information Specialist, 7th ATC
Connect with U.S. Army Garrison Stuttgart online!
Garrison Twitter
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Ejercicio taller Sistemas VIsuales/
- Interpretación visual de las 10 reglas textualesde sist. propuesto por otro.
A3- 2/0- color pantone: sobreimpresión.
Outpost 150722
Beuys Brown and Klein Blue
Magdalena Broska.
The Transubstantiation of Matter.
Beuys's materials are not to be understood literally, by their outward appearance.
Beuys emphasises that the brown floor paint is not just a colour but also a plastic substance.
I have chosen brown so as to present a plastic substance and thus express something that relates to every form of substantiality, just as I am trying to do with this superimposed red. I simply want to bridge the gap between a discussion about colour and the problem of substantiality.
Joseph Beuys, Drawings. 1979
For Beuys the real and the concretely employed material is only seemingly real, fully in a philosophical sense: a phenomenon from some essential being that is hidden behind appearances, and that is to be elicited by a kind of counter- image process.
Conceptions of Counter Images/Transformation.
The Homoeopathic Method/Like cures like.
Beuys's brown and Klein's blue form a pair of opposites: according to the hermetic-alchemical world view, such opposites contain the arcane power of polar dissimilarity that seeks to be augmented and joined together, a polar way of thinking that seeks resolution.
With his brown oil paint, Joseph Beuys assumed a counter-position to Yves Klein and his blue, which stands for immaterial manifestations, the sky, the sea, and the light of the south, and which conveys space and wide vistas.
In terms of consistency, Beuys's brown is purely coating paint, as commonly used for rust proofing.
Its visual appearance links it with earth, heaviness, darkness, and also blood.