View allAll Photos Tagged worktable
The other worktable with the sewing machine. The completed feet are sewn to the prepped yeti bigcreep bodies, awaiting completed arms.
My worktable, as I saw it at my arrival the day of my birthday..an original composition made by my colleagues, meaning "auguri" (happy birthday")...
Made with the needle-felt technique without any armature in 100% merino wool. His girlfriend is also awaiting finishing on my worktable. He should nag me more....
Volunteers helped revitalize the school vegetable garden at Dual Immersion Academy -an inner city bilingual school. We also repaired the greenhouse; built it some worktables, and prepared the garden wall surface for a mural to be painted by the school children.
#museum #park #vienkočuparks #woodcraftmuseum
( #kokamatniecībasmuzejs )
#kokamatnieki, #līgatne #parish, #cēsis #municipality, #latvia #🇱🇻
#museum #park #vienkočuparks #woodcraftmuseum
( #kokamatniecībasmuzejs )
#kokamatnieki, #līgatne #parish, #cēsis #municipality, #latvia #🇱🇻
www.trojanworld.com/product/cutting-equipment/ct300-manua...
Features
1. Adopts high-power motor (5.5Kw) to make the cutting more powerful and labor-saving;
2. Cast aluminum base, integrated worktable, strong rigidity, making cutting more stable;
3. Extra large working surface and operating space for faster specimen clamping;
4. The simple and clean operator panel allows any operator to learn how to use quickly;
5. Enlarged cooling pipes for more adequate cooling;
I was planning on leaving this here, but have instead decided to put it on the back wall next to the other work table that was in the garage when I bought the house. It will keep it neat looking and will make it so there is nothing in the way of the door on the side of the garage.
Yes, the room is orange - it came that way. Not as pinky-orange as it looks but still ORANGE! (Worktable is an antique from Bali)
They were just over a year old in this photo. They're lounging on my husband's worktable, with a framed wildlife montage done in pen by my husband behind them.
I finished most of the work on my new KAP rig last night [Monday, April 9th, 2007], and afterward I tested the camera by 'snapping' some random photographs. When I looked at them later I noticed this one caught the reflection of the rig in the window.
After I looked at this pic for a few seconds, it occured to me that the reflection actually looked like some kind of mechanical "thing" outside my window looking in....
I was also surprised that all the stuff in the image seems so well "framed". That's strictly an accident - all that stuff was just strewn about on my worktable, as was the position of the KAP rig itself.
I've named this rig "Legion" from the Biblical quote, "I am legion, for we are many." That refers to all the times I started and stoped building on it, and all the 'design' changes that occured while I was building it. [It's a loooooooooooooooooong story.]
Classroom B can be configured as a rehearsal space or classroom for 30-40 people. It is located on the 2nd floor of SOMArts adjacent to the Dance Studio and is accessible by entering via the Brannan Street Entrance.
Classroom B is home to figure drawing classes on Saturday afternoons. It has two large work tables, and is 18 x 40. A photo of the space with worktables can be found here:
www.flickr.com/photos/somarts/6775942202/in/set-721576237...
Keith Monsour specializes in artfully-crafted jewelry for men and women.
Keith's e-mail: klmmatt1designs@aol.com
Artist statement: In 2007, the Rideau Canal, linking Lake Ontario with the Ottawa River, celebrated its 175th anniversary and was designated a Unesco World Heritage Site. In the 1820’s while the canal was under construction, photography was not available, however a civilian employee of the canal project, Thomas Burrowes painted a series of watercolours that are in the collection of the Archives of Ontario. I chose one of these paintings that was rendered from a point just below the present Chateau Laurier Hotel looking at the recently completed lower locks at the Ottawa River.
In the foreground I have placed a worktable and easel upon which a Burrrowes painting in progress rests along with paint pots and other tools of the trade. To the left I have sculpted a reproduction of the engineer’s drawings of the locks and lock gate as drawn by Colonel John By that I found in the National Archives in Ottawa. The tile itself is sculpted in stoneware clay, coloured with underglazes and fired to 2130 degrees F.
Upon completion of a Bachelor of Architecture Degree from Pennsylvania State University and an applied arts diploma in ceramics from Sheridan College I have spent the past 36 years exploring the medium of relief sculpture in clay. I am currently intrigued with the combination of background landscape with still life in the foreground. I often use archival material to research many projects as I have a particular interest in historical content. This project was a perfect application for the direction my work has been evolving and I am very grateful for this opportunity presented by the Archives of Ontario.
En 2007, le canal Rideau, qui relie le lac Ontario à la rivière des Outaouais, a célébré son 175e anniversaire et a été inscrit comme site du patrimoine mondial de l’UNESCO. Dans les années 1820, à l’époque de la construction du canal, la photographie n’avait pas encore été inventée; toutefois, un dénommé Thomas Burrowes, employé civil affecté au projet du canal, a peint une série d’aquarelles aujourd’hui conservées dans la collection des Archives publiques de l’Ontario. La toile que j’ai choisie présente une vue en légère contre-plongée de l’actuel site de l’hôtel Château Laurier, à proximité des écluses aval récemment achevées sur la rivière des Outaouais.
À l’avant-plan, j’ai placé une table de travail et un chevalet, sur lequel est installé un tableau inachevé de Burrowes, tout près de pots de couleurs et d’autres outils de peintre. À gauche, j’ai sculpté une reproduction des écluses et de la porte des écluses d’après les dessins de fabrication du colonel John By que j’ai trouvés dans les Archives nationales à Ottawa. Le titre lui-même a été sculpté dans de l’argile à grès, peint par décor sous émail et cuit à une température de 2 130 °F (environ 1 165 °C).
Après avoir décroché un baccalauréat en architecture à la Pennsylvania State University ainsi qu’un diplôme en arts appliqués avec spécialisation en céramique du Collège Sheridan, j’ai passé 36 années à étudier la sculpture en relief sur argile comme moyen d’expression. Ma curiosité est actuellement stimulée par la combinaison de natures mortes en avant-plan sur fond de paysages. Souvent, dans le cadre de nombreux projets, j’effectue mes recherches à l’aide de documents d’archives car je m’intéresse particulièrement au contenu historique. Ce projet constituait une application cadrant parfaitement avec les visées de mes travaux. Je suis donc très reconnaissant pour cette chance que m’ont offerte les Archives publiques de l’Ontario.
large,luminous studio workroom. 2 worktables available.
very spacious, with natural light. Rearrange furniture for your needs
wonderful view of western gorge autonomous heating system
1952 KOM-PAK SPORTSMAN
Sold $1,100.00
[This is brilliant. I love the integrated rooftop boat too! No clue why a sold price was listed for this item given at it was sold as a pair with Lot #392]
Lot #392.1 - This custom fiberglass 1952 Kom-Pak Sportsman trailer with a fiberglass boat on top weighs approximately 1,180 pounds. The trailer is equipped with a built-in worktable, cabinets, a 5.4-foot ice refrigerator and an 8.4-gallon water tank. There is a convenient roll-off for one-man boat removal. This trailer benefited from inside storage in its early years and then went into a California Camper Trails Museum. When the museum was disbanded, the 1952 Ford Mainline Ranch Wagon (Lot #392) and Kom-Pak Trailer were sold to a couple in Fishkill, NY. That owner outfitted the trailer for use by him and his wife. The trailer has since been further enhanced for shows with a period-correct sleeping bag, Lava soap, fishing gear, life preservers, flashlights, stove, cookware, coffee pot, first-aid kit and a portable radio. **SOLD AS PAIR WITH LOT #392**
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Today we're back at Barrett-Jackson for our third and last visit there this week to catch some of today's auction.
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It's Scottsdale Car Week! I flew here and Fred drove with Harriet for some warmer weather, friend visits, and cars!
Elizabeth Storer Smith (1726–1786)
Artist: John Singleton Copley (American, 1738–1815)
John Singleton Copley’s portraits of Mr. and Mrs. Isaac Smith, set in gilt frames that only the richest Bostonians could afford, capture the image of wealthy Americans on the eve of the Revolutionary War. Isaac Smith, the uncle of Abigail Adams, and thus by marriage of Founding Father John Adams, was a successful Boston merchant who sold wine and other imported goods. Wearing a powdered wig and an elegant plum-colored suit with gold buttons, he sits at a worktable, preoccupied with the papers at hand. Elizabeth Smith gazes directly out at the viewer. She holds grapes in her lap, perhaps a subtle allusion to her husband’s business. Luxury is evident everywhere, from the armchair upholstered in yellow damask, to the pearls in her hair and around her neck and the rich silk of her dress and robe. Copley provided his sitters with images that are simultaneously realistic and idealized—recording not only how the Smiths actually looked but also the way in which they wanted to be perceived.
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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Built from reclaimed marble, recovered by reuse action (reuseaction.com) from a lavatory renovation in one of the Buffalo Public Schools. It was a stall partition, so a close inspection shows who loved who, and all sorts of school age nonsense scratched into the marble. We cut it down to size for the customer and left the markings in the marble as part of its charm. The legs, undercarriage and mounting brackets are all made of reclaimed house trim. The marble installed originally in the 1920s, most likely by Italian immigrant craftsmen. In this city the old wood work was done by Poles and Germans, while the stone work was done by the Italians. crafts they brought from their home countries. Without rescuing this material it (and its heritage) would be in the landfill.
Each piece we build is unique and imbued with history...and keeping materials out of landfills.