View allAll Photos Tagged worktable
Utrecht University Library – Wiel Arets Architects
Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004
The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.
The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.
The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.
The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.
I just loved the calligraphy in this 1920 French magazine article whose page was lying on my worktable.
My worktable is my old dining room table. Under the table I keep toys for my son to play with while I work. I painted the peg board so I have a framed out chalkboard on it.
Got this desk top in 5th grade. My Mom and Dad got it for me as a present from Ikea at the King of Prussia in PA when they surprised me by moving my room (then located in the smallest room in our home) to the larger front room which overlooked good old Jefferson Street.. Every homework assignment, book report, long night-all-nighter study-fest for math/english/biology/history/et. all tests were studied at this desk. First date phone call was made from this desk. Drivers license signed here. Pretty much every sketch, doodle, hair brain idea was hatched here. Then through college, then on to work / "professional career", every logo, project, jig, tooling spec, frame drawing. Everything. I shit you not. I've had it close to 3 decades. The original legs sucked and I'd catch them with my chair's wheels every time I'd rollout from under neath it. Just refinished it and mounted it to it's new frame. Can't wait for the next 3 decades of projects to unfold right from this table top.
Yes I am one of "those" types ~ extremely right brained.
I always have a bunch of projects at once. My ultimate studio space would have a separate table for each technique...I would need a 2,000 plus sq foot loft.
There would be the drawing and painting table. Along with great flat files for the large pastels and paintings on paper I used to do. And storage for all the p[aints and mediums. and a big easel.
The yarn/ cords, and fibers need good organizing...by color. Crochet, knitting needles ...all need a dedicated place too. Along with the specific magazines and books for these crafts
The fabrics and sewing machine table plus a lot of shelf storage. I have fabrics, and three full size sewing machines....all inherited or picked up over 45 years of life.
Beads and buttons...along with the jewelry making work area. That is going to be large and very organized. And all those tools...like the dremel, and vice, and...I would love to get back into enameling agin...so a tiny kiln..and all the powders....ha!
Then wood amd metal working tools...and a table saw, router, and so much more...a dedicated tool shop with a dust free vacumn system. Ha Ha!
Oh, and a safe spray booth for all the chemicals I use. No fun working in my bedroom with a respirator now...
Then I would LOVe to have a large kiln and get back into ceramics...that needs a LOT of space.
My head hurts...but its fun dreaming about all this. If I did have all this...I would not have time...and that would be key. :-) TIME is REALLY what I need.
boston, massachusetts
january 1971
metalsmith / jewelry maker
meeting house gallery, beacon hill
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
Or should it be "You wanna piece of me?"
Jester back when he was lolling around on my worktable a couple of weeks ago. How did I miss this one?
Lower image shows the wings on my worktable I created for the 2015 Victoria's Secret Fashion Show, with sketch by Jane Kennedy on upper left and photo of Daniela Braga on the runway on the upper left from Instagram account vsangels.
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“In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.”
J.R.R Tolkien, The Hobbit, Chapter I: AN UNEXPECTED PARTY
Welcome to the Shire. The starting and ending point of the famous books and films “The Hobbit” and “The Lord of the Rings”.
It is a perfect place to relax, read and fill your hobbit stomach with plenty of delicious food.
The Hobbit hole consists of 5 different rooms. A nice kitchen with a big table, a full storage chamber, a cosy living room with a fireplace and a worktable, an entrance room to welcome invited and uninvited guests and like all hobbit holes it has a round tunnel that connects the rooms.
I would suggest that it would include the minifigures: Frodo, Sam, Bilbo, the 13 dwarves and of course Gandalf.
Please support this creation and help it to become an official Lego Set.
Remember, it doesn’t cost you anything and you would do me a big favour.
Specialist equipment is made available to users of this science lab. Tables are arranged so as to allow group collaborative work. Electricity points are located at convenient points. A white board and a ceiling mounted projector are available. Artificial lighting supplements the natural light in the room. The seating offered suits the needs of the users and the dimensions of the worktables.
Worktable, scarves, shawls, bags and yellow re-vamped slip-dress. Blogged about at www.kirsten-fleurdeboheme.blogspot.com/ ; mandarineditalie.blogspot.com/ and tricotandoascores.blogspot.com/2009/07/fleur-de-boheme.html
I left a puka (an opening) at my worktable so I have a spot where I can draw, write, what ever. On the other side of the worktable is where my sewing machine is, and there's a puka there too. I can even tunnel my way to the otherside, should I choose too. And I choose not to. BUT... I do have a nice big cave to hold batting and stuff. More "stuff" then actual batting.
It's also where the dogs hide their bones, tennis balls and chewed up socks.
Our new house has a "shed" (really just a room that you have to get to by going out of the kitchen on to the porch). It needs a lot of work I've already pulled some vines out that were creeping in. But the potential is huge, I always end up with the random room that isn't supposed to be a room for my studio (except in this house). So here is my fist set of inspiration for the project. I'm dealing with having the computer in one house 40 miles away from the other so it might be a bit before I can load pictures of the room in it's current state. 1. My sewing & crafting studio, 2. Craft Room - Studio Worktable, 3. anthropologie craft room window display 2, 4. in daytime, 5. Art Studio Revived, 6. cleaned up, 7. after, 8. Top desk drawer, 9. WIP: Craft Room Update, 10. Plate rack o' fun, 11. Ribbon Rack, Tools, Hanging Art, East Wall, 12. studio in the woods later that day, 13. beach collection, 14. Untitled, 15. bedroom, 16. Untitled, 17. color wheel, 18. all together, 19. one afternoon, 20. Current incarnation of my inspiration wall, 21. Untitled, 22. my art studio christmas tree resolution, 23. A favorite corner, 24. January 7 2008, 25. studio luxe! my desk at work
Created with fd's Flickr Toys.
Getting closer to being done with her now. I'm at the detailing stage and I'm having a lot of fun.
After working on this little sea princess I want one of my own. Oh well, maybe one day!
Principal Rembert Seaward and Washington Capitals' hockey mascot Slapshot give each other a hug after compare arms-to-wings to see who has more muscles, when U.S. Department of Agriculture (USDA) People’s Garden Executive Master Gardeners, friends, and family, along with Washington Capitals fans volunteer in District of Columbia Public Schools’ (DCPS) Beautification Day, on Saturday, August 25, 2012, at Thurgood Marshall Elementary School, in Washington, D.C. Each year people are invited to help “spruce up” public school facilities in preparation for the first day of school. More the 70 volunteers pitched in at this large school facility. The People’s Garden effort involves building and painting raised planter boxes, then preparing the soil mixture so they are “ready to grow.” Additionally, a team that includes descendants of U.S. Supreme Court Justice Thurgood Marshall assembles a prefabricated garden toolshed. The Justice’s son, John Marshall leads the team, which includes Brianna the Justice’s great-grand daughter in one of many multi-generational efforts at this school today. Washington Capitals Forward Mike Riberio, his family and mascot Slapshot participated in every project underway at Marshall School. From the outside gardens, to inside murals, and robotics worktable construction, the teams made their goals. USDA Photo by Lance Cheung.
This classic Chalon Concave corner kitchen, with a round Worktable was the perfect place to relax and chat.
Washington Capitals' hockey mascot Slapshot gives his redesign of planter box uprights, a thumbs-up, to the volunteers that happily try to explain that uprights need to be up, and at a right-angle to the base, when U.S. Department of Agriculture (USDA) People’s Garden Executive Master Gardeners, friends, and family, along with Washington Capitals fans volunteer in District of Columbia Public Schools’ (DCPS) Beautification Day, on Saturday, August 25, 2012, at Thurgood Marshall Elementary School, in Washington, D.C. Each year people are invited to help “spruce up” public school facilities in preparation for the first day of school. More the 70 volunteers pitched in at this large school facility. The People’s Garden effort involves building and painting raised planter boxes, then preparing the soil mixture so they are “ready to grow.” Additionally, a team that includes descendants of U.S. Supreme Court Justice Thurgood Marshall assembles a prefabricated garden toolshed. The Justice’s son, John Marshall leads the team, which includes Brianna the Justice’s great-grand daughter in one of many multi-generational efforts at this school today. Washington Capitals Forward Mike Riberio, his family and mascot Slapshot participated in every project underway at Marshall School. From the outside gardens, to inside murals, and robotics worktable construction, the teams made their goals. USDA Photo by Lance Cheung.
Woodworking is the activity or skill of making items from wood, and includes cabinet making, wood carving, joinery, carpentry, and woodturning.
Along with stone, clay and animal parts, wood was one of the first material worked by early humans. The development of civilisation was closely tied to the development of increasingly greater degrees of skill in working these materials.
Historically, woodworkers relied upon the woods native to their region, until transportation and trade innovations made more exotic woods available to the craftsman.
With the advances in modern technology and the demands of the industry, woodwork as a field has changed. We are now able to mass-produce and reproduce products faster, with less waste, and often more complex in design than ever before.
Rechargeable power tools speed up the creation of many projects and require much less body strength than in the past. Skilled fine woodworking, however, remains a craft pursued by many. There remains a demand for hand-crafted work such as furniture and arts, however with rate and cost of production, the cost for consumers is much higher.
Description source:
View the original image at Queensland State Archives:
Boudoir from the Hôtel de Crillon
•Designer: Pierre-Adrien Paris (French, 1747-1819)
•Date: ca. 1777-1780
•Culture: French, Paris
•Medium: Oak, painted and gilded
•Dimensions:
oOverall: 9 ft. 3½ in. × 15 ft. 5½ in. × 14 ft. 3 in. (283.2 × 471.2 × 435.6 cm)
•Classification: Woodwork
•Credit Line: Gift of Susan Dwight Bliss, 1944
•Accession Number: 44.128
On view at The Met Fifth Avenue in Gallery 546.
[Arabesques] are an inexhaustible source of ways to decorate in a beautiful style the interior and exterior of modern buildings, furniture, and even clothes.
—Charles-Louis Clérisseau, 1779
Delightful arabesques painted in pastel colors on a soft blue ground form the chief decoration of this paneling, which once lined the walls of a boudoir located next to the bedroom of Louis-Marie-Augustin, fifth duc d’Aumont (1709-1782), one of the four First Gentlemen of the King’s Bedchamber. In 1776 he rented an unfinished town house that had been constructed for the builder and entrepreneur Louis-François Trouard (1729-1794). It was one of several private mansions erected behind a facade built in a grand Neoclassical style by Jacques-Ange Gabriel (1698-1782) on the place Louis XV, now the place de la Concorde.
A man of taste as well as a significant art collector, the duc d’Aumont engaged the architect Pierre-Adrien Pâris to design the interior decoration for his new abode. Having studied in Rome, partly at the duke’s expense, Pâris would have been familiar with the early sixteenth-century decorative wall paintings executed by Raphael and his assistants in the Vatican loggias. Raphael’s work clearly served as inspiration for the embellishment of the Museum’s paneling, as it shows similar charming and lighthearted motifs, such as small animals balancing on garlands and rolling acanthus scrolls. The exterior windows of this intimate polyhedral boudoir, which was painted by an unknown artist, gave access to a balcony with views toward the rue des Champs-Élysées (now the rue Boissy d’Anglas). Set into the wall paneling are four mirrors angled to reflect the arabesque decoration. (The mirror inside the niche is a replacement for the original pane of clear glass that allowed light to shine into the stairwell behind the room.) According to the 1782 inventory drawn up after the duke’s death, the boudoir was furnished with four stools, two armchairs, and an ottomane, or comfortable sofa, described as having three backs. Each stool was most likely placed under one of the mirrors, and the ottomane, complete with cushions, pillows, and bolsters, must have stood inside the niche. All the seat furniture was upholstered in blue moiré silk, the same color as that of the gros de Tours (ribbed silk) curtains. Although most of the furnishings and collections of the duc d’Aumont were sold at a celebrated auction that took place in the house in 1782, the woodwork of this room stayed in the building. The hôtel was acquired six years later by François-Félix-Dorothée des Balbes de Berton, comte de Crillon (1748-1820), and it remained the property of his descendants until the early twentieth century.
Epigraph. Quoted in Hautecoeur 1912, p. 46.
Provenance
Hôtel de Crillon, 10, Place de la Concorde, Paris, France; Louis Trouard (by 1776); Félix François Dorothée Berton des Balbes, Comte de Crillon (1788-d. 1827); Marie Louise Amélie Berton des Balbes (duchesse de Polignac) (until d. 1904); Duc(s) de Polignac (until 1906; sold to Bliss, through Mme Gaëton Désache (née Flandin), January 13, 1906); Mrs. George T. Bliss (from 1906); Susan Dwight Bliss , New York (until 1944; to MMA)
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•The Wrightsman Galleries for French Decorative Arts, The Metropolitan Museum of Art
•Period Rooms in The Metropolitan Museum of Art
•Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century
Armchair (Bergère) (Part of a Set)
•Maker(s): Jean-Baptiste-Claude Sené (1748-1803); Painted and Gilded by Louis-François Chatard (ca. 1749-1819)
•Date: ca. 1788
•Culture: French, Paris
•Medium: Carved, painted and gilded walnut; modern cotton twill embroidered in silk
•Dimensions:
oOverall: 39 × 27¼ × 25¼ in. (99.1 × 69.2 × 64.1 cm)
•Classification: Woodwork-Furniture
•Credit Line: Gift of Ann Payne Blumenthal, 1941
•Accession Number: 41.205.2
On view at The Met Fifth Avenue in Gallery 546.
Made for Marie-Antoinette’s dressing room at the château de Saint Cloud. The queen’s initials are carved on the top rail.
Provenance
Marie Antoinette, Queen of France, Cabinet de Toilette, Palace of Saint-Cloud, France (by 1788); Marquis de Casaux (until 1923; sale, Hôtel Drout, Paris, December 21, 1923, No. A); George and Florence Blumenthal (from 1923); Ann Payne Blumenthal (until 1941; to MMA).
Timeline of Art History
•Essays
oFrench Furniture in the Eighteenth Century: Seat Furniture
oThe Golden Age of French Furniture in the Eighteenth Century
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•A Guide to the Wrightsman Galleries at The Metropolitan Museum of Art
•“French Royal Furniture in The Metropolitan Museum of Art”: The Metropolitan Museum of Art Bulletin, v. 63, no. 3 (Winter, 2006)
•European Furniture in The Metropolitan Museum of Art: Highlights of the Collection
•Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century
Candelstand and Worktable (Table à Ouvrage en Guéridon)
•Maker: Attributed to Roger Vandercruse, called Lacroix (French, 1727-1799)
•Factory: Porcelain plaques by Sèvres Manufactory (French, 1740-Present)
•Decorator: Porcelain plaques decorated by Charles Vandé (French, active 1785-91)
•Date: ca. 1785
•Culture: French, Sèvres
•Medium: Oak veneered with tulipwood, boxwood, holly and ebonized holly, sycamore, and other woods; soft-paste porcelain, gilt bronze, silk
•Dimensions:
oHeight: 31⅛ in. (79.1 cm)
oDiameter of Top: 14⅝ in. (37.1 cm)
•Classification: Woodwork-Furniture
•Credit Line: Gift of Mr. and Mrs. Charles Wrightsman, 1976
•Accession Number: 1976.155.106
On view at The Met Fifth Avenue in Gallery 546.
The top of this elegant worktable was meant to be used as a guéridon, to support a candelstick offering light when the owner, most likely an aristocratic woman, was working on her needlepoint or sewing at night.
Signatures, Inscriptions, and Markings
•Marking:
oGlazed on Back of Plaque and Painted in Gold: interlaced Ls enclosing GG with letter V below [Sèvres factory mark with date-letters for 1784]
Provenance
The Lords Hillingdon, London; Edith Chester Beatty, London; Mr. and Mrs. Charles Wrightsman, New York (until 1976; to MMA)
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•The Wrightsman Collection. Vols. 1 and 2, Furniture, Gilt Bronze and Mounted Porcelain, Carpets
Nine-Light Chandelier
•Date: ca. 1785
•Culture: French
•Medium: Gilt and patinated bronze
•Dimensions:
oHeight: 36⅝ in. (93 cm)
•Classification: Metalwork-Gilt Bronze
•Credit Line: Purchase, Mr. and Mrs. Charles Wrightsman Gift, 1977
•Accession Number: 1977.83
On view at The Met Fifth Avenue in Gallery 546.
Provenance
[Michel Meyer, Paris, until 1977; sold to MMA]
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
I pushed whimsy all the way into making a movie, one of my favorite movies I've ever made....a movie that absolutely changed my life....Push whimsy; that's all I'm gonna say.
Never mind what the marketplace demands. Nobody's looking for a movie about a guy who turns another guy into a walrus except you. Make it the ultimate movie that you wanna watch.
Let's see how weird we can take this.
– Writer/Director Kevin Smith on making Tusk
What kind of movie is this?
In Tusk, a horror movie written and directed by Kevin Smith, controversial podcaster Wallace Bryton (Justin Long) gets into a bad situation while looking for a story for next week's episode. He meets old seafaring adventurer Howard Howe (Michael Parks), who has a story to tell and a hidden agenda. Eventually, Mr. Howe reveals that, while trapped on an island, he formed a life-changing connection to a walrus and, since then, intends to find someone to replace his long-lost friend. Wallace's podcast partner (Haley Joel Osment) and girlfriend (Genesis Rodriguez) become alarmed by phone messages from Wallace, saying that he's in the backwoods of Canada, trapped in a creepy house with a crazy guy who wants to turn him into a walrus. So, they set off to rescue him with the help of a special investigator who's already on the trail.
Why does Johnny have to be in this movie?
I've never been so freaked out about seeing a movie. You might remember that, these days, scary movies really scare me. I must have watched An American Werewolf in London and Poltergeist too many times as a kid.
When Tusk arrived in D.C., I planned to see it in the middle of the afternoon so that I'd be able to go home in broad daylight and have the rest of the day to shake it off. As it happened, however, I was out of town over opening weekend and realized the following Thursday that Tusk wasn't going to last in theaters. I had to go that night, if at all. I texted my dilemma to a friend, who always helps me reason these things out:
- Me: I think Tusk is leaving local theaters today. I might have to see it tonight, in the dark.
- Her: Don't do it! For your own sake!
- Me: Really? Is it THAT bad?
- Her: It depends on your tolerance, but the trailers are not encouraging.
- Me: I know, yet I'm hoping for some Kevin Smith humor to diffuse things...I'm reading moviegoer reviews...
- Me, a little later: Reviews are not helping to make up my mind.
I made it across the street from my apartment before I realized that my friend is right: there is no shame in waiting for the DVD so that I could be freaked out in the comfort of my own apartment with my cat for company. Netflix delivered Tusk to me in January, and I texted my friend the news:
- Me: I just watched Tusk and survived.
- Her: Ewww!
I can't believe I'm saying this, but I really like this movie! I started out peeking through my fingers to watch it, waiting for something sudden, awful, and disgusting to happen. I was cozy under a blanket with my cat by my side and found myself entertained, intrigued, and impressed.
See where creativity can lead?
I think most people know Kevin Smith from his popular films Clerks, Chasing Amy, and Dogma. As his popularity grew, so did his studio offers. One of the best things about Kevin Smith's work, though, is that he fully immerses himself in it by writing the story and script and filming it as he sees it. When he started getting hired as a director for movies he had nothing to do with developing, he didn't see the point and became disenchanted by the movie business. So, he walked away from Hollywood, content to make a decent living doing other things, like making live appearances about his work and podcasting.
Since 2007, Kevin Smith has been broadcasting podcasts (or SModcasts, as he calls them) through his company, SModCo. During his SModcast, called "The Walrus and The Carpenter," he mentioned an ad that he saw in a British newspaper: someone has a room to rent, and all you have to do to live there is dress up like a walrus for 2 hours every day. "The line that really captured my imagination was, 'I have for some time been constructing a realistic walrus costume.'" The story was a hoax, but by the end of the podcast, Kevin Smith had worked out a horror flick based on the story. He called for the opinions of his listeners: if they want to see this movie, tell him through Twitter by using #WalrusYes. If not, use #WalrusNo. More people responded positively, so he got started on a script. "I could've been stopped any step of the way," he says. "I could've been stopped easily, but I just pushed whimsy every day. I said, 'let me see how far I can take this.'" Along the way, many people encouraged him because they just wanted to see if he could pull off this crazy idea.
Why didn't this horror movie traumatize me as expected?
Apparently, Kevin Smith and I love movies for the same reasons.
Good acting gets us every time; it beats car chases and explosions, hands down. "The movie magic to me is always performance. Acting is the real magic trick of movies to me – that goes beyond even movies, into theater and stuff like that – telling a lie that tells the truth. So for me, the idea of Tusk was a movie about acting. It's an acting movie. It's actor porn. It's like watching people delve so deeply into their character that you forget."
Michael Parks is in some things I've seen, like the Twin Peaks TV series, Kill Bill Volume 1, and Argo, but I don't remember him in those. In Tusk, he's amazing as a calm, creepy psycho. I was hooked very early on by his lengthy conversations with Justin Long, which slowly reveal that he's off his rocker. As Kevin Smith says, this is Michael Parks's movie.
Kevin Smith takes the best approach to horror.
Because this movie is so focused on the actors' performances, you only get suggestions of something disgusting. I appreciate that! This movie only shows a few glimpses of blood and gore and let's your imagination do the rest. Your imagination can probably create something scarier than anything anyone could physically show you. The gross factor is not overplayed in Tusk. It's on film purposefully, though the premise of Tusk does call for a little shock value: after all, this crazy guy has a hostage whom he plans to turn into a walrus. Be prepared: you will see some making of a walrus costume out of disgusting materials. You will see the walrus costume itself, which is disgusting (especially when you think about how it was made and with what).
But don't worry; it's movie magic! Makeup and special effects expert Robert Kurtzman created the walrus costume lovingly, thoughtfully, and with skilled detail. "Where I think Bob really earns his money is in the eyes, Production Designer John D. Kretschmer says. "He created these wonderful imaginary creatures for the show, and for several weeks, we saw the creatures on the worktable, but what really surprised me is how elegantly and seamlessly he can join the actor to the creature. The money's in the eyes – the expression, the emotion, stuff that prevailed in the walrus suit is amazing, and that's truly where I see his genius." I can handle it when you put it that way.
Kevin Smith is a clever writer and makes me laugh.
As I had hoped, Kevin Smith did for Tusk's script what he does for all his scripts. Tusk is infused with smart dialogue and his sense of humor. What you get is a great mix of creepiness and horror with a wink to the over-the-top ridiculousness of this situation. "Tusk is best viewed through a comedic lens," he says. Some lines in this movie made me laugh out loud. One of my favorite conversations follows, courtesy of Hayley Joel Osment as Wallace's best friend Teddy and Johnny Depp as investigator Guy LaPointe:
- Guy: "These are guns."
- Teddy: "I don't want one."
- Guy: "You don't want a gun? What kind of American are you?"
- Teddy: "The kind that's never used a gun before!"
Can you believe I haven't mentioned Johnny until now?
Johnny's involvement in Tusk was kept pretty well under wraps. The credits even say that "Guy LaPointe" is played by Guy LaPointe. I found out about his secret role through other fans and eagerly awaited this collaboration with Kevin Smith, despite my reservations about the genre. Guy LaPointe is a character from one of Kevin Smith's older SModcasts. Originally, Quentin Tarantino was approached to play the part but turned it down to focus on non-acting pursuits. I'm glad because I immediately fell in love with Johnny's performance – the accent, mannerisms, and humor. I should disclose that I was also very relieved to see him and that he offered some laughs after all the stress that Michael Parks was inflicting on me. Some reviewers think that Johnny's performance in Tusk is out of place but most were just surprised by it and his unrecognizable look. Entertainment Weekly's synopsis of Tusk recommended, "Wait until an uncredited A-lister (we won't say who) turns up two-thirds of the way through to hand in his most berserk performance to date (and that's saying something)." I won't ruin it for you, but I agree.
The Kitties are in Canada
The most exciting thing about this movie for me is that Johnny's daughter Lily-Rose makes her screen debut. Kevin Smith's daughter Harley is always in his movies somehow, but Tusk offers her first speaking role as a teenage store clerk. I think Kevin Smith and Johnny have been good friends since their daughters met in kindergarten, and the day Harley shot her scenes, Lily-Rose came to the set. Kevin asked Johnny if he thought she'd want to be in the scenes with Harley, they asked, and stars were born!
Aside from these girls' convincing performances as teens tied to their cell phones and bored by their after-school jobs, I love the store's Canadian decor with a bunch of flags of all sizes, tourist traps, and a wall of maple syrup. I also love that when Guy LaPointe does his trick with the pad of paper, Teddy (Comet) explains to Wallace's girlfriend (Ashes) that it was done in The Big Lebowski (because that's the first thing I thought of when he started scratching away with that pencil).
Tusk is among Kevin Smith's favorite film experiences for many reasons:
- It gave him the opportunity to share the creative process with his fans from start to finish. The moment of inspiration and brainstorming phase are captured on that infamous SModcast episode. His followers encouraged him from the beginning to move his idea forward, and they watched it grow from there to silver screen.
- The experience of making Tusk was similar to that of Clerks: he was making a movie because he wanted to see it, and he did whatever he could to take his inspiration as far as it could go. The experience reawakened his love for filmmaking.
- He worked with his daughter and witnessed how she and Lily-Rose discovered how much they liked acting. Their few scenes in this movie led him to write another movie, called Yoga Hosers, in which they are central characters. (Guy LaPointe returns in that movie too!) In fact, Kevin Smith was so inspired by Tusk that he turned it into The True North Trilogy. Can you guess what the third installment, Moose Jaws, is about?
- Because of Tusk, he has the money to finance Clerks 3, a sequel that continues Kevin Smith's cult classic.
See what can happen when you get the silliest of ideas and a little encouragement? Kevin Smith is a believer and he hopes we all are too: "It costs you nothing to pat an artist on the back, man, and the potential yield from it: maybe you get your favorite movie, a song that saves your life, or an idea where you get to express yourself through art. Keep doing that! People who are really profoundly affected by the movie, they're going to make some art, and that to me is one of the many reasons the whole journey was worth it, man. That's a cool thing! Art begets art, even weird art." I'm a little late to the party, but #WalrusYes!
Johnny seems more like himself here.
In 2013, Johnny made a quick appearance in a film called Lucky Them. In this movie, a music journalist (Toni Colette), whose musician boyfriend released a spectacular and hugely popular debut album and soon after disappeared, is tasked with trying to find him 10 years later. As I watched this movie, at first, I was unsympathetic toward Toni Collette's unlikeable character until I realized that, if I were traumatized by my boyfriend's disappearance and possible suicide, I'd probably be pretty messed up too. Then, the ending credits turned me into a fan of this movie. It is sweetly dedicated to one of my heros, Paul Newman, and produced by his wife Joanne Woodward! Here's the scoop:
Lucky Them is written by Emily Wachtel, who is great friends with one of Paul Newman's daughters. He read drafts of her script, gave her some advice about it, and even planned to be in the movie. Years went by, he got sick and died, and his wife helped out once the project started to gain momentum. Johnny was the first choice for his role, and I see why the character appeals to him. Besides that, a couple of his old friends are in this movie: Thomas Hayden Church, whom he first met on the set of 21 Jump Street, and Oliver Platt, with whom he costarred in Benny and Joon). For me, Lucky Them is as close as I'm going to get to my dream of having Johnny and Paul Newman work together. I'll take it, even if one of them is only helping out in eternal spirit.
And I think Johnny did this too.
Though they haven't confirmed it, evidence is out that Johnny and Amber Heard, his costar in The Rum Diary, got married last month in a private ceremony at home in Los Angeles on February 3. They followed that with a fancier ceremony and party the following weekend on Johnny's private island in the Caribbean. Congratulations to the happy couple. I'd share photos, but they're not.
What's next?
Let's go Into the Woods, but beware the Big, Bad Wolf! This DVD is set for release on March 24, 2015. A Johnny Kitties tribute to it will soon follow.
To read this original blog post and see images from the movie, visit Melissa's Kitties blog: melissaconnolly.blogspot.com/2015/03/johnny-kitties-celeb.... While there, you can find all other Johnny Kitties blog posts and artwork on Melissa's Kitties' new Johnny Kitties page: melissaconnolly.blogspot.com/p/johnny-kitties-celebrating.... Enjoy!
Estación de trabajo en una oficina pública.
For the record... It is not my office. And tomorrows isn't also... Wait to wednesday!
89th Airlift Wing
Andrews AFB
An unexpected Boeing C-40B VIP was out at Phoenix-Mesa Gateway Airport (Williams Gateway "Willie") on Saturday. He spent almost two hours in the pattern doing touch-and-go's. He spent so much time in the pattern that Joe and I were able to get right under him for a few of his approaches.
89th Airlift Wing
The 89th Airlift Wing (89 AW) of the United States Air Force is based at Andrews Air Force Base, MD. The 89th Airlift Wing provides global Special Air Mission (SAM) airlift, logistics, aerial port and communications for the President, Vice President, Combat Commanders, senior leaders and the global mobility system as tasked by the White House, Chief of Staff of the Air Force, and Air Mobility Command.
C-40B
Mission
The C-40B provides safe, comfortable and reliable transportation for U.S. leaders to locations around the world. The C-40B's customers include members of the Cabinet and Congress. The aircraft also perform other operational support missions.
Features
The C-40B is based upon the commercial Boeing 737-700 Business Jet. The body of the C-40 is identical to that of the Boeing 737-700. Both models have state of the art avionics equipment, integrated Global Positioning System and Flight Management System/Electronic Flight Instrument System and a heads up display. Heading the safety equipment list is the Traffic Collision Avoidance System and enhanced weather radar. The aircraft is a variant of the Boeing next generation 737-700, and combines the 737-700 fuselage with the wings and landing gear from the larger and heavier 737-800. The basic aircraft has auxiliary fuel tanks, missionized interior with self-sustainment features and managed passenger communications.
The cabin area is equipped with a crew rest area, distinguished visitor compartment with sleep accommodations, two galleys and business class seating with worktables.
The C-40B is designed to be an "office in the sky" for senior military and government leaders. Communications are paramount aboard the C-40B which provides broadband data/video transmit and receive capability as well as clear and secure voice and data communication. It gives combatant commanders the ability to conduct business anywhere around the world using on-board Internet and local area network connections, improved telephones, satellites, television monitors, and facsimile and copy machines. The C-40B also has a computer-based passenger data system.
PCB worktable finally liberated from the Temple of the Zombie Spiders. First mission accomplished! Now wait some weeks for Shapercube manufacture and delivery.
Some relevant links:
wiki.shapercube.com/wagn/Shapercube_2_1_Manual
wiki.shapercube.com/card_images/0000/1826/IMG_5511_web.JPG
Steady hands keep toolshed walls up as others make adjustments during it's construction when U.S. Department of Agriculture (USDA) People’s Garden Executive Master Gardeners, friends, and family, along with Washington Capitals fans volunteer in District of Columbia Public Schools’ (DCPS) Beautification Day, on Saturday, August 25, 2012, at Thurgood Marshall Elementary School, in Washington, D.C. Each year people are invited to help “spruce up” public school facilities in preparation for the first day of school. More than 70 volunteers pitched in at this large school facility. The People’s Garden effort involves building and painting raised planter boxes, then preparing the soil mixture so they are “ready to grow.” Additionally, a team that includes descendants of U.S. Supreme Court Justice Thurgood Marshall assembles a prefabricated garden toolshed. The Justice’s son, John Marshall leads the team, which includes Brianna the Justice’s great-grand daughter in one of many multi-generational efforts at this school today. Washington Capitals Forward Mike Riberio, his family and mascot Slapshot participated in every project underway at Marshall School. From the outside gardens, to inside murals, and robotics worktable construction, the teams made their goals. USDA Photo by Lance Cheung.
SOURCE: New York Magazine
TITLE: See Here Now
Three art-rich neighborhoods, 25 new galleries.
DATE: Oct 4, 2009
AUTHOR: Rachel Wolff
MAP BY: Jason Lee
Every gallery here has opened since the start of 2008, and all are exhibiting art that’s startling, affecting, or just plain fun. Since most (though not all) of them show emerging artists, the barriers to buying—financial and otherwise—are low. If you like what you see, you just may be able to take it home.
Downtown
Jonathan VanDyke at Scaramouche.
(Photo: Courtesy of Scaramouche, NY)
1. Scaramouche
53 Stanton St.; 212-228-2229
Stand back! This little gallery’s first fall opens with Jonathan VanDyke’s minimalist sculptures rigged to spurt out brightly colored paint (through November 1).
2. *Sue Scott
1 Rivington St., second fl. 212-358-8767
Scott’s sizable space, known for group shows and curatorial projects, is presenting an installation by Franklin Evans, who has transformed the gallery into a weird riff on his own studio (through October 24).
*= Jerry Saltz Recommends
3. Nicelle Beauchene
163 Eldridge St. 212-375-8043
Beauchene—who represents a nice mix of emerging and emerged artists—is showing Brooklynite Rachel Foullon’s wall-mounted sculptures of cedar and stained fabric, evoking the textures and details of life in rural America.
4. *Rachel Uffner
47 Orchard St.; 212-274-0064
Uffner’s September opening for Sara Greenberger Rafferty—who’s showing her murky manipulated portraits of seventies comedians through October 25—was packed to the rafters. A definite up-and-comer.
Saltz's Fall Gallery Tour
5. *Lisa Cooley Fine Art
34 Orchard St. 212-680-0564
Cooley represents a small crop of eclectic (and critically well-received) artists, and with the exception of a Texan and one West Coaster, all are local. Up now: a two-man show by painters Jon Pestoni and Zak Prekop (through October 18).
6. Collette Blanchard
26 Clinton St.; 917-639-3912
Blanchard made a splash last October with “Belle du Jour” (images of the female figure as imagined by E. V. Day, Mickalene Thomas, Shinique Smith, and others). Feminism is on the roster this fall, too, with Nancy Friedemann’s unexpectedly dramatic enamel paintings of lace and embroidery—a confluence of traditionally male and female media (through October 26).
7. Satori
164 Stanton St.; 646-896-1075
Like Blanchard, Satori is farther east than most local spaces, and both are worth the trek. This month, see one of the area’s few sculpture shows: Benjamin S. Jones’s wooden models inspired by not-so-stable urban architecture and planning (through October 18).
Lilla LoCurto at Sloan Fine Art.
(Photo: Courtesy of the artist and Sloan Fine Art Gallery)
8. Sloan Fine Art
128 Rivington St. 212-477-1140
Alix Sloan worked as a private art dealer in Los Angeles before opening here in 2008. In November, look for a series of anthropomorphic digital animations and prints by Lilla LoCurto and Bill Outcault, which look like high-tech medical illustrations run amok.
9. *X Initiative
548 W. 22nd St.; 917-697-4886
A one-year project in the old Dia space, this is a not-for-profit spearheaded by dealer Elizabeth Dee. Phase two of its three-part season is on view through the end of this month. In addition to seeing the three artists within the building, don’t miss the roof installation made of swimming-pool noodles.
10. *Horton & Liu
504 W. 22nd St.; 212-243-2663
This gallery specializes in painting and is located on the parlor floor of a Chelsea brownstone, giving it the pre-white-cube vibe of an earlier age. It debuted in September with a show of brightly colored, densely structured, faintly Cubist paintings by Michael Berryhill (through October 10).
11. *David Zwirner
524 W. 19th St.; 212-517-8677
Mega-dealer David Zwirner—who’s showing Chris Ofili and Raoul De Keyser across the street through October 24—will open his fourth Chelsea storefront early next year, expanding his retail space to an immense 40,000 square feet. The new building, a.k.a. Shigeru Ban’s Metal Shutter Houses, is almost an exhibit itself.
Joe Fig at Hendershot Gallery.
(Photo: Courtesy of the artist and Hendershot Gallery)
12. Hendershot Gallery
547 W. 27th St., Ste. 632 212-239-3085
James Hendershot represents commercial as well as fine-arts photographers, giving him a cash buffer in tricky times. He also reps a wide range of up-and-comers like Joe Fig, whose witty paintings and sculptures of artists’ studios—reproducing in micro-detail the worktable of, say, Ross Bleckner or Chuck Close—go on view October 15.
13. Slag
531 W. 25th St.; 212-967-9818
A passion project from Romanian-born collector Irina Protopopescu, Slag (named, symbolically, for the unwanted but recyclable by-product of ore smelting) opened last summer to showcase Eastern European artists. Right now, she’s hosting Romanian artist Mircea Suciu, whose bleak paintings look like fifties ads stripped of all their chipper optimism.
Kenji Hirata at Joshua Liner Gallery
(Photo: Courtesy of the artist and Joshua Liner Gallery)
14. Joshua Liner Gallery
548 W. 28th St., third fl. 212-244-7415
Liner, who built up respect at his now-defunct Philadelphia gallery Lineage, shows contemporary illustration and work with street-art influences. Up next: Kenji Hirata’s incredibly cheerful acrylic abstract paintings, riffing on Southeast Asian billboards, nature, and Italian Futurism (opens October 17).
15. *ZieherSmith
516 W. 20th St.; 212-229-1088
Inaugurating its huge new ground-floor space, ZieherSmith kicked off the season with a big group show celebrating its roster. Highlights include Rachel Owens’s sculptural jabs at consumer high society—junky found objects painted gold, sculpture incorporating Manolo Blahniks—and a rollicking mechanical-bull chair by Javier Piñon.
16. Silvershed
119 W. 25th St.; abcyz.org
The indoor/outdoor, artist-run space brings that grassroots Bushwick vibe to Manhattan. On October 23, it will host the launch of the collaborative “ABCyz,” with projects and installations from some 40 local artist-run spaces and collectives.
17. *Hauser & Wirth
32 E. 69th St.; 212-794-4970
The Swiss mega-gallery finally gets a home in America, and though it’s way off the Chelsea rounds, it’s also too big to skip. The gallery’s first show, “Allan Kaprow: Yard” (through October 24), is William Pope.L’s restaging of Kaprow’s 1961 tire-pile installation—which the mid-century dealer Martha Jackson mounted in this very house in 1961.
Brooklyn
18. *The Boiler
191 N. 14th St., Williamsburg 718-599-2144
Joe Amrhein and Susan Swenson, who run the nearby Pierogi gallery, use their huge space (yes, in an old boiler room) to foster bigger projects from Pierogi artists like Douglas Henderson, who (on November 7 and 8) will stage a live musical composition of contractors hammering on-site.
Julien Gardair at Eyelevel BQE.
(Photo: Courtesy of Eyelevel BQE)
19. Eyelevel BQE
364 Leonard St., Williamsburg; 917-660-4650
Devoted to Brooklyn and Queens artists, this gallery’s season highlights include Julien Gardair’s show (opening October 17) of surrealist felt, paper, plastic, and cardboard cutouts, which look like cartoony 3-D riffs on Man Ray photograms.
20. Capricious Space
103 Broadway, Williamsburg 718-384-1208
Founder Sophie Mörner, a Swedish photographer, gives artists and curators the run of the space with each installation: Currently, Dutch artist Melanie Bonajo has the windows tricked out with candy-colored paper. Look for her tiny finger sculptures, lined up like minuscule versions of China’s terra-cotta warriors (through October 31).
21. Camel Art Space
722 Metropolitan Ave., Williamsburg; camelartspace.com
Open only on weekends, Camel has a promising three-artist show (opening October 9) that includes Elisa Velazquez’s crocheted sculptural wall hangings and Lauren Gibbes’s Poppy, slick oil-and-diamond-dust paintings.
22. Horse Trader Gallery
519 Grand St., second fl., Williamsburg; 646-247-8042
Six days a week, this space is Chris Uphues’s apartment. On Saturdays from 1 p.m. to 6 p.m., it exhibits—this month, a show of drawings by William Brovelli, Scott Wolniak, and Joy Drury Cox, who makes fun, oddly elegant pieces by precisely redrawing death certificates and other standardized forms, sans relevant information.
Factory Fresh.
(Photo: Courtesy of Factory Fresh)
23. Factory Fresh
1053 Flushing Ave., Bushwick 917-682-6753
Artists Ali Ha and Ad Deville cut their teeth as dealers with the late, lamented Orchard Street Art Gallery. Factory Fresh has a similar emphasis on street art and culture; starting October 23, in a meta twist, the gallery is showing works by 28 graffiti artists “in disguise”—i.e., using their real names.
24. Eastern District
43 Bogart St., Bushwick 718-628-0400
Stylish owner Michael “Tido” Cabrera has smartly forged an alliance with his widely loved former neighbor Ad Hoc Art. Their first collaboration is a trippy tape-and-mirrors installation by street artist Aakash Nihalani (through October 25).
25. Possible Projects
68 Jay St., No. 510, Dumbo; possibleprojects.com
Married artists Trevor and Rachel Reese show work more challenging than you might expect in Dumbo—Dada, ready-made, lo-fi new media. Its hours are likewise perverse: It’s open only on Mondays.
we recently re-arranged my 'press corner' into a part of our bedroom for many reasons, but i'm excited, it's now against one wall together, and looks much better. i am so excited and inspired to get going this season! next goal: new worktable!
Skin: Essences - Jamie in Medium.02 (gift) ♥
Hair: D!va - "Naomi" in Black Amber (comes with/without texture change scarf; past gift)
Eyes: VerseEye - Rhythm in Pink
Shirt: Milk Motion - Queen tee in white (gift)
Pants: MAAI - "Toot" pants in Peach (new!)
Shoes: Insanya - Kat Boots Sport in Black
Glasses: !df - Round Glasses (not available anymore)
Poses: Frakture Poses - Female model/blogger 2 & Male model/blogger 1 (SLFO gift)
Canvas sign: Free Bird - Darker Side Canvas (Erotigacha item)
Table: Soy - worktable (gift)
Folded shirts: Soy - Folded Tee (gift)
Flowers: The Mustard Seed - hydrangeas in vintage vase
Books: BananaN - full perm mesh book (not available anymore)
Coffee: Dutchie - Coffee mug stand (marketplace gift)
Key: EntecMedia - skeleton key 5 (marketplace gift)
Open book: What Next - Alone reading book (wear me)
(Note: I had to remove the links from flickr. This was an older sponsored post that might no longer be available on my blog.)