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a7558c87-d632-44d4-8ee8-c18228ad5402	{ "cc_dump": "CC-MAIN-2022-49", "dolma2_qc": { "0": 0.9999635219573976, "1": 0.000056473327276762575 }, "exact_duplicates": 2, "lang": { "en": 0.7992720007896423 }, "madlad": { "num_sentences": 5, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 89, "sa_remove_ranges": [], "text_hash": "140634414714457551504107695840673748194", "warc_content_type": "application/http; msgtype=response", "warc_date": "2022-12-08T10:36:57Z", "warc_url": "https://rgb.to/hex/cc24c3", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.7431780099868774, "__label__education_and_jobs": 0.02162533439695835, "__label__electronics_and_hardare": 0.3007555902004242, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.014967083930969238, "__label__science_math_and_technology": 0.020342351868748665, "__label__software": 0.10375863313674928, "__label__software_development": 0.014073628932237623, "__label__finance_and_business": 0.00574024673551321, "__label__health": null, "__label__politics": 0.034110426902770996, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.02369946800172329, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Hex color #cc24c3 Click the labels to copy the value onto the clipboard. Save color values as JSON Hex color #cc24c3 to RAL RAL colour closest to this. Type your color in the box in the left, it doesn't matter the format and how you space the values. You can also try with a keyword. You can link to this same page with the following url formats: https://rgb.to/204,36,195 https://rgb.to/hex/cc24c3 https://rgb.to/cc24c3 Read the about section for other useful url shortcuts.
b243bb1d-e35c-4d81-8f15-6aaf29361355	{ "cc_dump": "CC-MAIN-2018-17", "dolma2_qc": { "0": 0.999964475631714, "1": 0.000055484808399342 }, "exact_duplicates": 1, "lang": { "en": 0.9304962754249572 }, "madlad": { "num_sentences": 9, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 250, "sa_remove_ranges": [], "text_hash": "288878900824169496066183593584867013734", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-04-19T20:59:04Z", "warc_url": "http://www.attoma.eu/en/project/arcelormittal-redesigning-a-set-of-industrial-interfaces/", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.8872146010398865, "__label__education_and_jobs": 0.003386611817404628, "__label__electronics_and_hardare": 0.008071991614997387, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.05034062638878822, "__label__software": 0.0021257030311971903, "__label__software_development": 0.2814156115055084, "__label__finance_and_business": 0.0020607432816177607, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.00034535021404735744, "__label__food_and_dining": null, "__label__industrial": 0.23371636867523193, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	UX Design at the service of metalworking operators Attoma guided ArcelorMittal in the redesign of its industrial interfaces and conception of robust product design. ArcelorMittal, a global leader in the steel production and distribution sector, was looking to redesign its trade interfaces, not only to reinforce its global brand identity but also to improve its productivity. Well aware of the advantages of UX and UI design, the company called upon attoma following its successful Wonderware InTouch project with Schneider Electric. Attoma began the project by observing the operators’ production line work on site, and by conducting interviews with various trade experts in order to identify the most important supervisory and operational tasks. Next, the agency committed to the design of the human-machine interface guidelines (HMI) by focusing on interaction design, the creation of a hierarchy of alarms, and the information design of the synoptic views. An html model was created in order to allow the ArcelorMittal team to test the implementation of the design principles. With a complete handover goal in mind, attoma wrote design guidelines that summarizes their recommendations for the design of industrial interfaces and delivered a component library in the form of an html page to the client. ArcelorMittal will thus be able to adopt these best practices in interface design, thereby gaining independence in future endeavors. Innovation delivered An html component library to facilitate the adoption of the new design Key services information design interaction design look & feel user experience design user interface design
f2bc1553-5c81-413b-a2ab-6aff855f085c	{ "cc_dump": "CC-MAIN-2018-30", "dolma2_qc": { "0": 0.9999598264694214, "1": 0.000060213948017917573 }, "exact_duplicates": 5, "lang": { "en": 0.9595457315444946 }, "madlad": { "num_sentences": 50, "rule.2": [ 0 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 717, "sa_remove_ranges": [], "text_hash": "22090474729222176583664902535921042661", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-07-21T23:30:55Z", "warc_url": "http://visionairestudios.blogspot.com/2009/04/merryl-tommy-engagement-photos-in.html", "weborganizer": { "__label__adult_content": 0.005564924795180559, "__label__art_and_design": 0.287777841091156, "__label__education_and_jobs": 0.0034934247378259897, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.06372499465942383, "__label__games": null, "__label__home_and_hobbies": 0.01641303114593029, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.2568419873714447, "__label__entertainment": 0.12253321707248688, "__label__history_and_geography": 0.00318268220871687, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.02844603545963764, "__label__crime_and_law": null, "__label__food_and_dining": 0.004341503139585257, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Monday, April 20, 2009 Merryl & Tommy: Engagement Photos in Kansas City Wow. Where to start with Merryl and Tommy!? This was one of the most crazy/fun engagement sessions ever! Let's start off with the fact that these two are practically geniuses, Tommy is working on his Masters and he and Merryl are madly and contently in love :) Their journey started out at the University of Love... wait, I mean the University of Missouri Kansas City where they fell in love :) They had most of their classes together as they learned the basics of Architecture and discovered their FABULOUS chemistry... sigh. Playful, energetic, smart, beautiful, athletic, adventurous... are just a few words I would use to describe these two amazing people! Their wedding will take place in St. Joseph, Missouri on May 22nd and I'm sooo excited and honored to be their wedding photographer! I have to tell you, there IS a crazy story involved in this engagement session. We decided to do a sunrise shoot and met downtown in Kansas City on main street. The plan was for all of us to then carpool to the building where Merry and Tommy first met at the UMKC campus(how romantic! I love it when couples choose places that are meaningful to them!) We piled all of myself and camera stuff into their car and headed down Main Street when all of a sudden... "GGGRRRRRRRRIIINNNDDD"... I honestly have to admit I was pretty much oblivious to it and was chatting it up with Merryl about the wedding and paying no attention to poor Tommy's distressed face. We drove a few more yards and then the "ummmm... what's that sound.. why is the car bumping along like this?" questions started falling out of our mouths. I heard Tommy say something about "the electrical seems to be out as well as the brakes" ... in my head I'm thinking "hmm, that sounds serious, but Tommy looks really calm so this can't be as bad as it sounds, right?" Well. We ended up coasting back down Main Street and piling into MY car (after I moved everything PLUS the kitchen sink into my trunk) and then proceeded to our location! Phew! We are troopers and survived what could have been a disaster.. I think! You would never know from Tommy and Merryl's cool-collected-ness! Here are some of my favorite shots from the place where they first met, Epperson House... Web LOGO Retouched IMG_0051 CRAZY FACT: Believed to have ghosts, Epperson House was featured on "Unsolved Mysteries" as one of the top five haunted houses in the country. The building has many secret passageways! (None of which I found but I really wanted to go exploring after I heard about it! Move over Nancy Drew!!!) Web LOGO Retouched IMG_0153 Love this... Web LOGO Retouched IMG_0150 Web LOGO Retouched IMG_0031 Aww! Can you sooo feel their in-love-ness? Web LOGO Retouched IMG_0033 We found a way inside Epperson House (Nancy Drew style!) and got some of this hotttness... Web LOGO Retouched IMG_1322 Web LOGO Retouched IMG_1289 After we left the beautiful and mysterious Epperson we headed to the lawn of the Nelson Atkins for some rough-housing and football throwing! Are they adorable? YES! Web Logo Retouched 0209 Web Logo Retouched IMG_0439 The sun was finally rising and warming everything up. I love the colors in these shots... Spring and summer, I love you, please be here to stay! Web Logo Retouched IMG_0360 Web Logo Retouched IMG_0369 Web LOGO Retouched IMG_0392 Web Logo Retouched IMG_0323 As we were shooting the above shots, a large production crew was shooting a movie near by (what is this, L.A. or something?!) but I had to steal the director's chair for just a few shots before we called it a day. Love it! Web Logo Retouched IMG_0431 And to end this blog, of course I have to wrap up the story... I offered Merryl and Tommy a ride home "up north" to their house! Yes, I am your hero, here to serve :) I should wear a cape to your wedding! (OK, I sooo would never do that). But seriously, thank you guys sooo soo much! You are fabulous and I know your wedding day is going to rock. See you soon!!!
c6c3d219-11a1-4c42-b9c6-fe0ce221083b	{ "cc_dump": "CC-MAIN-2024-10", "dolma2_qc": { "0": 0.9999376535415648, "1": 0.00008237699512392282 }, "exact_duplicates": 2, "lang": { "en": 0.9326121807098388 }, "madlad": { "num_sentences": 18, "rule.2": [ 1 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 475, "sa_remove_ranges": [], "text_hash": "196261692546922465663937216505107281388", "warc_content_type": "text/html", "warc_date": "2024-03-05T06:04:27.000Z", "warc_url": "https://eaglelighting.com.au/projects/prahran-high-school-vic", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.3702353835105896, "__label__education_and_jobs": 0.00574024673551321, "__label__electronics_and_hardare": 0.008325778879225254, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.06372499465942383, "__label__science_math_and_technology": 0.026769286021590233, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.004208795726299286, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.0028995804022997618, "__label__literature": null, "__label__sports_and_fitness": 0.002482622629031539, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.11921291798353197, "__label__transportation": 0.0029910325538367033, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	WA (Distributor) H.I. Lighting SA (Distributor) Buckford Illumination Group TAS (Distributor) Southern Lighting New Zealand Upper North Island Lower North Island South Island Prahran High School, VIC Interior and exterior luminaires Prahran, VIC, Australia Completed 2019 Victoria now has a trio of sky-high public schools with Prahran High School being the third vertical college opening in 2019. Squeezed onto the land which previously housed Swinburne University Windsor, the new four-storey school has a library and performing arts area on the ground floor, along with science, visual arts and food technology areas, a gym on levels one to three and a rooftop garden on level four. The VSBA (Victorian School Building Authority), Project Architects Gray Puksand and Electrical Consultants Wood and Grieve Engineers (now part of Stantec) have successfully maximised the space available through careful planning and design. Ground floor Walking through the front doors to the reception desk, you are immediately greeted by an impressive run of Fagerhult Notor 65 linear extrusion. The reception leads through to a large open circulation area, where natural daylight emits from the fourth story skylights. The majority of the ground floor has Notor continuous extrusion installed in the coved perimeter, which is used to highlight and subtly define the multi-use floor space. Levels 1-3 These levels include a range of learning spaces and classrooms, where the trend of Notor continues, along with the recessed Vertex and Pleiad G3 Downlight range in the amenities. During the design process we were asked to ensure we meet the lux levels recommended in AS1680, particularly in lab rooms where more delicate/physical tasks are performed. Our highly efficient luminaires ensured a high standard of efficacy, lumen life longevity and a minimum of CRI80+. The Simes’ Lobby downlight is also featured on all balconies, including the Level 3 exterior breakout space. The Lobby downlight ensures full protection against moisture, coupled with a durable IK10 rating. The interior and exterior lighting concept design features a combination of lighting solutions from Fagerhult, Eagle Lighting Australia and Simes. The Gymnasium The key criteria for the gymnasium lighting design was to comply with training/recreational lighting from AS2560.2.2-1986 (300 lux average and 50% uniformity). Excis LED were installed 7 metres high, along with Densus emergency battens. The Excis luminaire provides an impressive uniform amount of light for students to undertake sporting or recreation activities. The product family of Excis boasts a range of wattages, lumen outputs and beam distributions (wide, medium and asymmetric) which made it easy to comply with the lighting standard when considering ceiling obstructions, such as skylights and the air ventilation system. Luminaires supplied included From an Eagle Lighting Australia point of view, Prahan High School is another project to be proud of and a fantastic outcome for all parties involved.
63b14e72-408c-4a16-ba3f-418295336254	{ "cc_dump": "CC-MAIN-2020-29", "dolma2_qc": { "0": 0.9999687671661376, "1": 0.000051284041546750814 }, "exact_duplicates": 0, "lang": { "en": 0.9494355916976928 }, "madlad": { "num_sentences": 39, "rule.2": [], "rule.5": [ 10, 21, 22, 28 ], "status": "survived" }, "minhash": null, "original_word_count": 1092, "sa_remove_ranges": [], "text_hash": "152048399811777848226442477503982564458", "warc_content_type": "application/http; msgtype=response", "warc_date": "2020-07-07T05:42:36Z", "warc_url": "https://catherinebanksdiac.wordpress.com/category/coursework/part-4-digital-identities/projects-and-exercises/project-4-and-exercise-4-4/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.951152205467224, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.005564924795180559, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.010023568756878376, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": 0.004915405530482531, "__label__politics": 0.006107562687247992, "__label__social_life": 0.005230126902461052, "__label__entertainment": 0.02596735954284668, "__label__history_and_geography": 0.008587487041950226, "__label__literature": 0.007587242405861616, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.004619571380317211, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Project 4 and Exercise 4.4 Project 4: Ex 4.4 Selfies What does the phenomenon of the selfie tell us about how photography is popularly used nowadays? Illustrate your post with recent examples from the internet. As this is solely an exercise I’m using it to throw down a few passing thoughts on positive aspects which I think can sometimes get overlooked in the light of stories in the media more often revealing some of the unpleasant aspects and effects. I recently accessed a Post on the British Library blog writing about the tourist season in London and so many people with selfie sticks and smart phones – “…. It’s easy to wish that selfies didn’t exist”. But such curmudgeonly attitudes to self-portraitists overlook the fact that selfies have existed for a very long time and offer unique insights into some brilliant and multi-talented artists.” That’s if we extend OED dictionary definition of ‘photographic self-portraits’ to cover those made with pen and ink then selfies have existed in Britain for over 1000 years. The earliest known surviving manuscript self-portrait was made by St Dunstan, archbishop of Canterbury (d. 988) in the 10th century and the blog post goes on to provide other examples, explaining that these often involved a different type of self-promotion – one focused on humility before the divine and saints. There also looks to be a useful website here and Frances Borzello (1998) also provides fascinating example of the ways in which female artists were also able to include references to themselves in their work at a time when women artists were not usually recognized. Fast forward to photography:- According to Petapixel the earliest self-portrait made was by Robert Cornelius , an amateur photographer and lamp-maker. (Downloaded from https://commons.wikimedia.org/wiki/File:RobertCornelius.jpg) Written on the back is, “The first light Picture ever taken. 1839” no specific date though, so let’s say he was the first American photographer to create a selfie and leave the laurels with Hippolyte Bayard (June 1839) creator of the first staged photograph Self Portrait as a Drowned Man pretending to have committed suicide because of lack of recognition of his own invention of a photographic process, in favour of Louis Daguerre’s daguerreotype process. Since photography’s origins in the late nineteenth century, artists have expressed the idea that the self-portrait is a form of performance. Kismaric states, “The photographer who attempts an investigation of his physiognomy or personality or who consciously or unconsciously projects an idea about himself enacts a role. The plasticity of photography allows the self-portraitist to experiment, to assume many identities; in self-portraiture the photographer can become the hero, the adventurer, the aesthete – or a neutral ground upon which artistic experiments are played out.” (Taken from a press-release for Self-Portrait: The Photographer’s Persona 1840-1985 an Exhibition at MOMA from 7th November, 1985 to 7th January, 1986.) Cindy Sherman was one of the photographers included in that Exhibition and she is famous for her self-portraits commenting on traditional/stereotypical female roles. Sherman has also recently appeared on Instagram with images that include weirdly distorted self-portraits. I had almost reached the conclusion that this must be a different Cindy Sherman, but this was confirmed not to be the case by an article by Noah Becker which recently appeared in the Guardian . Thanks to my fellow student Sarah-Jane Field for alerting me to this article. Whilst I agree regarding the distorted shots and the mystery as to why Sherman is creating these portraits, I have thought further concerning Becker’s view that, “they hold up a dark mirror to our era of self-obsession”. How is it that it’s okay for artists to continue using self-portraits to enact different roles and assume different identities but not okay for ‘the general public’ to do so with technology that is cheap, easily available and doesn’t require great photographic technique or talent? The advent of cheaper cameras earlier in the 20th Century enabled those moving away from family to keep in touch in a more intimate way. Recent examples have been Facebook pages where those serving in the Armed Forces can do likewise. Adolescence is well-known as the time when many young people are struggling to answer the question, “Who am I?” and it’s not surprising that Facebook and Instagram have been seized upon by them so they can play out these versions of themselves. Some artists have first become well-known through digital media. One such is Molly Soda, a digital performance artist who is best known for her book Pics or It Didn’t Happen: Images Banned from Instagram (see here) She began creating artwork in the webcam days of MySpace and Tumblr and her work has now expanded beyond the internet. Soda has a strong Instagram following (68.9k followers at 4th January 2018) where her feed is composed just about entirely of photographs of herself – un-photo-shopped and au naturel which she believes makes her followers less self-conscious about themselves as well. You can find out more about her by putting her name in the search box on dazeddigital.com. and this also brings up other posts on how Instagram artists are changing our views on body image and breeding a new generation of idols. Another fellow student, Nuala, has just drawn my attention (via Facebook) to an article in Lens Culture . The essay by J.H. Pearl concerns the discomforts caused by being photographed, using Roland Barthes’ writing on this topic as a focus. One of the paragraphs seems most timely in stating To grouse about the vanity of selfies is to forget they comprise networked conversations. People, not just celebrities, use them to connect. For Barthes, ‘The ‘private life’ is ….that zone of space where I am not an image, an object”; the camera, he believed, invaded that space. But selfies seem less like invasions than invitations. And they permit us to be subjects, as well as objects, taking our own pictures almost however we like. Borzello, F (1998) Seeing Ourselves: Women’s Self-Portraits. London: Thames & Hudson Ltd. http://blogs.bl.uk/digitisedmanuscripts/2016/08/medieval-selfies.html http://www.pbs.org/wnet/americanmasters/molly-soda-digital-artist/9842/ https://commons.wikimedia.org/wiki/File:RobertCornelius.jpg https://en.wikipedia.org/wiki/Hippolyte_Bayard https://petapixel.com/2011/07/19/the-first-self-portrait-photo-ever-made/ https://www.instagram.com/bloatedandalone4evr1993/ https://www.instagram.com/_cindysherman_/ https://www.lensculture.com/articles/ https://www.moma.org/calendar/exhibitions/2195?locale=en https://www.moma.org/documents/moma_press-release_327414.pdf https://www.selfportraithistory.com/category/900/ https://www.theguardian.com/artanddesign/2017/aug/09/cindy-sherman-instagram-selfies-filtering-life
aa68b0c4-8727-4b44-8fb8-7345ebc09404	{ "cc_dump": "CC-MAIN-2018-47", "dolma2_qc": { "0": 0.9999408721923828, "1": 0.00007911593274911866 }, "exact_duplicates": 8, "lang": { "en": 0.9697742462158204 }, "madlad": { "num_sentences": 423, "rule.2": [ 0, 46, 250, 253, 373, 375 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 7118, "sa_remove_ranges": [ [ 5144, 12857 ] ], "text_hash": "6834000254890632829021532956009760368", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-11-15T18:35:52Z", "warc_url": "http://milo-onphotography.blogspot.com/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.8221991658210754, "__label__education_and_jobs": 0.006299902219325304, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.0191340371966362, "__label__science_math_and_technology": 0.0191340371966362, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.009135636501014233, "__label__health": null, "__label__politics": null, "__label__social_life": 0.006498271133750677, "__label__entertainment": 0.009135636501014233, "__label__history_and_geography": 0.02596735954284668, "__label__literature": 0.026769286021590233, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0071314298547804356, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Tuesday, October 13, 2015 A Tribute to The Men Who Built… … The Empire State Building On October 24, 1929 - “Black Thursday” - shares on the New York Stock Exchange tumbled in value. Over four long days the financial world trembled on its foundations, only to collapse on October 29th, pulling with it into the abyss 5,000 banks and 9 millions savings accounts. America found itself in the Great Depression, the most extensive financial debacle in history. But barely six months after the stock market crash work started on what was to be the tallest building in the world: the Empire State Building. The plans for this office building were drawn up in a time when New York City was experiencing explosive growth. In just the first three decades of the 20th century 18 million immigrants had arrived to seek their fortune in the New World. Of all resources in Manhattan, land is the scarcest. The only way to satisfy the booming demand for housing and offices was to build up rather than out. Rotterdam architect Rem Koolhaas wrote about the building of Manhattan in 1978. His authoritative book quickly acquired cult-status. The central theme in Koolhaas’ book, Delirious New York is what he called ‘the Culture of Congestion”. Koolhaas has long been fascinated by unusual solutions for nearly impossible assignments. One difference from when the Hanging Gardens of Babylon were built, or the Colossus of Rhodes, not to mention the lighthouse at Alexandria or the pyramids at Gizeh, was that photography was available to memorize its construction as the Empire State Building rose to take its place among the Wonders of the World. Lewis Hine took on that job. Hine was a passionate photographer who wished to record the human condition. He had done that already when he took pictures of immigrants who arrived on Ellis Island with little more than the clothes on their backs and what they could carry in hampers and bags. He also recorded the gloomy world of lightless cold water flats and filthy yards in which they had to live. His, too, are the pictures that revealed the shameful extent of child labor. These are among the photographic icons of the 20th century. After these bleak images of life in America, Hine wanted to produce a sign of optimism in the midst of the Great Depression. Even he thought he had served up enough sadness. He wanted to do something positive. In 1930 he was commissioned to document the construction of the Empire State Building. For six months he followed where the high ironworkers walked and recorded his ode to labor as the world’s tallest skyscraper rose, floor by floor. He also recorded human resiliency and faith in a better future. … De Rotterdam The fall of the Lehman Brothers merchant bank on September 15, 2008 echoed in a chain reaction throughout the financial world in an international credit crisis. Merrill Lynch was taken over by Bank of America, JP Morgan merged with Chase Bank to survive, and the Dutch government took over the banks Fortis and ABN AMRO. While the world officially entered recession in 2009, the first pile was driven on Rotterdam’s Wilhelminapier to what would be the largest building in the Netherlands: De Rotterdam. Following its design by OMA (Office for Metropolitan Architecture), Rem Koolhaas’s architectural firm, a vertical city of three towers 150 meters (492 feet) tall will rise on the bank of river Maas. With 160,000 sq. m. of floor space, this will be the largest building to be constructed in the Netherlands in a single project. Land is scarce in the Netherlands, so this project is being shoehorned onto a lot about the size of a football field along the river. This now vacant land was where the Holland America Line’s pier stood, from which a stream of European emigrants left for Ellis Island between 1873 and 1978. The narrowly confined strip of land presented just the sort of challenge that engages Koolhaas: conceiving an unusual solution to what appears to be an impossible task. Rotterdam photographer Ruud Sies tracked and recorded construction from the moment the first shovel of dirt was turned. Like Hine, Sies is an optimist. He uses the medium of photography to offer the world some perspective. Sies is also no more strictly a photographer of architecture than was Hine. He is not out to portray the magnitude of the construction project, even if that was the immediate reason. His is more the appreciation for the work of craftsmen, for physical labor. Or, as Hine, himself, wrote: “Cities don’t build themselves, machines cannot make machines, unless [at the] back of them all are the brains and toil of men. We call this the Machine Age. But the more machines we use the more do we need real men to make and direct them.” Sies’ photos show the rough and ready construction workers in what appears to be a ballet of precisely choreographed dance poses. Taut muscles, focused gaze, nerves well under control. They are a team who, like dancers or athletes after long and intensive practice, have coordinated their moves and rely on each other to be where they are needed. © Pim Milo, 2012 Monday, October 03, 2011 Pim Vuik Tidal pools At some point in the ‘80s, Dutch television broadcast a commercial for pizzas starring a young trainee pizza baker. ’This is Mario’, says the head chef, introducing him to the viewers. ‘Iglo’s new pizza specialist. He has to start at the bottom. With the base.’ With none of the humility that one might have expected from a young apprentice, Mario boldly declares: ‘Pizza basea, ees oftena cardboard’. Shocked, the chef stares into the camera. ‘I makea thata basea fantastica crostini’, announces Mario with growing self-confidence. ‘Ifa the basea isa more delicious, wholea pizza isa more delicious’. He offers the chef a bite to taste. Although the chef delivers the poker-faced verdict ‘Not bad’, admiration and envy are written all over his face. The ambitious Mario prompts spontaneous comparisons with Pim Vuik. He too started at the bottom, working in the dark room of a photography shop, developing and printing negatives. It awoke in him a desire to take up the camera and master it. He registered at the School of Photography and Photonics in The Hague and starting applying what he learned there while still a student. By the time he had set up business as an advertising photographer, Vuik had gained experience in every part of the field, from portraits and weddings to press and travel photography; he had captured images of everything from architecture to sport. In each case, he had started at the bottom and worked his way up. One thing is clear: Pim Vuik won’t allow anyone to put him in a pigeon-hole. Literally as well as figuratively, since he prefers to make his photographs outside. Using the world as his studio. For one of his own series as an independent artist, Vuik ventured into the vast, snow-covered plains of Spitsbergen, near the North Pole. Where snow and ice end and the sky begins, is scarcely visible with the naked eye. That monotonous vastness resembles a photographic studio surrounded by a panoramic built horizon, a studio like the inside of an eggshell, in which floor, walls and ceiling coalesce in rounded arches. Since there are no corners the studio dissolves into near-invisibility. The effect is one of disorientation. On the one hand, a white space of this kind has a certain familiarity to the photographer, while on the other hand it poses challenge. Maybe that was the root of his fascination with Spitsbergen. A place like a studio, but one of huge proportions. For Vuik, this landscape was a new test, inviting him to push back the limits of his art. Once this is understood, it makes perfect sense that Pim Vuik has turned his attention to tidal pools. These are pools along rocky coasts, in which a quantity of seawater remains at low tide. At high tide these shallow pools are flooded, while at low tide. The water is trapped in lower-lying areas. Sometimes people build barriers, walls of brick or concrete, or piles of rocks, to stop the water flowing back into the sea, creating a natural pool. Vuik has photographed many of these pools in Australia, Scotland, Portugal, Spain, South Africa and Britain. An intriguing mixture of unspoiled nature and urbanisation, of wilderness and civilisation. Water captured from the sea, which is forcefully recaptured in storms and spring tides. The eternal struggle between humankind and water. The sea that will never be susceptible to coercion. Any more than Vuik will let himself be stuck in a pigeon hole. Vuik’s trademark is unmistakeable: he refuses to accept any limitations. After all, boundaries are there to be crossed. So Pim Vuik is working on a non-commissioned oeuvre that has gradually grown to embrace the entire planet. ‘Not bad’ for someone who started work in the dark room of a common-or-garden photography shop. ©Pim Milo, 2011 Monday, April 18, 2011 Henze Boekhout A Life in Bits and Pieces Seconds First In his book Seconds First (1993, Fragment Publishers) Henze Boekhout (1947) experimented with associative visual compositions of extremely divergent photographic material. Constructed still lifes effortlessly take their place beside documentary photos shot with a large-format camera and impromptu snapshots from a moving train. The connecting factor is the illusionist trick with flat space and three-dimensional reality, and everyday things around us leading their own life. Connoisseurs consider Seconds First to be as one of the most successful photo books. It should therefore not have been left out of Martin Parr’s and Gerry Badger’s The Photobook. That it was, is undoubtedly due to Boekhout’s modesty. He neglected to bring his book to the attention of the authors. Yevgeny Khaldei Khaldei came to fame with his photo of a Russian soldier planting the red Soviet flag on the Reichstag in Berlin in May 1945. Khaldei had carried the flag under his coat from Moscow, no doubt planning to take just such a photo of the conquest of Berlin as Joe Rosenthal’s iconic image Raising the Flag on Iwo Jima, taken on the summit of Mount Suribachi, which was made two months earlier. A photo like Khaldei’s is of endless fascination to Henze Boekhout. Always having to be one step ahead of what you’re planning is Boekhout’s motto. He saw Khaldei’s photo for the first time in the German magazine Stern. Could such a photo be real? Yes, it could. Then he heard the story behind it. That was the essence of the thing: a reflection on the context that enables the photographer to go beyond the staging of the photo. The dining room and kitchen offer Boekhout a view of the back gardens, roofs, terraces and a chimney. Next to that chimney is a sloping surface that was covered in snow last winter. It had the bright reflectivity of a projection screen. Boekhout placed a flash in the side window of this kitchen and lured gulls with bread. He photographed the white surface with his large-format camera, with the gulls fighting for crusts of bread in front of it. The result is an image so razor-sharp that it seems as if the gulls have been edited in afterwards. That’s how Boekhout works. Is that staged photography? Henze Boekhout is always searching for ways to go further within the circumstances he’s presented with. In the year 2000, he got his first home computer, prompting the questions: how does it work, how can I take it further? In 2005, he purchased his first digital camera. Boekhout doesn’t want to hold on tightly to one method, but to continually take new steps. Never mind about technique – which after all should have nothing more than a supportive function – and heed the advice of Araki: “If you want to change your photographs, you need to change cameras. Changing cameras means that your photographs will change.” In 1980 Boekhout built a 30x40 camera because he wanted to understand what it was like to make an exposure so extreme that it required a large-format camera. Not so the viewer could see every grain – that was already perfectly possible with a 6x7 camera – but for another reason: the impossibility; the resistance to creating a photo in a very physical way. He wanted to know what the essence was, how he could connect what came from himself to photography. That’s why he built that 30x40 camera – to begin photography afresh. He was influenced by the sculpture and photography of Constantin Brâncuşi; what Brâncuşi sculpted and photographed created a single whole and he worked with an extraordinary eye and feeling. Boekhout’s content has always been oriented towards visual arts rather than photography as such, which he found less accessible. So he studied the work of Brâncuşi, for whom simplicity in art was not an end in itself, but a pursuance of the true meaning of things by the elimination of all superfluous elements. Boekhout tries to attain perfection by penetrating to the essence. Bits and pieces Boekhout’s oeuvre encompasses about 300 photos which he can return to, which he draws on, which contain the bits and pieces that satisfy him. For him, although a photo has value in its own right, it has to have a context; it must be able to function. He is not in search of abstraction. The image must be a place, but also a detail. That is what he means by context. People do not live their lives in the light of major events but in the detail of daily life. Boekhout’s concern is how to make that visible, how it is related to everything else. Call his oeuvre a collection of bits and pieces. He finds the same type of observation in poetry as well: not the factuality, but the reflection. Boekhout’s photography is not a matter of flexing his muscles. Sometimes it’s just a quick glance: a little fly, a small stream, an insignificant thing. What he is concerned with is finding relationships that are just slightly different. He attempts to give meaning to things by photographing them. He is not a ‘photo-hunter’, but rather someone who handles a camera cautiously; he can easily spend a day walking through the city without taking any photos. Taking photos is the exception; nonetheless, the greatest satisfaction is in recording an image. Le Nouvel Observateur As Henze Boekhout doesn’t take an urgent view of things, it’s easy for his work to escape our notice. His photography is uninsistent – not out of a lack of assertiveness, but through a need for contemplation, as in the silence with which he viewed the photo supplements in a French newsmagazine in the late 1970s. The seven photo supplements published in Le Nouvel Observateur between June 1977 and December 1979 by art director Robert Delpire struck Boekhout like a bolt of lightening. He has always kept them, because of their incomprehensibility: Robert Frank, Josef Koudelka, Guy Bourdin, Diane Arbus. Preposterous. Delpire took every liberty, working with the image associatively. The work of William Eggleston, Henri Cartier-Bresson, Lewis Hine was made subordinate to Delpire’s design. For Boekhout those photo supplements in Le Nouvel Observateur were a benchmark. Even after all these years there is still something in them that he can’t quite get a grip on. Delpire broke all the rules – and by doing so created something new. Twin Towers Photographing architecture is no simple task. The perspective is always distorted if an ordinary camera is used, but a technical camera with an adjustable back, though usually large and heavy provides a solution. Boekhout is fortunate to have a brother who is an instrument maker who can work from a simple drawing and a short explanation. When Boekhout was invited to New York in 1989, his brother had just finished the Bookwood Wide (Bookwood being the literal English translation of the Dutch name Boekhout). In New York Boekhout was fascinated by the Twin Towers. He couldn’t understand how structures so beautiful and so incredibly cheeky could have been built in such a city; two immense legs in a city already filled with skyscrapers. Pure beauty or abjectly ugly? Abhorrence or admiration? Bravura or megalomania? Boekhout simply could not comprehend it. On a map of the city he investigated the places from where the World Trade Center could be seen and chose a number of streets from which he could focus on the towers. After 9/11 Boekhout couldn’t resist publishing his images as a book. In 2007 20 Towers appeared in an edition of just 25, published by Johan Deumens Gallery in Haarlem, an artist’s book now in the collections of libraries in Europe and the US. It is a box containing a leporello book and lift-out pages, with bilingual text and documentation. There are images of the WTC as one large panorama, as well as the story of the Bookwood Wide, delightfully illustrated with close-up images of the camera. It all arose out of a fascination for the Twin Towers, without answering the question of whether they were beautiful or ugly. When Boekhout was given the assignment to photograph the city of Utrecht, he chose to view the city from such unexpected viewpoints as interiors, office buildings and balconies. He photographed the spectacle of a sports competition at night in the FC Utrecht stadium from a nearby student dormitory and a fire-prevention training session for railway staff from an adjoining office, deliberately making things more complex, in the reverse of the sort of contemporary photography that strips away just about everything. For Boekhout things don’t have to be unambiguous, but they can work as a metaphor. Layering the image – that’s what he likes. Fighting the good fight Boekhout’s almost childishly stubborn ‘I-do-what-I-like’ mentality is heart-warming. Genuine enthusiasm is at the core of every project. He is innovative and perceptive, and he has the desire and the willingness to reinvent himself over and over. The philosophy of simply promoting what you love, admire or react to implicitly is what Boekhout recognized in the work of Robert Delpire. While it does seem that Boekhout’s oeuvre has no concrete subject he takes an entirely consistent view of the world around him. It is dreamy, as well as concrete and very much to-the-point. We see exactly what it is and even so the images come from an in-between land, a universe that is very close to ours. It is not an area of transition such as between two boundaries, but a world with its own merits, and that is accessible to all those who have an eye for it. © Pim Milo, 2011 for Foam Magazine Monday, March 07, 2011 (off topic) Bernard Verkaaik À la recherche du temps perdu It took thirty years before Bernard Verkaaik (1946) made the jump from commercial arts to Fine Arts. A stretch of time, but not a lost one. For more than a quarter century Bernard worked as an advertising illustrator in which period he perfected his masterful craft and morphed himself into a magic realistic painter, who in a phenomenal technique and hairline brushes put down the most photorealistic scenes in oil on panel. The more he became a master of this, and his own domain, the more his desire grew to lead a life of his own making. Nowadays Bernard leads a life without deadlines, a life without stress and hurries. Since time seems to stand still, his concentration is focused on classic ‘country’ still lifes, filled with melancholy, which are recognisable by their photographic depiction of textures and lit by a seemingly magical light source. Timeless still lifes that speak of a typical Calvinistic Holland yet painted in France. And always there is that forceful line of a table’s edge that splits the image in two. A fault line, just as rigid as the caesura in Bernard’s professional life. The top half gives the perspective of a three year old just capable to peek over the top of the table’s edge. The bottom half an intriguing scene of Chiaroscuro. Objective, neutral, as if he were a camera, Bernard looks deep into the being of things. Everything, no matter how unimportant it may seem, is given meaning and essence. A clay pot, stone crocks, a tea towel, mushrooms, apricots, onion, garlic, cherry blossoms, pomegranate, chestnuts or bread. Timeless gifts of the earth, which, with conscientious viewing, all hold a surprising beauty. © Pim Milo Sunday, November 28, 2010 Aernout Overbeeke: Ndoto, Tanzania Dream Aernout Overbeeke: Ndoto, Tanzania Dream In 1952, a year after Aernout Overbeeke’s birth, his family moved from Utrecht to Rotterdam, where Aernout’s father became editor-in-chief of the local edition of the daily newspaper Het Parool. When the family moved again, this time to Amsterdam in 1963, Aernout had already picked up an unmistakable Rotterdam accent, which put him at a disadvantage vis-a-vis his schoolmates. Although he would eventually acquire standard educated Dutch, he was isolated throughout his entire period at school. Instead of spending his time with his classmates and children from the neighbourhood, he spent all his free time in the Rijksmuseum and the Stedelijk Museum. In those formative years he studied art history on his own. They turned him into an obsessive viewer. Overbeeke left secondary school before completing his education and became a freelance photographer. For almost a year he was an assistant with Ed van der Elsken. Because he enjoyed seducing girls with his camera, he decided to become a fashion photographer. At the time there was hardly any fashion industry of its own in the Netherlands, and - apart from the trend-setting monthly Avenue - there was little innovation in the fashion photography of the magazines. Overbeeke gradually came to realise that his talent could not flourish here. After the birth of his children - a son Kenzo in 1978 and a daughter Teska in 1980 - he had to change course. The time had come to earn a living. The book European Photography, edited by Edward Booth-Clibborn, a collection of the best of applied photography, was published in 1981. It was the first in a series of four publications. Those books expressed the trend that was emerging in England at the time to stop advertising looking like advertising. This was the reason why art directors opted for feature photographers, for people who could slowly and meticulously compose their photographs with a large-format camera on 10 x 8 inch negatives. Slow photography was a response to the increasing pace of society. Large-format photographers like Barney Edwards, Denis Waugh, Kenneth Griffiths and Rolph Gobits were brought in to make ads look more like features than advertising. This form of photography appealed to Overbeeke. He invested all his time and energy in mastering the finesses of this technique. While cameras were becoming more compact and the film emulsions more sensitive - and thus faster - Overbeeke carried a large-format camera on his back and crept under a black cloth to set up that slow, clumsy and archaic camera. The mirror image appears upside down on the matt glass. Overbeeke has proved to be a bohemian, indifferent to the progress of the 21st century. He showed his new work - carefully composed studies in form and colour - in 1988. He presented his autonomous photographs to Paul Meijer, art director of the GO/Needham advertising agency. Meijer was impressed and immediately gave Overbeeke a campaign for the Centraal Beheer insurance company. Henny van Varik, creative director of the Akkerman, Meijer and Van Varik agency, gave him a campaign for the Westland/Utrecht Hypotheekbank in the same year. Both campaigns won awards in the Art Directors Club of the Netherlands (ADCN) and Overbeeke’s reputation was made. The mid-1980s were an era of visual flair in advertising, and Overbeeke’s sense of aesthetics was perfectly in tune with the enthusiastic perfectionism of art directors like Béla Stamenkovits, Frans Hettinga, Gerard van der Hart and Hans Goedicke. Goedicke praised Overbeeke for his unusual compositions, the striking angles that he dared to assume with his camera, and his striving for perfection, his creativity in finding solutions that raise the idea of the art director to a higher plane. On top of that, Overbeeke is unashamedly selfish. He only finds an advertising idea interesting if he can give it a twist of his own. ‘Nice concept,’ he says in talks with the advertising agency, ‘but l’m going to tackle it very differently.’ And if he does not get his wagy, he rejects the commission without pardon. Overbeeke will never become a real advertising photographer; after all, he is not interested in how advertising works. But he is a keen image-maker who can translate the idea of the art director into a breathtakingly perfect photograph with stopping power. In his search for the ultimate image, Overbeeke does not limit himself to just one camera technique or just one theme. Besides taking large-format photographs (5 x 4 and 10 x 8 inches), he also makes use of medium and panorama format; besides photographing landscapes, he also photographs nature, cars, interiors and people, and makes portraits. He does so for the advertising world, but also for feature magazines (in 1988 he documented the Mississippi from source to estuary with a Linhof 6 x 17 Technorama for Avenue) and personal projects. The only limitation that he stubbornly imposes is his refusal to go digital. As long as negative material and photographic paper are available -imported by himself if necessary - he will continue to take analog photographs. He saw potential in a disused orphanage, bought it, and turned the building into a genuine palace, as he was later to do again, but with a castle in the south of Burgundy, where he has lived like a god in France ever since. Imagination, perfectionism and the courage to take up the challenge: those are the three qualities that make Overbeeke a celebrated photographer. There is interest in his talent abroad too. Aernout Overbeeke travelled through Australia for the Italian furniture firm Cassina in search of locations for the pieces. They were flown in by helicopter and very precisely placed on the designated spot. The contrast between the rugged landscape and the design furniture gives the pictures a Surrealist quality. The campaign is a textbook example of Overbeeke’s extreme perfectionism and the lack of compromise with which he works. A whole month went into the making of six photographs. These were one of the last large-scale photo productions of their kind. The year was 1991; Photoshop 1.0 had been on the market for a year. The art director who thinks up something like that today has to be satisfied with using a computer to assemble his images from the stock photos available on the internet. In the meantime Overbeeke continued to look obsessively and to make personal photographs besides his commercial work, even when he was with a client and a dozen crew members in vans on location in California. ‘As a photographer I have a large responsibility and a lot is expected of me. As I drive through America, I see something terribly interesting and want to photograph it. In the past I would not have dared to in a situation like that. I’m well paid for the job and cannot permit myself to let my attention wander to something else. But now I stop the caravan and say: “Just practising with my finger to see if I can still do it.”’ He does not practise with a compact camera hanging from his neck and ready to shoot, but with a 6 x 9 Alpa camera which requires opening the boot of the car and unpacking the luggage - not snapshot photography but concentrated work. It is curious, because the loner Overbeeke does not like being surrounded by people, but at a moment like that he dares to ignore the peering glances of the people waiting behind him without scruples or nervousness. At the outset of this new century Overbeeke started on a personal project for which he photographed actors and dancers in his studio, using objects from his large collection of ethnographic objects: masks, weapons and jewellery that he has brought back from his travels in Africa, Australia, Japan and former New Guinea. This project led him to travel to Tanzania and to document the Masai in their own biotope, driven by the desire to record for posterity a culture that is slowly but irrevocably losing its identity. Overbeeke’s perfectionism does not stop once he has pressed the shutter. At home he has a darkroom which would make a professional lab jealous. He experiments there with developer and photographic paper. In the past his daughter Teska used to sit beside him on a stool, reading from a children’s book under the yellow lamp. By now she has become a photographer too.  The prints for Ndoto, Tanzania Dream were made by Overbeeke himself on baryta paper using a litho developer. The result is a graphic emulsion with extreme contrasts, maximal density, and a very high degree of sharpness of contour. With developer of this kind, the gamma increases with development time to a maximum and then drops again. The optimal development time is just before this maximum is reached. It is essentially a procedure intended for pure black-and-white work. If the paper is exposed beforehand, a very beautiful grey tint is produced that is just as long or short as Overbeeke wants, depending on the exposure time. It is a completely controllable process in which Overbeeke remains master of the material - just as he keeps everything under control to achieve perfection. © Pim Milo, 2010 Monday, November 08, 2010 Aernout Overbeeke Portraits of Cobra artists On 8 November 1948, in the Parisian café Notre Dame, Asger Jorn, Joseph Noiret, Christian Dotremont, Constant, Corneille and Karel Appel signed the manifesto “La cause était entendue”. The Cobra movement was born. Dotremont, Mogens Balle, Henry Heerup, Jorn, Lucebert, Jan Nieuwenhuys, Anton Rooskens, Theo Wolvecamp, Jean Michel Atlan and Jacques Doucet did not live to experience the opening of the Cobra Museum on 8 November 1995 in Amstelveen (the Netherlands). But for all the others - founders and former members of the movement - the few days of opening festivities were a warm reunion from which only Appel was missing. Photographer Aernout Overbeeke had set up a temporary studio in the museum depot, and director Leo Duppen ushered in those Cobra painters present. There, they stood suddenly face to face with Overbeeke: a distinguished-looking man, dressed in corduroy trousers and Harris Tweed rather than torn jeans and a tee-shirt; brogues instead of trainers; and with a strikingly loud voice with the accent of leafy Aerdenhout. That is one aspect of sitting for your portrait: the man behind the camera. One of the principal impossibilities - and therefor a major challenge - of photography is to record someone’s character in a fraction of a second. For the painting Benefits Supervisor Sleeping (1995) - which fetched 2.17 million euros at a Christie’s auction in New York in May 2008 - Sue Tilley posed for Lucian Freud two or three days a week for nine whole months. Every Saturday and Sunday and any other day she did not have to work. Tilley arrived at the studio at seven in the morning, as Freud wanted to catch the early morning light. After having breakfast together, they worked on until lunchtime, after which they continued through the afternoon. Day after day, layer after layer a painter brushed time onto the canvas, slowly encapsulating the onward-ticking clock. Photography captures an moment in time; painting congeals time. Against a white backdrop, Overbeeke had constructed a kind of tent where the Cobra artists would take their place one after another. A rather stuffy, black tent to ensure that one side of the head would remain dark. The camera was placed three meters away. That is unusually far for portrait photography. The distance makes a world of difference. Photographer and model are not in one another’s territory. There is hardly any contact. The person sitting for his portrait can stretch his legs without knocking over a tripod and without fear of the photographer tripping over them. At the same time, he is left to his own devices, which leads to contemplation. Painters do not like to pose; they prefer to withdraw from the view of the world by hiding behind their medium. The painter in self-imposed isolation behind his easel; the photographer behind his camera. So there they sat, ill at ease in Amstelveen, in a small black tent, alone with themselves and Overbeeke’s inquisitive eye. A slightly ironic, haughty eye, but that of someone who can observe very, very precisely. Overbeeke wanted to get the hands in the frame. Along with the eyes, they constitute the artist’s most important tool, and they became the leitmotif running through the series of portraits. That was it: hardly any direction was given; they just took it as it came. The artist sat three metres from the photographer, coming to terms with the situation, trying to conquer his mistrust and perhaps, too, wrestling with the discomfort of the moment and perhaps also the aversion to having his portrait taken or being the centre of attention, and the photographer just let it happen. That “laissez faire, laissez passer” is what makes these portraits so special and made the sittings in the Cobra Museum such an exciting photo session. The whole thing never took more than ten minutes. Click. Wind. Click. Wind. Click. Just the amount of time needed to recharge the flashes. When the pictures were ready, each subject was given two prints with the request to adapt them by adding something from his own hand. That must have been a remarkable process, adding something to your own portrait. You make yourself, as artist, complete, as it were, uniting yourself with your work, with your style of working. That demands a mature attitude in respect of who you are and what you have done with your life. Something like that requires both distance from and empathy with yourself. Cobra artist Constant had the most difficulty with the task. It took him three years to complete his photograph. The result is a unique series of portraits. A first, in fact. Portrait photography and painting: a snapshot in time and congealed time in one. © Pim Milo, 2010
cf24d36c-63c9-4c3b-a2c0-a741958e75b0	{ "cc_dump": "CC-MAIN-2024-42", "dolma2_qc": { "0": 0.999956488609314, "1": 0.00006357004167512059 }, "exact_duplicates": 0, "lang": { "en": 0.9701845049858092 }, "madlad": { "num_sentences": 23, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 491, "sa_remove_ranges": [ [ 2049, 2755 ] ], "text_hash": "240698759468518501513117348615446776334", "warc_content_type": "text/html", "warc_date": "2024-10-03T18:59:04.000Z", "warc_url": "https://leftlion.co.uk/features/2021/02/under-cover-artist-kev-grey-issue-133/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9871888160705566, "__label__education_and_jobs": 0.0032830648124217987, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.034110426902770996, "__label__games": 0.0027249858248978853, "__label__home_and_hobbies": 0.01244165189564228, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": 0.003717252518981695, "__label__finance_and_business": 0.02162533439695835, "__label__health": null, "__label__politics": null, "__label__social_life": 0.002482622629031539, "__label__entertainment": 0.014967083930969238, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": 0.0038344827480614185, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Under Cover Artist: Kev Grey Interview: LeftLion Monday 01 February 2021 reading time: min, words You might recognise his style if you’ve picked up a can from Notts brewery Black Iris, and now Kev Grey has turned his talented hands to create our cover art... Tell us a bit about yourself… I’m a 42-year-old artist based in Liverpool where I live with my wife Hayley and our two kids. I became serious about my artwork in the mid-nineties when I began making fanzines of my drawings and also started painting graffiti. I’ve now been working as a professional artist/designer for over two decades. What was the inspiration behind the cover? When I was asked to design the cover for the ‘Love’ issue I instantly had the idea to base the design on traditional tattoo flash imagery of a swallow and love heart. I have always loved the simplicity and boldness of a good piece of tattoo flash. What was the biggest challenge that you faced in creating the piece? There were no major challenges, I just enjoyed the process of starting with my initial rough concept and then seeing the artwork come to life as I completed the final design. The biggest reward to me is when I see my work out in the world whether it’s on a magazine cover, beer can, or whatever else I have been working on. Tell us about some projects you’ve worked on in the past… Some of the more notable projects I’ve been involved with include designing the signature Schecter Guitar for Porl Thompson of The Cure. I also spent a few years travelling around Europe and going to Hong Kong with the shoe brand Vans to hand-paint shoes with custom artwork at their in-store events and music festivals. Since 2008 I have also run my own publishing company, Gamblers Grin, through which I regularly release books and fanzines of my work. What have you got planned for the future? I honestly feel more focused and motivated now when it comes to creating artwork than I ever have, so when it comes to my work I just plan to continue working hard and enjoy what I do
74920978-3212-4506-b023-9821d08125ec	{ "cc_dump": "CC-MAIN-2014-35", "dolma2_qc": { "0": 0.9999464750289916, "1": 0.00007354694389505312 }, "exact_duplicates": 1, "lang": { "en": 0.8945999145507812 }, "madlad": { "num_sentences": 5, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 90, "sa_remove_ranges": [], "text_hash": "80462261145872869185579125150660587963", "warc_content_type": "application/http; msgtype=response", "warc_date": "2014-08-20T18:29:53Z", "warc_url": "http://shapelywomen.tumblr.com/about", "weborganizer": { "__label__adult_content": 0.040855713188648224, "__label__art_and_design": 0.8558611869812012, "__label__education_and_jobs": 0.01972912810742855, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.11280541121959686, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.002482622629031539, "__label__software": 0.014967083930969238, "__label__software_development": 0.002810927340760827, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.1968362182378769, "__label__entertainment": 0.010662510991096497, "__label__history_and_geography": null, "__label__literature": 0.0071314298547804356, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Shapely Women All the lovely women you won't find in Vogue. About Ask me anything Submit I began Shapely Women on Blogger in 2008, and have since gathered over 1000 paintings showing women in an intriguing manner, with a preference towards the curvy. Just a fun curation project in my spare time as a librarian — and the fact that I’m a librarian is probably why I’m following your #tumblarian blog! I’m also starting to curate male portraits at Eyes on Homme, and welcome submissions to either blog! - Celia E.
ac88ceff-3c6e-430b-8f6b-9e9c5c4d9722	{ "cc_dump": "CC-MAIN-2023-40", "dolma2_qc": { "0": 0.9999704360961914, "1": 0.00004961545710102655 }, "exact_duplicates": 0, "lang": { "en": 0.9733316898345948 }, "madlad": { "num_sentences": 7, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 161, "sa_remove_ranges": [], "text_hash": "250579356105128563796514339404791119752", "warc_content_type": "text/html", "warc_date": "2023-10-04T18:42:08.000Z", "warc_url": "https://isaandcompany.com/about-me/", "weborganizer": { "__label__adult_content": 0.005230126902461052, "__label__art_and_design": 0.6224693655967712, "__label__education_and_jobs": 0.10375863313674928, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.018556566908955578, "__label__games": null, "__label__home_and_hobbies": 0.08510905504226685, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.01283121295273304, "__label__health": null, "__label__politics": null, "__label__social_life": 0.008325778879225254, "__label__entertainment": 0.01283121295273304, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": 0.0019367348868399856, "__label__industrial": 0.005564924795180559, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Isa loves typefaces like most women love shoes and never, ever says no to chocolate. ISA MOHTAJ received her Bachelor of Design degree from the University of Florida. She began her career with the John Harland Company in Atlanta and held several senior positions at notable agencies such as Austin Kelley and Warren Clark & Graham before starting her own studio in 1994. Her impressive work has earned her numerous awards from such well-known shows as Show South, the CLIOs, the Addy Awards and Print Excellence Awards. Isa’s fascination with printed material began at a young age—her mom would often find her in the pantry surrounded by colorful registration marks she had carefully cut from food packaging. She enjoys the challenge of design, discovering and learning about her clients, their competition and trends in the marketplace. When she’s not designing or doing mom-things, you’ll find her browsing antique stores, planning her next interior, dancing or tending to her peonies.
5597aa11-47c4-40ca-9870-2f010df54cb0	{ "cc_dump": "CC-MAIN-2013-20", "dolma2_qc": { "0": 0.9999650716781616, "1": 0.00005499729377334006 }, "exact_duplicates": 0, "lang": { "en": 0.9542958736419678 }, "madlad": { "num_sentences": 41, "rule.2": [ 38, 39, 40 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 1381, "sa_remove_ranges": [], "text_hash": "37849564005654126954919099241599443613", "warc_content_type": "application/http; msgtype=response", "warc_date": "2013-06-20T07:49:23Z", "warc_url": "http://artwelove.com/insights/archives/2009/08/31/news-roundup-1/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.8634016513824463, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": 0.0012165895896032453, "__label__home_and_hobbies": 0.000949943671002984, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.00942259095609188, "__label__health": null, "__label__politics": 0.03309597820043564, "__label__social_life": 0.0012943083420395851, "__label__entertainment": 0.10088862478733064, "__label__history_and_geography": 0.0019977742340415716, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.002482622629031539, "__label__crime_and_law": 0.01244165189564228, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Insights / Headlines BY Andrew Goldstein on August 31, 2009 Damien Hirst's 1992 "Pharmacy" installation at Tate Britain is worth $16 million, probably with or without a box of pencils. ; Via cdn.complex.com Share on the web As the art world eases into September and assesses the economic ravages of the summer months, it appears two things are clear: for one, the recession's impact may not have been entirely as bad as feared; for another, signs of the art-space equivalent of green shoots are popping up around the world. In the New York Times, Roberta Smith writes that the number of New York galleries that closed since the bust seems closer to 20 than the much higher numbers bandied about, and that many dealers who shut down say they plan to reopen when things get better. In the meantime, Smith writes, alternative spaces materializing in apartments, vacant storefronts, and other scrappy corners of the city are keeping the blood flowing. This phenomenon, which has been gradually creeping into light since the beginning of the summer, is happening in London, too, as well as Mexico City, which was hit exceptionally hard by the crunch. In Berlin, meanwhile, mayor Klaus Wowereit is trying to give young artists a more permanent venue by campaigning for a new Kunsthalle dedicated to showing emerging talent. In France there's new hope for the arts, too, thanks to Sarkozy's appointment of Frédéric Mitterrand as minister of culture. The left-leaning writer and TV personality--and nephew of former Socialist president François Mitterrand--is expected to bring an open-minded éclat to the job, which presents as one of its first challenges the resolution of a dispute with Christie's over the country's droit de suite. What's that you ask? It's a tax, common in Europe, that is levied on auction houses to give up to 4 percent of art-sale proceeds to the artist and, for 70 years after the artist's death, to his or her heirs. (Shhh... don't tell any American artists, they'll think they're getting screwed. And they'll be right.) Speaking of auction houses, ArtPrice has reported that auction sales have gone up nearly 5 percent in this year's second quarter, giving some hope of a slooooow ongoing recovery. Too bad it's not fast enough for the Met, which told the Art Newspaper that it has had to significantly cut back on future megawatt loan exhibitions like the recent Francis Bacon show because they're simply too expensive to produce. There's a bunch of good museum news this week, though. New York's Department of Cultural Affairs has announced that a plan instituted in 2007 to have grants for city non-profits determined by a peer review has worked in terms of leveling the field and giving the bigger spaces enough stability to make long-term plans. The Guggenheim, meanwhile, enjoyed a blockbuster show this summer with its Frank Lloyd Wright retrospective, which brought in 372,000 visitors--making it the highest-attended show in the museum's history. Since the second-highest was the 2001 Frank Gehry survey, we can safely expect to see more where that came from. (Louis Kahn, anyone?) Over in England, the tiny Bristol Museum shockingly almost tied the Guggenheim with its Banksy show, which drew over 300,000 visitors and boasted six-hour lines on the final day. The city of Bristol--which brought in $16.4 million due to the show--is continuing on the road to becoming Banksyland by proclaiming that pieces of street art found there will from now on be put to a public vote to decide if they should be kept as public artworks or erased. Since they say "unsightly" graffiti tags will be eliminated on sight, they may be headed for some tricky navigation of what's art and what's not. Maybe they should deputize some pigeons. A few towns over in Hackney, though, no pigeons were necessary for that city's authorities to decide to paint over a Banksy without even contacting the owner of the building it was on. In other graffiti and assorted illegal-art news, 17-year-old graffiti artist Cartrain was arrested after stealing a box of pencils from Damien Hirst's $16 million Pharmacy art installation at Tate Britain. Cartrain had feuded with Hirst earlier when the YBA impounded several collages he had made of the For the Love of God skull, and the kid tried to use the stolen pencils as a bargaining chip to get back the artworks. Not smart. Having returned the pencils and now out on bail, he stands to be charged with one of the most valuable modern-art thefts in British history. In New York, meanwhile, authorities say Japanese artist Yoshitomo Nara has completed his six-month probation for drawing a smiley face on an East Village subway station wall in February. Since the drawing could have been worth $10,000 if preserved, maybe next time the cash-strapped MTA won't erase it. In Sweden, an art student was fined $343 after re-staging an actual near-suicidal breakdown she had on a bridge in Stockholm as her final academic art project, causing the police to arrest her and then forcing eight psychiatric orderlies to restrain her--all in a stated attempt to throw light on treatment at mental health institutions. On the non-criminal acting-out front, Kara Walker got in trouble for not delivering a promised artwork to the Whitney Houston-themed "Whitney's Biennial" at Brooklyn's C.R.E.A.M. Projects. Feeling guilty, she submitted her lack of a submission as her piece, titling it My Absence and My Shame. Sean Lennon, in a fairly tasteless but admittedly sexy stunt, had Purple magazine photographer Terry Richardson capture him and his nude girlfriend Kemp Muhl in a reverse of the cuddly position in which Annie Leibovitz immortalized his parents, John and Yoko, for Rolling Stone. Finally, paranoid, fear-mongering Fox News pseudo-preacher Glenn Beck spent a 9-minute segment using examples of Communist and allegedly pro-Mussolini art at John D. Rockefeller's United Nations Plaza and Rockefeller Center as the basis for an attack on liberals, claiming that they (like the progressive Rockefeller, and by implication Obama and everyone who voted for him) secretly love mass-murdering Fascists. (Watch the video below.) In response, New York magazine art critic Jerry Saltz challenged Beck to curate two art shows at as-yet-unnamed prestigious New York venues, one show featuring reproductions of other city artworks the dangerous TV clown wants to condemn to destruction, and the other featuring works of contemporary art he actually likes. Stay tuned. Related Articles: "The Mood of the Market, as Measured in the Galleries" [via the New York Times] "Pop! An Empty Shop Fills With Art" [via the New York Times] "Art museums struggling in Mexico" [via the Los Angeles Times] "Berlin Mayor Pleads for New Kunsthalle" [via Artinfo] "Positive reactions to new French minister for culture" [via the Art Newspaper] "How will Mitterrand handle artists’ resale rights dispute?" [via the Art Newspaper] "Is the art market showing signs of life again?" [via Daily Finance] "Metropolitan cuts major loan shows by a quarter" [via the Art Newspaper] "New Slicing of Arts-Fund Pie Is Working, Budget Office Says" [via the New York Times] "Wright Exhibition Sets Guggenheim Attendance Record" [via the New York Times] "Hundreds face six-hour Bank Holiday queues...for last day of Banksy exhibition" [via the Daily Mail] 'Is graffiti art? Public to decide" [via the Telegraph] "Either Pigeons Are Brilliant or Art Critics Are Idiots" [via Gawker] "Banksy artwork painted over in Hackney" [via the Guardian] "Damien Hirst in vicious feud with teenage artist over a box of pencils" [via the Independent] "Sean Lennon And Nude Model Recreate John And Yoko (NSFW PHOTO)" [via the Huffington Post] "Saltz: New York Challenges Glenn Beck to Art Exhibition" [via New York magazine] From the Article: Artists Yoshitomo Nara Frank Lloyd Wright Kara Walker Francis Bacon Damien Hirst From the Article: Shows From the Article: Venues
1c734e4d-e99a-4106-8a44-6744e12a4135	{ "cc_dump": "CC-MAIN-2015-18", "dolma2_qc": { "0": 0.9999645948410034, "1": 0.00005543329461943358 }, "exact_duplicates": 0, "lang": { "en": 0.9587966203689576 }, "madlad": { "num_sentences": 22, "rule.2": [ 3 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 302, "sa_remove_ranges": [], "text_hash": "140622912658993983999808693529735853218", "warc_content_type": "application/http; msgtype=response", "warc_date": "2015-04-28T05:19:35Z", "warc_url": "http://inphotos.org/category/ireland/cork/bantry/page/4/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6584275364875793, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.1259327530860901, "__label__science_math_and_technology": 0.00318268220871687, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.0034934247378259897, "__label__social_life": 0.05501529201865196, "__label__entertainment": null, "__label__history_and_geography": 0.10088862478733064, "__label__literature": null, "__label__sports_and_fitness": 0.014513582922518252, "__label__travel_and_tourism": 0.11280541121959686, "__label__crime_and_law": 0.004208795726299286, "__label__food_and_dining": 0.006498271133750677, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	O’Keeffe Lounge and Bar I happened upon the O’Keeffe Lounge and Bar while wandering around Bantry last Sunday morning. Given the name of the establishment I just had to take a shot didn’t I? Note the “Welcome to the pint depot” quotation? Congratulations to Gingerpixel who won Best Photoblog at last night’s Irish Blog Awards. Ryan so deserves a special mention for doing the photography on the night, yet again! And of course, a big thank you to Damien for getting the ball rolling and organising the whole thing. Mountain Daffodil A daffodil in the garden of a house in the hills north east of Bantry Bay. I drove up there last Saturday morning and stopped when I saw the open gate. Wandering in the driveway I took a few shots of the view and then noticed these daffodils growing. I prefer the daffodils. The day was too gloomy and the view wasn’t that great. Dedicated to the memory of the three young men who lost their lives today in nearby Dunboy Castle. The Boats of Bantry Boats tied up at the quay in Bantry two weeks ago. Bantry was once criss-crossed with waterways like Venice is today but those are long gone. The sea is still an important part of the culture of the town. If you’re interested in the history of the region, here’s a page from westcork.com on the subject. Skibbereen or Hospital A sign in the foreground of the main square in Bantry, Co. Cork. We went to Ahakista eventually! This is made from one exposure but I had this great looking sky and underexposed buildings and ground detail. To get an even exposure I split the photo using two layers and adjusted the exposure in each accordingly. I’m very happy with my work on this one!
6ee8532c-015e-47b9-8025-25b46a49cf2c	{ "cc_dump": "CC-MAIN-2019-43", "dolma2_qc": { "0": 0.9999561309814452, "1": 0.00006388023030012846 }, "exact_duplicates": 1, "lang": { "en": 0.9292842745780944 }, "madlad": { "num_sentences": 50, "rule.2": [ 29, 39, 41, 49 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 1356, "sa_remove_ranges": [], "text_hash": "275227332081465160629983489422681403327", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-10-21T11:02:39Z", "warc_url": "https://www.tate.org.uk/art/artworks/gris-the-sunblind-n05747", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.99219411611557, "__label__education_and_jobs": 0.0012548431986942887, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.008071991614997387, "__label__science_math_and_technology": 0.01972912810742855, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.0012943083420395851, "__label__entertainment": 0.002810927340760827, "__label__history_and_geography": 0.08036746829748154, "__label__literature": 0.0695517510175705, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.001042230986058712, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.0011795104946941135, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Juan Gris The Sunblind Juan Gris 1887–1927 Original title La Jalousie Gouache, paper, chalk and charcoal on canvas Support: 921 x 727 mm frame: 1001 x 812 x 79 mm Purchased 1946 The Sunblind is a papier collé by Spanish artist Juan Gris produced in 1914. It features a partly closed venetian blind, through which light illuminates a wine glass and casts its shadow onto the surface of a wooden table. Flat planes of black and grey indicate areas of shadow and light playing across the surface of the glass. Light blue and white chalk has been used to highlight further passages of light and shadow down the edges of the blind, the right-hand side of the glass and around the table form. The stem of the glass has been loosely sketched in white chalk to give a sense of form, and the carefully rendered slats of the blind provide a diagonal movement from left to right, which is mirrored by the table. The composition is balanced and framed by dense areas of black charcoal to the centre, sides and bottom of the image. The palette is cool and muted and gives the interior setting a calm, hushed atmosphere. A masthead cut from a real newspaper, Le Socialiste, is pasted to the centre-left of the image, twisting and fragmenting slightly in sympathy with the shape of the glass. An additional piece of what appears to be a collaged newspaper has been pasted along the top of the blind and painted over. The objects are shown from several perspectives: from above and to the side. The raw edges of the canvas are visible on all sides and the artist has signed and dated the work in the lower left corner. Gris created The Sunblind at Collioure in the Pyrénées-Orientales where he was staying from late June to October 1914, and it was most likely made in the September–October of his stay. The newspaper was local to Collioure and its full title, Le Socialiste des Pyrénées-Orientales, and issue date (13 March 1914) are visible in the masthead pasted into Gris’s collage. As a consequence, this work has also been known as Le Socialiste. Multiple textures play across the surface of the image due to the variety of media used. Some areas of the image, such as the wine glass, are composed of several layers of gouache, charcoal and chalk. A translucent effect has been created by the careful stippling of white and blue chalk over the corners of the table and around the edges of the blind and glass. The Sunblind belongs to a period of Gris’s most intense production of papiers collés and collages in 1913–14. It features sharply delineated geometric objects, which have been precisely rendered to create a rational, rhythmic composition. The sharp diagonals of the blind itself are precisely echoed by the edges of the table and even the more disruptive shapes of the masthead and blue facet of the glass mirror each other in their angular forms. Gris had studied engineering in Madrid before turning to painting in around 1904, and in 1921 he described his approach to still life subjects as follows: ‘I try to concretise that which is abstract … My art is an art of synthesis … I consider that the architectural side of painting is mathematical, the abstract side, I want to humanise it’ (quoted in Charles Harrison and Paul Wood (eds.), Art in Theory 1900–2000, Oxford 2003, p.246). The art historian Douglas Cooper has emphasised that unlike contemporaries such as Picasso, Gris did not add decorative elements into his work, tending instead to allow materials such as cut papers ‘to suggest the objective content of the painting’ (Douglas Cooper, The Cubist Epoch, London 1994, p.204). Cooper has argued further that the recurrent motif of ‘a black negative image’ in Gris’s work helped to ‘assert the totality of objects, and also isometric views’ (Cooper 1994, p.204). The density and angularity of the black negative spaces shown in The Sunblind give the objects a solid, formal presence. The Sunblind was produced when Gris was consolidating his individual practice following his first exhibitions in 1912 and his exclusive signing with art dealer Daniel-Henry Kahnweiler. While at Collioure, Gris worked mainly in papier collé and gouache, adopting techniques recently established by cubist colleagues Georges Braque and Picasso. The use of real newspaper fragments in still life arrangements can be seen in other papiers collés by Gris from this period (see, for instance, Breakfast 1914, Museum of Modern Art, New York), and as a synthetic cubist still life The Sunblind bears resemblance to Picasso’s Bottle of Vieux Marc, Glass, Guitar and Newspaper 1913 (Tate T00414). Further reading Douglas Cooper, ‘The Temperament of Juan Gris’, Metropolitan Museum of Art Bulletin, new series, vol.29, no.8, April 1971, pp.358–62. Douglas Cooper (ed.), Juan Gris, Paris 1977, vol.1, reproduced p.183. Ronald Alley, Catalogue of the Tate Gallery’s Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.339–40, reproduced p.339. Jo Kear May 2016 Supported by Christie’s. Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you. Display caption Light slips through a venetian blind, casting a shadow from the wine glass onto the small table. The illusionistic appearance of the blind contrasts with the real newspaper, which Gris incorporated into the work. Le Socialiste des Pyrénées-Orientales was local to Collioure, a fishing town where he stayed in the summer of 1914. Gris may have included it to express his political allegiances. Gallery label, January 2016 Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you. Catalogue entry Juan Gris 1887-1927 N05747 La Jalousie (The Sunblind) 1914 Inscribed 'Juan Gris \| 1914' b.l. Papier collé on canvas, some heightening in chalk and charcoal, 36 ¼ x 28 5/8 (92 x 72.5) Purchased from the Zwemmer Gallery (Knapping Fund) 1946 Prov: Daniel-Henry Kahnweiler, Bern; with Galerie Simon, Paris; Mlle Pertuisot, Paris (later Mrs Gerard Lee Bevan, London), 1926; Christie's sale, London, 23 April 1937, lot 24; bt. Zwemmer Gallery, London, 23 gns.; Miss Valerie Cooper, London; with Zwemmer Gallery, London Exh: Juan Gris, Galerie Simon, Paris, March-April 1923 (7) as 'La Jalousie'; Collages, Papiers-Collés and Photo-Montages, Guggenheim Jeune, London, November 1938 (39) as 'Le Socialiste', lent by Miss Valerie Cooper Lit: Daniel-Henry Kahnweiler, Juan Gris: his Life and Work (London 1947), p.16; Douglas Cooper (ed.), Letters of Juan Gris (1913-27) (London 1956), pp.18, 69-71; Douglas Cooper, Juan Gris (Paris 1977), No.119, Vol.1, p.182, repr. p.183 Repr: Documents, II, No.4, 1930, p.248; Daniel-Henry Kahnweiler, Juan Gris: his Life and Work (London 1969), p.65 in colour A small table in front of a window with a venetian blind. On the table is a wine glass, with its cast shadow, and a folded newspaper. This still life was executed at Collioure, a fishing town in the Pyrénées-Orientales, where Gris was staying from the end of June until late October 1914 and where he worked mainly in papier collé and gouache. In the present composition, which Douglas Cooper dates September-October 1914, he incorporated part of a local newspaper Le Socialiste des Pyrénées-Orientales (issue of 13 March 1914). Owing to the outbreak of war he was unable to deliver this picture to his dealer, D.-H. Kahnweiler, who was a German subject, so he kept it and eleven others by him until he contacted Kahnweiler again in 1919. It has also been known, on account of the newspaper, as 'Le Socialiste'. Published in: Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.339-40, reproduced p.339 You might like
2d72db54-513d-4185-99d3-5c5fcb8face3	{ "cc_dump": "CC-MAIN-2021-31", "dolma2_qc": { "0": 0.9999693632125854, "1": 0.000050611502956599 }, "exact_duplicates": 0, "lang": { "en": 0.9231134057044984 }, "madlad": { "num_sentences": 38, "rule.2": [ 0, 2 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 869, "sa_remove_ranges": [], "text_hash": "97344184802573569536076643870136979588", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-08-05T20:43:14Z", "warc_url": "https://www.designbuild-network.com/projects/columbia-universitys-new-manhattanville-campus-new-york/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6513648629188538, "__label__education_and_jobs": 0.024433093145489693, "__label__electronics_and_hardare": 0.00507033197209239, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.05185545980930328, "__label__science_math_and_technology": 0.07370626926422119, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.00318268220871687, "__label__health": null, "__label__politics": null, "__label__social_life": 0.0034934247378259897, "__label__entertainment": null, "__label__history_and_geography": 0.007355827372521162, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.22816647589206696, "__label__transportation": 0.007587242405861616, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Columbia University’s New Manhattanville Campus, New York, US - Verdict Designbuild Join Our Newsletter - Get important industry news and analysis sent to your inbox – sign up to our e-Newsletter here Columbia University’s New Manhattanville Campus, New York, US Columbia University is developing a brand new campus in Manhattanville, New York, US. The 6.8-million-square-feet master plan is being developed on a 17-acre site located north of the university's existing Morningside Heights campus. Project Type New university campus Manhattanville, New York, US Construction Started Expected Completion Phase one: 2017 Columbia University is developing a brand new campus in Manhattanville, New York, US. The 6.8-million-square-feet master plan is being developed on a 17-acre site located north of the university’s existing Morningside Heights campus. The plan includes the development of new buildings for teaching, research, recreation, administration and support, as well as publicly accessible cultural and social spaces. Construction on the new $6.3bn campus was commenced in 2008. Phase one of the project includes the Jerome L. Greene Science Center and the Lenfest Center for the Arts, which are expected to open in 2017. Master plan of the new Manhattanville campus The new campus includes four blocks extending from 129th to 133rd Street in Manhattanville. The Jerome Center and the Lenfest Center cover two of the blocks. The remaining two blocks include the University Forum and Academic Conference Center and the Columbia Business School, which are scheduled to open in 2018 and 2021 respectively. The campus site also includes publicly accessible open spaces featuring pedestrian-friendly streets, dining and shopping avenues, and pathways connecting to the West Harlem Piers Park. Future building sites have also been earmarked in the master plan. New facilities at the Columbia University Spread over 450,000ft², the nine-storey Jerome Center is the biggest building ever constructed by the university. The facility will house the university’s Mortimer B. Zuckerman Mind Brain Behavior Institute, in addition to state-of-the-art research and teaching facilities. The facility will house the 1,960ft² Wellness Center, and the 1,500ft² education lab and retail space on the ground floor. The second building to open on the campus, the Lenfest Center, is an eight-storey, 60,000ft² facility that will house the Columbia University School of the Arts and feature exhibitions, performances, screenings and lectures. The university’s Miriam and Ira D Wallach Art Gallery will also move to the facility from the existing Morningside Heights campus, enabling public access to the gallery. The centre will facilitate partnerships and collaborations between the school, the gallery and Harlem’s cultural community. Design and structure Designed by Renzo Piano Building Workshop, the Jerome Center features an open-floor concept, which links various floors and common spaces with communal facilities. A quadrant system on each floor connects open-plan laboratories of scientists working in similar areas, in a bid to increase interaction and idea-sharing. The facility will offer various features to mitigate noise from a train track running past the campus. To this effect, glass of various compositions has been installed in the inner and outer layers of the facility in order to meet noise, light and thermal requirements. The façade of the Jerome Center features six wall types, including a stick-built storefront, a highly transparent double-insulated glass unit, a blast-resistant double-skin façade, triple-insulated glass units, steel sheet panel cladding, and an opaque notch wall. Renzo Piano Building Workshop also designed the Lenfest Center, which features large, column-free, open spaces with castellated beams. Vertical loads are transferred onto exterior columns, horizontal and diagonal steel braces and custom steel-cast node structures. The street-level façade is a transparent custom-glazed curtain wall, with the remaining levels featuring metal panel rain screens and punched windows. The structures of the Jerome Center and the Lenfest Center comprise a steel frame and metal decking, while the foundation is made from reinforced concrete. Sustainable features of the new campus Stage 1 LEED Platinum certification has been awarded to the project by the US Green Building Council for its innovative sustainable features, such as a centralised energy plant that will provide chilled water, high-pressure steam and electricity to the entire Manhattanville campus. The plant also includes a refrigeration facility, a dual-fuel-fired boiler plant, an emergency diesel generator, and state-of-the-art control systems. Other sustainable features of the project include air handling units, which recover heat from exhausted air for supply throughout the buildings for cooling and heating purposes. Motorised shades controlled by sensors have been installed inside the curtain walls to reduce heat gain. The lighting control systems installed in the buildings dim the lights according to the conditions of daylight, thereby reducing energy consumption. Contractors involved Lenlease US Construction will be the construction manager for the project, while WASP / Parsons Brinkerhoff, Jaros Baum & Bolles, IBA, Mueser Consulting Engineers and Stantec will carry out engineering works. Consultancy services for lighting, sustainability and security will be offered by Arup, Ateliet Ten, and Aggleton and Associates, respectively. Field Operations will offer landscape architecture services, while E2 Project Management will perform dust and noise monitoring during the project. Related Projects
33a38d75-b5db-4c13-8536-8b2308e63f65	{ "cc_dump": "CC-MAIN-2019-30", "dolma2_qc": { "0": 0.9999340772628784, "1": 0.00008595229155616835 }, "exact_duplicates": 1, "lang": { "en": 0.9330618381500244 }, "madlad": { "num_sentences": 58, "rule.2": [], "rule.5": [ 56 ], "status": "survived" }, "minhash": null, "original_word_count": 1338, "sa_remove_ranges": [], "text_hash": "256872461370878001899562801541958516080", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-07-16T23:09:55Z", "warc_url": "https://blenderartists.org/t/cycles-stars/572471", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.02518884465098381, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.004208795726299286, "__label__fashion_and_beauty": 0.006299902219325304, "__label__games": 0.004915405530482531, "__label__home_and_hobbies": 0.005394937004894018, "__label__science_math_and_technology": 0.01244165189564228, "__label__software": 0.0191340371966362, "__label__software_development": 0.02369946800172329, "__label__finance_and_business": 0.005921069998294115, "__label__health": 0.00318268220871687, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Cycles stars ! i was searching for the stars panel for Cycles… intuitively, i was searching into the “surface” menu…should be there or in the texture options… after all, it’s a kind of texture in the Blender internal !? does somebody got some infos about it ? 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There are no inbuilt ‘stars’ option for cycles, best option is to find a environment map of stars and use that… In cycles you can make something similar to the following image: This is the node setup for the world: I have added some nodes to get more indirect light in the world. Also I have taken a node group, called Big Dots, from this awesome article: using the latest SVN and i cannot re make this nodes set up when i make a group node the input values are all vectors instead of single value not certain how these new nodes are working right now! a sample file might help here I have uploaded it to pasteall. thanks seems to work but i don’see any group nodes in your file is it how you did it or when i open it i’m loosing the groups in latest SVN ? Oh yes, I grouped them for the screen shot. It is very similar to the group of the link (BigDots). but was it included in our sample file when i open up the file i did not see any group or layout box so wondering if you did it wihtout group nodes or i’m having a bug in my SVN ! No, I didn’t saved the node group, it is not a SVN error. elbrujodelatribu, if I append the world you created in an other .blend, I can see the stars only in camera view but if I just open your .blend, I can move and always see the stars. Where does it come from please ? I think it is due to you are using an orthogonal camera in your blend. I don’t know the reason this works so. Thanks to @elbrujodelatribu and the others, this technique is great, really ! I’m not 100% satisfied by thoses stars, even after some tweaking :frowning: I mean, a painted background would be better anyway ! Voronoi texture is fine, somewhere to create such points, i just found it quite heavy for just a layer of stars. I tried to start with a voronoi texture and using inverse to get the point white on black background, doesn’t work !? i don’t know why… EDIT : you’re right, my bad. If you decide to use a background image, here’s a great star field tutorial: It’s for Photoshop, but looks easy to adapt to Gimp if you’re a Gimp user :slight_smile: @Manolo76, then I have no idea about the cause. I have append the world setup in a new file, and it works for me. @sabba posted a good tutorial. This can be the best option. But I told only the main idea. You can make something similar to that mixing several layers of big_dots textures and a couple of noise texture nodes, … elbrujodelatribu, I edit my previous post. You’re right. I was convinced that leave the Camera View let the Perspective mode but it lets the previous choosen mode which in my case was the Orthographic mode. I was so obsessed by the background that I don’t notice that mode had changed. Anyway, nice starting point, thanks :). As indicated by the last image shown, I don’t know why you would even care about seeing a reimplementation of the old stars feature once you start creating a field procedurally in Cycles. BI stars was essentially a hack that uses the zbuffer to determine where to draw dots (read, code that was ancient, messy, and was once targeted for removal), doing it the way shown here in Cycles means that it will show up in reflections, show up in glass, be a true 360 star field, allow the creation of various nebulae ect… like the procedural one but how to add colors to different dots radomly may be? Hi, I have made a new version of my procedural stars world settings: Also you can download it in blendswap. Basically nodes are divided into 5 groups: • Creating galaxies (or colored clouds through a noise texture node) • Creating low / high density areas for stars from the previous texture • Creating stars • Mixing all for background nodes • Setting different strengths depending on if rays are camera rays or not, because of this is a world node setup and produce light in the scene You can find a brief explanation here.
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Additional Info • Camera Model & Brand • Industry Affiliation Recent Profile Visitors The recent visitors block is disabled and is not being shown to other users. 1. Hi Everyone, I am new to underwater photography and filming. I am an experienced photographer and cinematographer topside however. I mostly shoot wildlife documentaries, interviews, etc. Naturally this has led me to expand my toolkit into underwater. I own a Komodo as well as a Sony A7RIV and a couple of A7Siii's. My plan is to get a housing for my photo stuff first and video stuff later and hopefully getting gear that can work on both systems (Lights, ports, domes, etc.), with the later goal of having both a photos setup and a cinema setup. I don't plan to use my Komodo underwater as the price for entry is a bit out of budget for that camera, but will most likely buy a housing for my A7Siii, but who knows! I'm sure these questions have been posted here before, so I do apologize if they are floating around the forums, I couldn't quite find the specific recommendations/answers I was hoping for. For the housings, I'm going Nauticam. I have many friends who use their housings and I live very close to Backscatter in Monterey, CA so I can have it serviced when the time comes. Open to recommendations however. I've looked at Isotta, Sea&Sea, Ikelite and Subal as alternatives, but Nauticam has housings for all my cameras so it would be nice to share pieces and parts between them where possible. I plan to use my A7RIV and a Sigma 24-70mm lens. As I'm understanding depending on the dome port, my field of view can be much tighter or wider? Would there be a better lens to use as an overall semi-wide to a semi-zoom? Something that works best as a wider angle for "landscape" shots of rocks, kelp forests, corals but can double as a semi zoom so I can do details of patters on rocks/coral? I'm not a huge fan of the fisheye look and don't plan to go that route, unless there is an underlying reason to do so. At some point, I will go the macro route as well but that is another thing entirely. For lighting, I am leaning more towards continuous lights as I will end up shooting video more so in the future. So I'm torn between Light and Motion or Keldan. I have used a loaner set from Light and Motion Sola 15ks (Also, very close to where I live) and love them. The main thing I an not a huge fan of is that their batteries are integrated. I would prefer a system where I can swap out batteries, especially on a multi dive day which is why Keldan caught my eye. Does anyone have experience with Keldan? I would prefer continuous lights vs strobes as I would hopefully be able to use continuous lights on both rigs. Not as ideal for photography, but if it works well enough, that's what I'm hoping for. Open to any and all recommendations here as well! Thank you all in advance for any and all recommendations! This seems like a great place and community so I'm excited to have found it and hope to contribute more in the future. 2. I highly recommend Bradley Photographic Print services. They are based out of the Monterey Bay peninsula and offer amazing quality prints. Bonus, the owner is a diver and accomplished photographer himself. I know him personally and have had my work printed by him, and even if I didn’t know him the quality and service were great. https://www.bradleyprintservices.com/ 3. Greetings from Monterey Bay! I am brand spanking new to Scuba diving (10 dives) and have immediately immersed (PUN INTENDED) into it. I have lived in the Monterey Bay area my whole life and can't believe I waited so long to explore it underwater. Above water I work as a cinematographer and photographer, so naturally I am fully interested in expanding that to underwater. I own a RED Komodo and a Sony A7siii for video and A7Riv for stills. So if anyone has any non-underwater video related questions about gear, software (DaVinci, Premiere, Lightroom) I would called myself a super advanced user since its what I do for a living. Anyways, great to be here and learn more about the underwater community! Cheers! • Create New...
a343a5db-3574-4c83-ade4-d9addafb0c2e	{ "cc_dump": "CC-MAIN-2020-34", "dolma2_qc": { "0": 0.9999393224716188, "1": 0.00008062874258030206 }, "exact_duplicates": 0, "lang": { "en": 0.969961643218994 }, "madlad": { "num_sentences": 131, "rule.2": [ 29, 56, 87 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 2361, "sa_remove_ranges": [ [ 2239, 3163 ], [ 5573, 10034 ], [ 11975, 12978 ] ], "text_hash": "151441723042916328365419357325012510055", "warc_content_type": "application/http; msgtype=response", "warc_date": "2020-08-06T22:35:13Z", "warc_url": "https://paperlifepainting.com/tag/memory/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.94500470161438, "__label__education_and_jobs": 0.004080137703567743, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.02518884465098381, "__label__games": null, "__label__home_and_hobbies": 0.01244165189564228, "__label__science_math_and_technology": null, "__label__software": 0.004915405530482531, "__label__software_development": 0.00574024673551321, "__label__finance_and_business": null, "__label__health": 0.003717252518981695, "__label__politics": null, "__label__social_life": 0.0036036029923707247, "__label__entertainment": 0.0025609128642827272, "__label__history_and_geography": null, "__label__literature": 0.01972912810742855, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	You Know It’s True I have greatly enjoyed upping my game with collage, refining my process. As is true with all my work, I do not want to be reduced down to the “..” guy. (i.e landscapes/nudes et al). With collage, when you find something that works, it is very tempting & easy to slip in what would be for a musician, pet-licks. I would like to think all my works have an open ended narrative feel to them. For this piece, I wanted to try to maintain that feeling but with less easily identifiable components making up the piece. The color palette would once again be restricted but darker than what I have been using. As usual, I work no digital magic, only my trusty scissors and adhesive applied with brush to images which I personally took. The black atop I hand painted on, this being the first time I have tried painting combined with collage. “You Know It’s True” 11×17 Time of Legend I have a pretty good rhythm going in what medium I use. Painting, collage..And regardless of what I am working or just finishing, drawing every night. Within each medium I mix things up to keep it fresh. Different types & sizes of paper. More often than not I prefer not to give concrete explanations of my work. I would rather each viewer forms their own opinions as to what it’s about/means. “Time of Legend” is not meant to be mocking nor satire. Originally I had imagined the skin to show more signs of sunburn but thought the splotches of angry red would serve as visual prompts for a program which I did not intend. “Time of Legend” is about someone completely comfortable in their skin. I am sure that there are moments when the model has dark nights of the soul. Unhappy with his lot in life, angry and sad that he will never get the (beautiful) girl or some other type angst. But for this moment, he was satisfied and living the life. I imagine at the end of the day, he goes home sleepy from the sun, his phone rings. One of his friends desiring the Joie de vivre which he brings with him to gatherings: “Hey, what’s going on?” “I just got back from the park, I had the best sausage sandwich, got some sun.” “You’re a legend man..” “Time of Legend” 9×12 watercolor & paper We All Need Beauty (Now) The news stateside continues to be bleak. Now more than ever we need beauty. Brief glimpses from afar to remind ourselves that the best versions of each of us are waiting to be birthed, that there is something more important beyond the “I” . Beauty need not be a rarefied thing either, it can be an abandoned spiderweb in the corner of a window or even something more mundane or not traditionally considered so. Beauty can touch us all in collective way, resonating differently for each individual. To continue evolving as an artist during this I continuously challenge myself. I ordered all kinds of paper which I had never worked with before for both drawing & painting. I have never painted on colored paper. First new thing was to try a 6×8 tan paper which is on a block. It handled very differently, I had to let it really dry between layers which was all right. The blending was also very different from my other paper. The end result I was very happy with. The volume & mass of skin looks a little more expressionistic than how I portray it with other paper, this is not better nor worse, just different. I will definitely continue with this paper. I have tan, grey and brown papers in all different sizes to further explore with too. “Write This Down” 6×8 watercolor & paper To The Sea For this collage I set myself several challenges. I wanted to do a smaller piece with a limited color palette. Also reduced was the number of things/objects (in this case just two, the spheres and sea). There is a different technique which I have used as an accent occasionally on some of my other pieces which is closer to a mosaic. I decided to do the entire piece in this manner. One of the things I treasure about doing mosaics is that I get if not the entire thing then an idea in my head of what I want to do. Then i do a layout on similar sized piece of paper next to the one the components will be glued on to. Inevitably things need to be tweaked to improve tension & flow. New ideas come to me as I construct too. It is these spur of the moment improvisations which make my collage like jazz and puts them between my paintings which are completely thought out ahead of time and my sculptures which are 90% improvisation. I never work any digital magic. My trusty scissors & adhesive applied with a brush to photos which I personally took. To The Sea 11×14Magic Hat #2 In the past I have written extensively about how the ready availability of cameras via our phones have made people forget how to look at paintings. People want the same realism in painting that they can achieve with their phones. This has had a ping-ponged effect to the mentality of a lot of painters. They seem afraid or embarrassed to have a painting or drawing look “merely” like that. It is pursuit of the hyper realism that makes many works by artists who have chops look freeze dried or still born. The best authors have always been the best readers (diverse and ever exploring & expanding their taste). Painters have their own version of this, which is looking at art. The internet & amazon make it so that even with sheltering in place, one can have a wealth of images at hand to peruse. And there is no longer any restrictions in regards to what one likes or pulls inspiration from. Read any biography on previous eras and the new had to reject the old or face harsh criticisms from peers & critics. Now it is possible to catch a spark from both Rothko & Frans Hals and no one would care. It’s a freedom that’s invaluable. With no chance of doing my yearly European museum crawl this year, i have delved back into my sizeable collection of art books. Even had i only looked at the images, it served as an empowering reminder: “It is ok for a painting to look like a painting.” I recently had done a collage where i sought to intentionally make something beautiful for everyone to look at. I have just finished a series of collages and decided to do the same thing with a painting. I was helped in this by utilizing a long time model, her comfort making it natural, the organics adding to the beauty. I just used my cell phone to take the photo, it gives you the gist of the work but in person (or with a better camera) there is more going on). 9×12 Watercolor & Paper “Beauty; Magic Hat #2”
59dd9b2f-e2ee-44c9-bc66-4b08c3255f5e	{ "cc_dump": "CC-MAIN-2017-30", "dolma2_qc": { "0": 0.9999396800994872, "1": 0.00008030406024772674 }, "exact_duplicates": 7, "lang": { "en": 0.9636635184288024 }, "madlad": { "num_sentences": 20, "rule.2": [ 0 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 812, "sa_remove_ranges": [], "text_hash": "276971324453491891295050642987909012732", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-07-21T18:42:36Z", "warc_url": "http://sparksinelectricaljelly.blogspot.com/2012/06/royal-albert-museum-exeter-wins-art.html", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.7431780099868774, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": 0.003955406602472067, "__label__home_and_hobbies": 0.008857354521751404, "__label__science_math_and_technology": 0.01206377986818552, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.002261847723275423, "__label__social_life": null, "__label__entertainment": 0.007355827372521162, "__label__history_and_geography": 0.3629792034626007, "__label__literature": 0.010662510991096497, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.08510905504226685, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": 0.0016584827098995447, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Wednesday, 20 June 2012 Royal Albert Memorial Museum Exeter Wins the Art Fund Prize Bideford, Devon by David Bomberg Hooray for the Royal Albert Memorial Museum in Exeter, which has just won the annual Art Fund Prize for museum of the year. This is a huge and foppish feather in its cap, one to be rakishly shown off at every available opportunity. It’s a validation of the extensive and admittedly costly revamp which has utterly transformed the interior and revealed features of the Victorian building which had previously been obscured (the lovely ironwork pillars, for example). Visitor numbers to the museum have been impressive, and it has been welcomed back after its four year closure with great enthusiasm by the citizens of Exeter. The first exhibition in the new, light-filled gallery in the extension to the rear of the old building, Into the Light, was a marvellous way to start, with paintings by Monet and Pissarro juxtaposed with British artists loosely falling into a post-impressionist mould like Vanessa Bell, Spencer Gore and Walter Sickert. The current exhibition on the ground floor draws on the museum’s own art collection, and includes Turner’s bucolic watercolour of Totnes from the downstream perspective of the Dart valleyside, David Bomberg’s recently acquired glowing semi-abstract 1946 seascape Bideford, Devon (actually painted in Instow), and an old favourite, Edward Burra’s atmospheric, rain-streaked depiction of the wild, primitive side of Dartmoor, a late watercolour from 1974. Home Dartmoor by Garry Fabian Miller, a display of photographs focussing on nature and the universe on both small botanical and large astronomical scales, all of which were made without the aid of a camera, has been a fine contemporary art exhibition (and it ends this weekend if you haven't seen it yet), demonstrating the museum's commitment to new work. The ethnographic galleries contain a marvellous array of objects from around the globe, including a full set of samurai armour which sits guard in its individual glass box, a large maroon and gold statue of Buddha (helpfully inscribed on its base with the legend ‘sitting Budh or Buddha – a Burmese idol’ by whichever Imperial adventurer brought it back to Blighty), a full sized totem pole recently carved by visiting native Americans, a large and colourful new tapestry from Egyptian artist Mahrous Abdou depicting fields and villages around the Nile, and some wonderful examples of Inuit clothing (white and with hoods, of course), tools and crafts. This gallery, always a good, hushed contemplative space during the week (as long as its not half-term), got the official seal of approval from Sir David Attenborough himself after its refurbishment a decade or so ago, the legendary naturalist giving a talk to support its opening and proclaiming it one of the finest collections in the country. The legacy of all those Majors and clergymen retiring to their westcountry seats after their exploits in the East and the Afric continent. The local history galleries are also marvellous, and very accessible. You can actually touch the medieval oak statue of St Peter crushing the grimacing Devil beneath his feet which looked down on the junction of High Street and North Street for so many centuries. People are always peering over the large city model made in the early nineteenth century, and based on childhood memories of the end of the previous, looking for familiar streets and buildings and divergences from the city they know, ravaged by wartime blitz and equally destructive post-war planning. There's also a carved oak figure from the Iron Age, some 2500 years old, an object of immense, electrifying power (although non-conductive of any ordinary force) - little more than two stumpy legs, an erect prick and a head with crudely carved features (nose and shadowed eyes but no mouth), its wooden surface bears the cracks and crevices of geologic time (the cranium ridged into a vertically-furrowed frown). It is hauntingly suggestive of long forgotten rituals and beliefs, and it must have been unnerving for whoever unearthed it at the clay quarry near Kingsteignton where it was discovered in 1867 to be faced with its blank-eyed gaze. The prize comes with £100, 000 attached, money which should ensure that imaginative initiatives such as the Gripping Yarns day, which saw actors performing short monologues written by local writers and bringing some of the museum’s artefacts to life, are continued. Its success and recognition by leading figures of the artistic and heritage establishments should also demonstrate to a council which often seems fixated on the retail aspect of the city at the expense of all else that there is a need and desire for cultural centres as well. This is great news for the museum and for the city too. I look forward to the exciting possibilities which it promises and the historical and artistic riches which will follow. No comments:
f4c2956f-c389-45f0-bc46-cbc8496d4b97	{ "cc_dump": "CC-MAIN-2023-50", "dolma2_qc": { "0": 0.999964714050293, "1": 0.00005528984547709115 }, "exact_duplicates": 2, "lang": { "en": 0.9536940455436708 }, "madlad": { "num_sentences": 11, "rule.2": [], "rule.5": [ 9 ], "status": "survived" }, "minhash": null, "original_word_count": 263, "sa_remove_ranges": [ [ 941, 1566 ] ], "text_hash": "182448781885172873814451418293703261329", "warc_content_type": "text/html", "warc_date": "2023-12-10T19:07:44.000Z", "warc_url": "https://www.clevelandart.org/art/1964.340", "weborganizer": { "__label__adult_content": 0.0019367348868399856, "__label__art_and_design": 0.9149109721183776, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.001108730910345912, "__label__games": null, "__label__home_and_hobbies": 0.0029910325538367033, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": 0.007355827372521162, "__label__politics": null, "__label__social_life": 0.0005133356316946447, "__label__entertainment": 0.06755668669939041, "__label__history_and_geography": 0.02844603545963764, "__label__literature": 0.048867784440517426, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.0008140857680700719, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Feb 25, 2008 A Bird in the Room A Bird in the Room Kay Sage (American, 1898–1963) Oil on canvas Unframed: 99.1 x 81.3 cm (39 x 32 in.) Bequest of Kay Sage Tanguy 1964.340 Did you know? To maintain her own identity, Sage often refused to exhibit with her husband, also an artist. Sage created this work, one of her most somber and desolate, shortly after the death of her husband, Yves Tanguy (1900–1955), who was also an esteemed Surrealist painter. The title likely refers to the folk legend that says a wild bird flying into a house is a premonition of death—an actual event that Sage experienced shortly before Tanguy passed away. Although for most of her career she was a prolific artist, Sage increasingly lost her momentum and inspiration during widowhood. Unable to endure living with her loss, she became reclusive and depressed, eventually succeeding in her second attempt at suicide by shooting herself in the heart
9ca0b6e0-4554-468f-889f-c9a5f703af1b	{ "cc_dump": "CC-MAIN-2018-39", "dolma2_qc": { "0": 0.9999781847000122, "1": 0.00004184304634691216 }, "exact_duplicates": 2, "lang": { "en": 0.9397925138473512 }, "madlad": { "num_sentences": 15, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 412, "sa_remove_ranges": [], "text_hash": "44834405458752729445261022067333201139", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-09-24T00:37:29Z", "warc_url": "https://craftcouncil.org/post/biennial-ceramic-survey-exhibition-debuts-cafam", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9942797422409058, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.001465063076466322, "__label__science_math_and_technology": 0.0016584827098995447, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.0013770253863185644, "__label__health": null, "__label__politics": 0.0036036029923707247, "__label__social_life": 0.0010749627836048603, "__label__entertainment": 0.0015587612288072703, "__label__history_and_geography": 0.008325778879225254, "__label__literature": 0.0028995804022997618, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.005230126902461052, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Biennial Ceramic Survey Exhibition Debuts at CAFAM Biennial Ceramic Survey Exhibition Debuts at CAFAM Ling Chun, LOAF Ling Chun, LOAF, 2017, clay, hair, copper Courtesy of the artist Clay artists, educators, and aficionados converge in Pittsburgh this week for the annual NCECA conference, digging into this year’s theme “CrossCurrents: Clay and Culture.” Out on the West Coast, another excellent place to see a dynamic spectrum of expression in clay is the Craft and Folk Art Museum in Los Angeles, where a new biennial ceramic survey exhibition is making its debut. “Melting Point: Movements in Contemporary Clay” (through May 6) is a snapshot of the strikingly diverse vanguard of ceramic art today, as seen in the work of 22 emerging and established artists from around the country. “Ceramic art is popular right now, but it’s coming from different perspectives. There’s a lot of experimentation by artists with a deep connection to the material, who are heavily invested in understanding its potential,” notes Holly Jerger, co-curator of the exhibition with Andres Payan. Loosely structured into three themes – anti-disciplinary process, object temporality, and sociopolitical interpretations – the works range from Cheryl Ann Thomas’ thin-coiled vessels that collapse into sculptural forms in the kiln, to Walter McConnell’s large-scale, ephemeral environment of damp, unfired clay, to Undocumented, an installation by Kahlil Robert Irving about the aftermath of the Ferguson uprising. Opening night of the exhibition featured a powerful, wordless performance by Armando Cortes, a young Southern California artist originally from Urequio, a farming town in Mexico. Starting several blocks away in front of the Los Angeles County Museum of Art, Cortes shouldered a handcarved wooden yoke and dragged a heavy chunk of black clay along busy Wilshire Boulevard to the CAFAM galleries, to the amazement of passersby. Titled El Peso de la Tierra (“The Weight of the Earth”), the piece was a nod to his Catholic upbringing, a metaphor for the strength and endurance required for the repetitive labor of working with earthen materials, and an homage to his hometown. He sometimes imagines what his life would be like if he’d never left. “It’s a thought immigrants have,” he says. “What would I be doing? Would I be farming? Brick-making?” As an artist working with clay, he figures, he hasn’t strayed far. Planned next for 2020, CAFAM’s clay biennial is envisioned as a forum for what Jerger calls “a continued conversation” about the state of ceramic art. “Our intent is to dive deep.”
9d6ebc20-3d3b-4b57-b7c4-932a28422f63	{ "cc_dump": "CC-MAIN-2017-34", "dolma2_qc": { "0": 0.999941349029541, "1": 0.00007865664520068094 }, "exact_duplicates": 8, "lang": { "en": 0.9809532761573792 }, "madlad": { "num_sentences": 45, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 934, "sa_remove_ranges": [], "text_hash": "298999080628758432165631567551127253585", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-08-17T19:06:53Z", "warc_url": "https://joebeckerphoto.wordpress.com/tag/light-pollution/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.7663036584854126, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.05835584178566933, "__label__science_math_and_technology": 0.024433093145489693, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.026769286021590233, "__label__entertainment": 0.010023568756878376, "__label__history_and_geography": 0.01799621433019638, "__label__literature": null, "__label__sports_and_fitness": 0.006107562687247992, "__label__travel_and_tourism": 0.04743587225675583, "__label__crime_and_law": 0.006498271133750677, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": 0.02369946800172329, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	the blog of Seldom Seen Photography Posts tagged “light pollution Nighttime Etiquette I recently returned from our quick trip to Utah. While there, I spent several hours in the middle of the night doing some Milky Way shots at Devils Garden in Grand Staircase – Escalante National Monument (a fantastic place that I love and that my so-called President is trying to take away). I arrived at the Devils Garden parking lot at about 1:30 am on a weekday morning. I obviously wasn’t the only one with the idea of shooting there that night, as the parking lot had five other cars parked (by comparison, I took Tanya and our friends Jim and Kris back there later in the morning – around 10 am – and there were only two other cars there). Devils Garden is a fairly small area filled with wonderful hoodoos and several arches. And I was a bit surprised by the number of photographers there there, but figured if everyone was polite with their lights, we could all get along. I headed toward one particular set of four hoodoos shaped like heads from Easter Island that I thought would look great with the Milky Way and some light painting. However, there was a group of people already working there. So instead, I went to Metate Arch and shot the image above. I did my light painting with a LED headlamp covered with an orange gel. I was pretty happy with the result, and hoped the other folks had moved on to another spot so I could capture the “Easter Island” hoodoos. But no, they were still there. Light pollution caused by other photographers. Red light in lower center and light painting and flashlight spot in lower left. I talked briefly with another photographer, asking him if my light painting had hindered him, but he said no. He was not with the group by the Easter Island hoodoos also wished they would move. He had been photographing some hoodoos near Metate Arch, and we traded places. I had some trouble shooting this spot, the group down by the Easter Island hoodoos was in the corner of my composition and they rarely turned off their lights. Further the photographer now at Metate Arch was occasionally using his light, and that was partly in my shot as well. Between the two, I took five shots, none without some light from the other photographers – especially the group by the Easter Island hoodoos – whom it seemed when they finished with light painted, turned on red lights and keep them on until they started light painting again (for those who don’t know, when out doing night photography, using a red light helps keep your night vision). Rarely did they have both their normal and red lights off. The image shown here is the best of the lot I took – there is some red light from the photographer by Metate Arch (lower center) and the light on the Easter Island hoodoos (down in the lower left corner) isn’t too bad. I was able to use Photoshop to fix the image (see below), getting totally rid of the red light in the center, removing the light spot in the lower left, and dimming the rest of the light in the lower left (I thought it looked better with a little light there rather than making it totally dark). I am happy with the result, but by now I was starting to get a bit mad at the rudeness of the group down by the Easter Island hoodoos, who almost always had one light or another on. I ended up photographing three other spots, two of which are shown below, in total spending about two hours at Devils Garden. I never did make it to the Easter Island hoodoos as the light-happy group of photographers there never left the spot. And frankly, even now, days later, I’m still a bit peeved at that selfish and rude group. Aside: rant directed at that group of photographers: seriously people, would you sit in the front row of a movie theater and talk on your cell phone for the entire movie? Do you enjoy shining your flashlight in other people’s eyes at night? Do you never turn off you high beams when other cars approach on the highway? And it’s not just the lights. It’s hogging the spot. It’s one thing to arrive early and setup at a preferred spot for sunrise – sunrise only last 10 or 15 minutes. But honestly, 2 hours without moving at a place that has dozens of potential shots? Have you no creativity? Obviously not! How many shots of the same set of hoodoos do you need? I suppose you never learned to share your toys when you were a kid either. With the capabilities of today’s digital cameras, night photography is continually growing in popularity, and you will often find other photographers out with you at the same time as many sites, such as Devils Garden. Such situations beg for politeness and etiquette. If you find yourself out with other photographers at night, please be respectful and use your light sparingly. In places such as Devils Garden, where there are multiple subjects, try not to hog one spot. Nighttime photography is much more difficult than daytime work, it is more difficult to control the camera, more difficult to focus the lens, more difficult to get a composition, and demands long shutter speeds. It is difficult enough that you shouldn’t have to also battle light pollution from other photographers. Image above with light pollution removed in Photoshop
eb67de06-76dd-430c-a76a-96ac817d5d9e	{ "cc_dump": "CC-MAIN-2018-05", "dolma2_qc": { "0": 0.9999802112579346, "1": 0.00003978862878284417 }, "exact_duplicates": 0, "lang": { "en": 0.9575391411781312 }, "madlad": { "num_sentences": 22, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 400, "sa_remove_ranges": [], "text_hash": "29662877024639093539596224513670105773", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-01-16T11:33:39Z", "warc_url": "https://www.newsday.com/business/campbell-pops-warhol-style-into-soup-sales-1.3934896?firstfree=yes", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.754925012588501, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.03115382604300976, "__label__health": null, "__label__politics": 0.0012548431986942887, "__label__social_life": 0.0032830648124217987, "__label__entertainment": 0.01972912810742855, "__label__history_and_geography": 0.0014203583123162389, "__label__literature": 0.001042230986058712, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0023331623524427414, "__label__crime_and_law": null, "__label__food_and_dining": 0.027595279738307, "__label__industrial": 0.001042230986058712, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Overcast 26° Good Morning Overcast 26° Good Morning Campbell pops Warhol style into soup sales A new limited edition Campbell's tomato soup can A new limited edition Campbell's tomato soup can with art and sayings by the late artist Andy Warhol will go on sale at Target Sept. 2, 2012. This can with a quote about fame from Warhol is displayed in front of an original Warhol Pop Art painting from the 1960s. (Aug. 24, 2012) Photo Credit: AP CAMDEN, N.J. -- Campbell Soup is tapping Andy Warhol for another 15 minutes of fame. The world's biggest soup maker plans to introduce at Target stores Sunday special-edition cans of its condensed tomato soup bearing labels reminiscent of the pop artist's paintings. The 1.2 million cans will cost 75 cents each. The Campbell Soup Co.'s embrace of Warhol's iconic imagery is a switch from its initial reaction in 1962, when the company considered taking legal action. "There's some evidence to show there was a little bit of concern," said Jonathon Thorn, an archivist for Campbell Soup. "But they decided to take a wait-and-see approach." By 1964, however, the company realized the paintings were becoming a phenomenon and embraced the depictions. Campbell's marketing manager even sent Warhol a letter expressing admiration for his work and sent him a couple of cases of tomato soup. Later that year, Campbell commissioned Warhol to do a painting of a can of Campbell's tomato soup as a gift for retiring board chairman Oliver G. Willits; Warhol was paid $2,000 for the work. Campbell also invited the artist to visit its headquarters in Camden, N.J., though Thorn said there's no indication a visit took place. There was no contact after that until 1985, when the company commissioned Warhol to paint packages of its new dry soup mixes for advertisements. Warhol died two years later. Campbell has sold Warhol-inspired cans before: 75,000 four-packs in 2004 at Giant Eagle, a Pittsburgh-based supermarket operator, and 12,000 units at Barney's in New York in 2006's holiday season. The latest promotion comes as Campbell looks to turn around its struggling soup business after years of declining sales. More news Sorry to interrupt... Your first 5 are free Access to Newsday is free for Optimum customers. Please enjoy 5 complimentary views to articles, photos, and videos during the next 30 days.
188fc67e-c15d-4355-a0f1-986c3508d510	{ "cc_dump": "CC-MAIN-2023-06", "dolma2_qc": { "0": 0.9999648332595824, "1": 0.00005512505231308751 }, "exact_duplicates": 1, "lang": { "en": 0.9679033160209656 }, "madlad": { "num_sentences": 12, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 224, "sa_remove_ranges": [ [ 706, 1307 ] ], "text_hash": "289248661838158453003110167371586806456", "warc_content_type": "text/html", "warc_date": "2023-02-05T22:46:20.000Z", "warc_url": "https://budapestfotoawards.com/winners/bifa/2022/6678/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.3415925204753876, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": 0.0006978511810302734, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.19194278120994568, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.004915405530482531, "__label__health": 0.0011435691267251968, "__label__politics": 0.03022458776831627, "__label__social_life": null, "__label__entertainment": 0.0014203583123162389, "__label__history_and_geography": 0.0016078451881185174, "__label__literature": 0.0012548431986942887, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.0011795104946941135, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Silver 2022 Fine Art / Still Life The World Today! Antonio Coelho Silver in Fine Art / Still Life This is a series of redefined photos, in still-life with small adjustments from the RAW file. It started with an analysis of plastic, I associated new ways of "mitigating" this problem (perhaps creating others) and extended it to more problems as well, generalized consumption of natural resources, climate change, but also the extinction of species, new energy sources and their impacts. The current war in Ukraine, and other world conflicts, from the east to Africa, to the idea of resorting to nuclear weapons. The world today is different and a much more different perspective!! Unfortunately!
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He was 89. Ichiyanagi, who was married to Yoko Ono ahead of she married John Lennon, died Friday, according to the Kanagawa Arts Basis, wherever Ichiyanagi had served as standard artistic director. The trigger of demise was not provided. “We would like to convey our sincerest gratitude to all all those who beloved him through his life span,” the foundation’s chairman, Kazumi Tamamura, claimed in a assertion Saturday. Ichiyanagi examined at The Juilliard University in New York and emerged a pioneer, applying no cost-spirited compositional techniques that still left a great deal to likelihood, incorporating not only standard Japanese aspects and devices but also electronic music. He was regarded for collaborations that defied the boundaries of genres, performing with Jasper Johns and Merce Cunningham, as very well as ground breaking Japanese artists like architect Kisho Kurokawa and poet-playwright Shuji Terayama, as very well as with Ono, with whom he was married for quite a few decades starting in the mid-1950s. “In my creation, I have been making an attempt to allow several components, which have usually been deemed independently as distinction and opposite in songs, coexist and penetrate each individual other,” Ichiyanagi once said in an artist assertion. Japanese standard new music inspired and emboldened him, he said, due to the fact it was not preoccupied with the regular definitions of music as “temporal artwork,” or what he termed “divisions,” these kinds of as relative and absolute, or new and old. Fashionable new music was much more about “substantial space, in buy to restore the spiritual richness that tunes offers,” he said. Among his properly-recognised will work for orchestra is his turbulently provocative “Berlin Renshi.” Renshi is a variety of Japanese collaborative poetry that is additional open up-ended cost-free verse than more mature sorts like “renku.” In 1989, Ichiyanagi formed the Tokyo Intercontinental New music Ensemble — The New Tradition (TIME), an orchestral group focused on classic instruments and “shomyo,” a model of Buddhist chanting. His new music traveled freely across influences and cultures, transitioning seamlessly from minimalist avant-garde to Western opera. Ichiyanagi toured all over the entire world, premiering his compositions at Carnegie Corridor in New York and the Théâtre des Champs-Élysées, Paris. The National Theater of Japan also commissioned him for various will work. He remained prolific over the several years, generating Concerto for marimba and orchestra in 2013, and Piano Concerto No. 6 in 2016, which Ichiyanagi done solo at a Tokyo competition. Ichiyanagi been given many awards, which include the Alexander Gretchaninov Prize from Juilliard, L’ordre des Arts et des Lettres of the French Republic and the Purchase of the Soaring Sun, Gold Rays with Rosette and the Medal of Purple Ribbon from the Japanese governing administration. Born in Kobe to a musical family members, Ichiyanagi confirmed assure as a composer at a young age. He received a key competition in Japan right before moving to the U.S. as a teen, when these kinds of moves were being nevertheless relatively rare in postwar Japan. A personal funeral is currently being held with household. A community ceremony in his honor is in the works, currently being arranged by his son, Japanese media reports explained. Yuri Kageyama is on Twitter Yuri Kageyama, The Related Press Leave a comment SMM Panel PDF Kitap indir
d14349c5-66e4-4549-baa0-8f546ecad0cb	{ "cc_dump": "CC-MAIN-2021-17", "dolma2_qc": { "0": 0.9999779462814332, "1": 0.000042049901821883395 }, "exact_duplicates": 6, "lang": { "en": 0.9642331600189208 }, "madlad": { "num_sentences": 116, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 2062, "sa_remove_ranges": [], "text_hash": "242634823030169565181463080386150722285", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-04-20T11:24:02Z", "warc_url": "https://www.helsinkidesignweek.com/series/weekly-studio/weekly-studio-hanna-kaisa-korolainen/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9724247455596924, "__label__education_and_jobs": 0.014073628932237623, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.01169725600630045, "__label__games": null, "__label__home_and_hobbies": 0.020342351868748665, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": 0.0036036029923707247, "__label__finance_and_business": 0.0034934247378259897, "__label__health": 0.0018202114151790736, "__label__politics": null, "__label__social_life": 0.0029910325538367033, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": 0.0021257030311971903, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0018202114151790736, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	• Weekly Studio Weekly Studio: Hanna-Kaisa Korolainen • Design Museum Helsinki • Hanna-Kaisa Korolainen • Weekly Studio Artist, designer, researcher and lecturer Hanna-Kaisa Korolainen takes a break from preparing for three upcoming exhibitions to speak to Weekly about drawing inspiration from the past and why we should all be much more relaxed about copying. You’re showing work at the Design Museum at the moment in an exhibition about reinterpreting archive materials which sounds super interesting. It’s the 140th anniversary of the Friends of Finnish Handicrafts organization and the exhibition is part of that. There are two curators, Riikka Latva-Somppi and Kieran Long [director of ArkDes, Stockholm], and it was Riikka who invited me. There are four of us in the exhibition—a ceramicist, a fashion designer, a game designer and me—but the others are all quite young and I think Riikka thought it would be nice to have someone a bit more old school in the exhibition. Given that the exhibition is interested in how contemporary designers reinterpret archive materials, I think that’s also why Riikka thought of me. Because that’s quite literally the subject of my doctoral thesis, the sources of inspiration we can draw from the past. Weekly Studio - Hanna-Kaisa Korolainen I’m doing a number of works for the exhibition. There’s an entire new rug installation that will be quite large. It’s about 2×2.5m, on a couch. There are many ceramic pieces and some woven fabrics. These will be placed alongside nineteenth-century Arts & Crafts furniture pieces from the Design Museum archives and a lot of plants. Can you talk more about drawing inspiration from the past? The Alphabet rug you exhibited at EMMA’s Interwoven exhibition, for example, was clearly inspired by Akseli Gallen-Kallela’s Liekki rug. I’ve always been interested in the past, ever since I was a child. I’ve always loved antique stores and old furniture and buildings. I think I look to the past as a fairy-tale or a story, almost as if it’s a tale I’ve been told that exists only in my imagination. I’m also a very visual person, so when I start to design I like to look at something concrete rather than an empty page. It’s also that history is very subjective, which is why I associate it perhaps with a fictive past that I can imagine or reimagine as I want. Philosophically speaking, I don’t really believe in absolute truths. Weekly Studio - Hanna-Kaisa Korolainen Starting with something concrete from the past, do you always work like that or is it more of a loose guideline? Well, I started what you might call art school studies at the age of six, so that culture of looking at images has been part of me for a long time. It used to be very loose, but because I’ve been working on my doctoral thesis for many years, it became more like a method. Now, I think it’s become so deeply part of who I am and how I work that I don’t need to be so strict about it. I think I tend to just let creative processes flow without necessarily having an idea of where they’re going to go. Do you consider yourself more artist than designer? I don’t define it, really. I just try to dive in with whatever I do. Something I tend to do is to change my own title depending on the context. I might call myself a designer, artist, lecturer or researcher depending on what seems appropriate in any given situation. Weekly Studio - Hanna-Kaisa Korolainen But, for example, would you rather design and make rugs for people to buy for their homes or for curators to put in museums? At the moment, I’m more interested in collectable design and art. I’ve been working with museums for many years because I wanted to have a break from more commercial art and design, but I’m also increasingly feeling that something is missing. For a long time, I wanted to work with museums because I felt I could have more freedom. I also knew that I wanted to show my artworks with older historic objects and that’s easier to do when exhibiting in a museum context. Every once and awhile, I’m asked to do more commercial design work, but it’s so complicated, just in terms of how things are manufactured these days. I think time is one of life’s real luxuries and for me, it’s wonderful that I can take so much time to make each of my artworks. Weekly Studio - Hanna-Kaisa Korolainen In addition to the Design Museum exhibition and the Tiketti Galleria exhibition [until 24 Feb], you’re also having an exhibition at Hvitträsk this summer which is very exciting. Yes, it’s the first time they’ve organised a contemporary art exhibition at this scale, placing works in some of the museum rooms. It’s opening at the end of May, 2020. This will be a very busy year for me because I have four different openings this spring. After that, I think I will focus on research and teaching for a while. For Hvitträsk, the concept is evolving. At the beginning, I wanted to install many artworks. But last fall, I spent a lot of time just being there, making sketches in the different rooms. After a while, I started to feel that Hvitträsk is already such a beautiful Art Nouveau pearl that I didn’t want to hide it with my work. Weekly Studio - Hanna-Kaisa Korolainen I’m not going to use the most iconic spaces, but rather the atelier and the drawers room, a small blue room, and Loja’s space downstairs. I’ll be showing woven fabrics, rugs, glass and ceramic pieces. There’s also going to be an exhibition of works by three young ceramicists, Nikolo Kerimov, Saija Halko and Tuuli Saarelainen. I really enjoy collaborating with other people. Have your works all been made in response to objects at Hvitträsk? Not necessarily. Some are pre-existing pieces, because I work slowly and only make around four rugs and 20 to 30 pieces of ceramics per year. Working with one’s hands means that things take time. Most of them have some relationship because when I started working on the installation for the Design Museum exhibition I already knew I was going to have the Hvitträsk show as well. For me, everything seems connected. There will also be some Andy Warhol inspired pieces which haven’t been shown anywhere else. I’m referencing my love of Art Nouveau, but also my rebellious side through the Warhol work. In my thesis, I talk a lot about sources of inspiration from the nineteenth century, but also about copying. I don’t have any angst about borrowing ideas and motifs or other things from the past. There’s quite a rebellious side to me when it comes to sources of inspiration. Weekly Studio - Hanna-Kaisa Korolainen I wanted to ask you about copying because I watched the EMMA video interview with you from the Interwoven exhibition and really loved what you said about how you wish we could share ideas more and not be so jealous around our findings. It’s tricky because it’s such a complicated subject. Even when I worked as a textile designer myself, I was afraid to put my designs on the internet when they hadn’t sold. In turn, that made it difficult to find new clients because I wasn’t openly showing my designs. I also teach and this catch 22 is something that my students often feel frustrated about as well. Maybe about 10 years ago, I started to get really annoyed by this secrecy. As a textile designer, you have to show 100 or 200 designs to a prospective client. You produce so much material, but so few people end up ever seeing it. So, I changed my mind-set completely to sharing and opening up my working processes. Everybody has such different processes anyway that even if your designs are copies, they can’t copy your exact processes. Weekly Studio - Hanna-Kaisa Korolainen If you think about Michelin-starred chefs, for example, even if you copy a recipe from a Michelin star chef and cook it at home, it will turn out completely differently. The processes are so complex and exact, that only the person who knows those processes and has exactly the same equipment and working environment can produce the same dish again and again. Nobody should be that concerned about copying. I think we should be much more relaxed about it. Given your doctoral research is on sources of inspiration, it’s interesting that you don’t have much angst about originality and copying. Of course, I have many friends who work in art and design who have been copied and it’s not always so nice. The worst is when you’re studying in an art school and a fellow student, who really knows your processes, steals your ideas. Or partners in design offices. That’s inacceptable and I’m certainly not promoting that. I’m interested in a more relaxed and open way of talking about things. In terms of studio environment, you’re working mostly at Aalto these days? Yes, I’m working in the different studios at Aalto. I had a studio space of my own, but I lost it last year because they wanted to convert the building into apartments. The rent is sky high in Helsinki now and I can’t find anything affordable. I dream of having a really big studio one day. But at least I have quite a large apartment, so I can try out different configurations of installations at home before moving them to exhibitions. Weekly Studio - Hanna-Kaisa Korolainen And the Aalto studios give you everything you need? Yes, it’s great. I work across all the different workshops—textiles, ceramics and glass. When I’m making rugs, the work is very intensive. It’s something like one to four weeks, working really long days and seven days a week. Ceramics is a lot of waiting and drying. And with glass, the work is quite fast, but you have to go to the workshop every day. You also teach at Aalto. Has that given you a sense that you’re part of a strong design community in Helsinki? I’m so deeply part of Aalto University. I started teaching there about five years ago. I lecture on some courses and supervise many Master’s students. It’s really nice because I’m one of the teachers on the first studio course, so I get to see these 19-year-old talents, all the up-and-coming designers. I really don’t know where I would be without the university; it’s such a strong and supportive community. Do you see that your teaching feeds into your practice? I think that I’m a much better researcher now. When you’re giving advice to somebody else, you’re giving advice to yourself. I see my artistic practice as something quite separate from my teaching, but maybe it’s made me more confident. Or maybe it’s just that I don’t have any time to doubt myself. Weekly Studio - Hanna-Kaisa Korolainen Anything else you’d like to mention? You haven’t asked me about beauty, which is funny because many people ask about the visual aspects of my work and beauty. I’m not interested in beauty at all, but rather in things that are perhaps what one might call ugly or irritating. At least you don’t get bored of things that go against your aesthetics. I was brainwashed by the fashion designer David Szeto who always said that if you think something is beautiful or you like it right away, you’ll be bored of it shortly thereafter. I’m not even sure I know what beautiful is anymore anyway. As a researcher, I have to be very analytical; as a supervisor and as a mother, I have to be very organised; but as an artist, I am so intuitive that I’m more like an animal. I just let go and trust that my intuition is working. And at the moment my intuition is telling me that, with several exhibitions happening this spring, I really need to have a long summer holiday. 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11a811c2-a6f7-4d9c-a6a4-12132dccc364	{ "cc_dump": "CC-MAIN-2024-42", "dolma2_qc": { "0": 0.999931812286377, "1": 0.0000882414315128699 }, "exact_duplicates": 0, "lang": { "en": 0.9562390446662904 }, "madlad": { "num_sentences": 6, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 153, "sa_remove_ranges": [], "text_hash": "15351399504191362537746611894600126074", "warc_content_type": "text/html", "warc_date": "2024-10-14T13:27:52.000Z", "warc_url": "https://photoawards.com/winner/zoom.php?eid=8-139261-17", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9433575868606568, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.004619571380317211, "__label__games": 0.01169725600630045, "__label__home_and_hobbies": null, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": 0.002482622629031539, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.00318268220871687, "__label__entertainment": 0.004341503139585257, "__label__history_and_geography": 0.02369946800172329, "__label__literature": 0.020342351868748665, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.00507033197209239, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": 0.004765199031680822, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	urban melancholy Alexander Schönberg • Date of Photograph Novermber 2016 I love bridges and fortunate Hamburg has about 2,500 of them, which is more than Venice and Amsterdam together and this makes it one of the most bridges in Europe. The bridges characterize the cityscape of Hamburg and have a strong symbolic character for me. They connect two shores with one another or make a street where else one would have to end and are often architectonic masterpieces that speak for themselves. The effect of a bridge is strengthened in my view when a dense fog occurs in the autumn, which fades out all the details in the background and floats the building for a few hours and makes the urban scenes appearing melancholic. You can create multiple entries, and pay for them at the same time. Just go to your History, and select multiple entries that you would like to pay for.
fa8888ad-f879-4983-aa8a-74024dd7c3f5	{ "cc_dump": "CC-MAIN-2021-43", "dolma2_qc": { "0": 0.9999481439590454, "1": 0.0000718289811629802 }, "exact_duplicates": 0, "lang": { "en": 0.9573784470558168 }, "madlad": { "num_sentences": 21, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 443, "sa_remove_ranges": [], "text_hash": "221734367201837862543558222398090698794", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-10-24T19:02:25Z", "warc_url": "https://burnaway.org/magazine/dodge-burn-eav-earth-day-festival/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.46102678775787354, "__label__education_and_jobs": 0.002810927340760827, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": 0.00318268220871687, "__label__home_and_hobbies": 0.09010298550128935, "__label__science_math_and_technology": 0.008857354521751404, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.007825888693332672, "__label__entertainment": 0.017452487722039223, "__label__history_and_geography": 0.022296184673905373, "__label__literature": null, "__label__sports_and_fitness": 0.008587487041950226, "__label__travel_and_tourism": 0.01799621433019638, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Dodge & Burn: EAV Earth Day Festival Sorry, looks like no contributors are set Halsey Institute of Contemporary Art: Namsa Leuba CROSSED LOOKS through December 11 Dodge & Burn is a series of photo essays documenting local culture with a focus on artful imagery, movement, and light. The 2012 East Atlanta Village Earth Day Festival began with the grand reopening of the East Atlanta Farmers Market featuring fresh, locally grown vegetables and a variety of other local products including fresh bread, soap, mushrooms, and granola. The festival also included lantern making, kids’ games, a lantern parade, live music, jugglers, hula hoops, short films, and volunteers from WonderRoot selling recycled items. As a BURNAWAY photographer that covers a lot of art events, I can get a little jaded at times. But this event had something that most art events do not: lots of small children. As an artist, it was inspiring to see how focused the children were in making their lanterns. From picking out the right box to the final touches of paint, they treated it as serious business. Visually, the most fun of the night came right before the parade started. Many people purchased “wishing lanterns.” Shaped like big paper balloons, each lantern has a large opening at the base where two crossed wires support a big flame that, when lit, causes the lanterns fill out and begin to rise. Once fully heated, the owner lets the lantern go, and it floats and glows into the night sky. You can see more photographs of the lanterns on the BURNAWAY Flickr site. The parade ended in Brownwood Park, but the evening was far from over. Rebecca DeShon of Hoop Essence set parts of her hoop on fire, and later, a juggler from Imperial OPA lit his sticks on fire before tossing them in the air. I had already maxed out my camera’s ISO setting to capture the wishing lanterns, but shooting DeShon and the juggler required a lot of concentration. This is where having professional camera gear is of great benefit. Most consumer cameras have limited ISO ranges, so shooting in the dark is difficult. Also, lower-end cameras have a hard time focusing in such low-light conditions. Having a good camera with a fast-focusing lens allowed me to capture good shots even under the circumstances. I was certainly tired after five hours of shooting on a Thursday night, but I enjoyed the event, was well fed, and came away with some nice images. And where else around town can you get “Dinosaur Kale?” Check BURNAWAY’s homepage for new photography every week, and watch our Flickr account for regular updates! Related Stories
ee009ea9-d76b-413d-b566-df2b023a12a6	{ "cc_dump": "CC-MAIN-2018-39", "dolma2_qc": { "0": 0.9999492168426514, "1": 0.00007074255699990317 }, "exact_duplicates": 0, "lang": { "en": 0.9390367269515992 }, "madlad": { "num_sentences": 23, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 2407681499691, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 605, "sa_remove_ranges": [ [ 83, 3799 ] ], "text_hash": "90750230531864555400871939610492450294", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-09-19T01:02:36Z", "warc_url": "https://www.nybooks.com/articles/2002/05/09/the-shock-of-the-old/", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.14805719256401062, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.00001000000338535756, "__label__software": null, "__label__software_development": 0.00001000000338535756, "__label__finance_and_business": 0.0011795104946941135, "__label__health": null, "__label__politics": null, "__label__social_life": 0.00001000000338535756, "__label__entertainment": 0.0004978571087121964, "__label__history_and_geography": 0.00001000000338535756, "__label__literature": 0.14805719256401062, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.00001000000338535756, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	The Shock of the Old Arthur Schnitzler Arthur Schnitzler; drawing by David Levine
4a49515f-776a-487e-8464-6cbbd326dfbb	{ "cc_dump": "CC-MAIN-2024-42", "dolma2_qc": { "0": 0.9999502897262572, "1": 0.00006977776502026245 }, "exact_duplicates": 1, "lang": { "en": 0.9538344740867616 }, "madlad": { "num_sentences": 54, "rule.2": [ 6 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 4763185851426, "cc_idx": 1, "cc_size": 2 }, "original_word_count": 1263, "sa_remove_ranges": [], "text_hash": "177811078848180851128805609868824614172", "warc_content_type": "text/html", "warc_date": "2024-10-13T09:20:52.000Z", "warc_url": "https://www.cartermuseum.org/blog/open-book-gentling-study-center", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.8221991658210754, "__label__education_and_jobs": 0.0566624328494072, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.01206377986818552, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.008071991614997387, "__label__health": null, "__label__politics": 0.005394937004894018, "__label__social_life": null, "__label__entertainment": 0.0038344827480614185, "__label__history_and_geography": 0.08510905504226685, "__label__literature": 0.05185545980930328, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.003386611817404628, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.00507033197209239 }, "weborganizer_max": "__label__art_and_design" }	The Carter Blog Carter ARTicles An open book: The Gentling Study Center Oct 08, 2021 Jon Frembling, Gentling Curator and Head Museum Archivist Michelle Padilla, Digital Content Strategist Part of these categories:: Library/Archives While many people think of museums as places that just house history and art—and that’s not wrong!—they are so much more. What you may not know is that museums are full of people actively researching many topics including art, history, and science. The Carter is no different. With a library and archive that holds hundreds of thousands of objects, the Carter is a research destination for the study of American art and artists. With the help of a generous donation, the Gentling Study Center in the Carter’s Library was established in 2019 to further the legacy of the Fort Worth brothers for which it is named, and to provide a physical space—the Study Room—where scholars, researchers, and others who want to take a deep dive into American art can effectively do so. We sat down to chat with Gentling Curator and Head Museum Archivist Jonathan Frembling to learn about the Study Center, the Study Room, and what goes on there. Q: The Gentling Study Center and Study Room were established in 2019. What are they and what can visitors do in the Study Room? JF: The Study Room is a physical place where a patron at any level, from scholars to casual walk-in visitors, can request (in advance of a visit) that work not currently on view be brought up on a temporary basis for observation. If you love the work of Alfred Stieglitz or Laura Gilpin or Charles Russell, for example, and that favorite piece of yours is not up right now, we can bring it up to the Study Room. If you want to dive into the writings of any of these artists, we have those archives here, so we bring them into the Study Room to be viewed and explored in parallel with the art, the Library collection, and the resources in the Library. The Gentling Study Center supports a program of activities that allows us to take our artist archives—the Gentling archives being the lead example of that—and bring them out to be enjoyed by the public and incorporated in an active way into the exhibitions, publications, and scholarly research endeavors of the Museum. Q: Do researchers who use the Study Room study only the work of Scott and Stuart Gentling? JF: The Gentlings are front and center right now as we open the exhibition and programming around it—we’ve got a retrospective, we’ve got a catalogue, we have all these things coming out of that initiative. And we will always look to advance understanding of their careers through fellowships and projects in the future. But we’ve also seen that the Study Room is being used heavily by Davidson Family Fellows doing research on our collection as a whole. The Study Room allows us to host these fellows in direct proximity to their workspace. And the Study Center will be a catalyst for developing deeper understandings of other parts of our collection as well. One of the more interesting examples is a scholar who is working on Eliot Porter’s photography. The researcher is a photographer who is looking at what climate change is doing to a controlled environment. He wants to try to recreate the exact shot Porter took and understand what climate change has done to that scene. And so he did that, and, sure enough, so much of the landscape has been denuded of its vitality because the climate is different than it was. It’s a really interesting way to look at art. Q: How has the research done through the Gentling Study Center contributed to the current retrospective of the brothers and their work? JF: The Gentling Fellowship is a part of the larger Gentling initiative that includes the Study Center, the Study Room, the current retrospective exhibition, and the monograph. The first three fellows focused on the Gentlings specifically: Erica Doss out of Notre Dame, Barbara Mundy out of Tulane, and Scott Barker, a Fort Worth art historian. These first three fellows used Gentling papers, the art, and all kinds of things to generate the scholarship in the exhibition and the book. Nothing had ever been written of any length about the Gentlings. At most two-page articles, that’s it. With this big, printed monograph, that’s the moment when people start to go wow, these guys are really interesting and created some very impressive art. Q: In the future, how do you hope to see the Gentling Study Center contribute to the study of other underappreciated artists in the Museum’s collection? JF: The retrospective and the book are the obvious answers to the Gentling part of this question, but we’re not hanging up the Gentlings and forgetting about them just because we’ve completed this marquee event. We are looking at our next round of Gentling fellows and have tentatively extended invitations. We’d like to look at how the brothers are a continuation of the legacies of other artists whose archives we have. We have the papers of the Fort Worth Circle, for example, so that’s the 1930s to World War II. We just acquired the papers of sculptor and artist Charles Truett Williams. What’s cool about this is that he literally picks up where the Fort Worth Circle leaves off. Williams was active from 1945 through his death in 1966. The Gentling brothers start their active career in 1961. And so you have this unbroken chain of artists from the ‘30s through Scott Gentling’s death in 2011 and can see the local art scene through the lens of this succession of artists. This is how an idea is born—you take this and it leads into this and down the line back and forth across this historical time line. I’d love to engage some film historians to look at the papers of photographer Karl Struss—he was the youngest member of the Photo-Secession, the Alfred Stieglitz group active pre-World War I. After the war, he decided to go out to Hollywood and try this new thing called “the movies.” He was so great at it he won the first Academy Award for cinematography in 1929! He has all of this early New York still photography and then he has this post-war motion-picture stuff. His film work we’ve looked at in the past, but not necessarily through the film historian’s lens. That’s the nice thing about the Gentling fellowship. It doesn’t have to be traditional—there are all sorts of ways we can slice and dice it. Q: How can visitors use the Study Room? JF: A visit to the Study Room can be requested through the collections page on our website. There’s a request form there that says, “Want to take a closer look?” You tell us what that something is and who you are, then we work to set up an appointment. The Museum is free for a reason—it’s here as a gift, a resource, an asset for the community no matter who you are—and that includes the Library, archives, and art collection. We are careful about how you interact with them, but that does not mean that we do not want you to use them. This is an experience that you can create for yourself. Art can be so meaningful, and the Study Center and Study Room can create an experience that’s meaningful to you.
ca239a06-914c-4126-b48c-d55c3ba3a214	{ "cc_dump": "CC-MAIN-2018-39", "dolma2_qc": { "0": 0.9999701976776124, "1": 0.000049775077059166506 }, "exact_duplicates": 8, "lang": { "en": 0.9176027774810792 }, "madlad": { "num_sentences": 90, "rule.2": [ 38, 79, 85 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 5706736478172, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 1706, "sa_remove_ranges": [], "text_hash": "184761721517979206613706589775455712290", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-09-23T03:01:08Z", "warc_url": "http://www.cpci.ca/fr/precast_solutions/architectural/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.8634016513824463, "__label__education_and_jobs": 0.0007421813788823783, "__label__electronics_and_hardare": 0.0009210511343553662, "__label__fashion_and_beauty": 0.0008659008308313787, "__label__games": null, "__label__home_and_hobbies": 0.024433093145489693, "__label__science_math_and_technology": 0.020342351868748665, "__label__software": 0.0008659008308313787, "__label__software_development": 0.0009210511343553662, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.0009797518141567707, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.839743971824646, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Ce contenu est actuellement uniquement disponnible en anglais Architectural Precast Concrete A Stunning and Resilient Solution to Your Building Envelope From stark white, to muted gray—to a dark slate, punctuated with brilliant amber, red and vermilion. Color is what defines these buildings, stains were selected for their consistency, range of color and zero maintenance performance. Aesthetic options for buildings are ever-changing as developers and owners compete to attract tenants and buyers with distinguishing features. This can encompass traditional aesthetics and other design options that are only recently available. A desire for greater differences in aesthetics has grown as designers look to add visual interest and depth to facades. In many cases, designers are turning to precast concrete to meet these needs. Precast concrete is a high performance building material and system. Its excellent aesthetic versatility allows for a complete spectrum of optional finishes and its plasticity provides depth and geometric shapes that create eye-catching facades. The Aesthetic Versatility of Precast Precast concrete is available in practically any colour, form, and texture. 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In the middle of the Burnside Industrial Park in Dartmouth, the architect of Park Place V was faced with the difficult task of making the building blend in with the existing brick building; while at the same time allowing it to stand out as a modern, environmentally friendly office - the use of thin brick in precast wall panels was the answer. Stone Veneered Precast Panels Stone veneer-faced precast concrete panels offer many benefits. These include: • Veneer stock can be used in thinner sections because anchoring points to precast panel may be placed closer together. • Multiplane units such as column covers, spandrels with integral soffit and sill sections, deep reveal window frames, inside and outside corners, projections and setbacks, and parapet sections are more economically assembled as veneer units on precast concrete panels. • Veneered precast concrete panel systems permit faster enclosure, allowing earlier work by other trades and subsequent earlier occupancy, because each large panel incorporates a number of veneer pieces. • Veneered precast concrete panels can be used to span column-to-column, thereby reducing floor-edge loading and eliminating elaborate temporary scaffolding. • Smaller stone inserts can be cast as “highlights” in larger precast panels. The World Exchange Plaza is a twenty-storey office and retail building in Downtown Ottawa, ON. It covers an entire city block the first phase was completed in 1991. The eastern side was marked by a large plaza modeled after the Roman Colosseum. The building is cladded in Granite Faced Precast Concrete Panels and were installed with the precast plant factory - installed windows. For more information on Brick-Faced and Stone Veneered Precast Panels click here. Graphic Concrete Industrially produced inspirational environments Graphic Concrete Ltd manufactures and sells an innovative product known as graphic concrete. It enables durable patterns and images to be produced on prefabricated concrete surfaces such as facades, walls and pavement slabs. Graphic concrete is a patented technology invented by interior architect Samuli Naamanka. The inspiration was to create a real industrial product for large-scale surfaces, a tool with which architects could be more visually creative. The goal is to enable architects and designers to turn their visions into reality. The products can be tailored, and the outcome of each project is unique. Graphic concrete – the product The end product is a membrane used in the prefabrication process of concrete. The desired image is printed on the membrane with a surface retarder, after which the membrane is sent to the local concrete prefabrication company. Concrete is cast on the membrane and when the retarder is washed away the image is revealed. The image results from the contrast between the fair face and the exposed aggregate surface. The designer can pick from a library of designs or select or design their own. Changing the aggregate and/or cement colour offers a vast amount of variations in the outcome. For more information on Graphic Concrete: Is this really precast? Graphic Concrete click here Custom Formliners Sometimes these ready-made designs may not be exactly the effect an architect or owner has in mind. In such a situation it makes sense to consider using a custom formliner. 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The milled model is used as a master for casting the polyurethane formliner. Similarly, the photo-engraving process is also a computer-based method for transferring image data onto sheet materials by means of milling technology. First, an image template is scanned and converted into 256 grey scales. In order to transfer the image onto the sheet material, a machining file is generated from the identified grey values, whereby the file includes milling commands for a CNC milling machine. The milled model is used as the master for casting the polyurethane photo-engraving formliners. For both processes, the elasticity, quality and reusability of the resulting formliner all contribute to the aesthetics and the economic efficiency of the whole process and make it possible to recreate the image onto the concrete surface. Professional Fire Fighters Burn Fund Project Photo Mural If a picture is worth a thousand words, then photo-engraved precast concrete speaks volumes. Staining Precast Concrete with Brilliant Colour Colour can define form, shape and space. It informs. It delights. It is the finishing touch. The perfect colour dramatically enhances the visual appeal of a structure. In recent years, colour staining has exploded onto the marketplace and allowed designers to create new innovative designs. When designers need colour, paints and stains can be applied to the precast concrete either at the plant or on the project site. Whether you’re blending an addition, preserving an historical landmark or erecting a modern skyscraper, staining of precast concrete can be a viable permanent solution. For more information on Innovations in Architectural Precast Concrete click here. Pick any color you want; there's virtually no limit. Architectural Precast Concrete - Perfect Barrier Drained Joint Systems Perfect Barrier systems stop all water penetration at a single plane. Such perfect control requires the advent of modern materials. Because it is difficult to build and maintain a perfect barrier with many materials, it is common to recommend the use of drained walls. However, some systems like precast concrete wall panels, factory built, provide wall elements that are practical perfect barriers. For example, architectural precast concrete can be considered watertight, as can glazing, and roof membranes. The joints between perfect barrier elements should almost always be drained joints in the form of two-stage sealant joints or similar. Further guidance can be found in the technical document: "High Performing Precast Concrete Building Enclosures - Rain Control". Designing and constructing with architectural precast concrete facilitates faster and efficient construction, and improved building performance, at an economic advantage. That, combined with the stunning aesthetic options, makes architectural precast concrete the solution for many design professionals. © CPCI 2013. All rights reserved.
94d40d6f-83e5-4d10-8077-6fb8f1545df1	{ "cc_dump": "CC-MAIN-2018-17", "dolma2_qc": { "0": 0.999980330467224, "1": 0.00003963581184507347 }, "exact_duplicates": 3, "lang": { "en": 0.9424923062324524 }, "madlad": { "num_sentences": 21, "rule.2": [ 0, 18 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 8119014929841, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 525, "sa_remove_ranges": [], "text_hash": "314536664506523833695606203837301251792", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-04-26T13:22:47Z", "warc_url": "http://dailyreview.com.au/shadowland-review-arts-centre-melbourne/", "weborganizer": { "__label__adult_content": 0.002261847723275423, "__label__art_and_design": 0.6926519870758057, "__label__education_and_jobs": 0.0019977742340415716, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.003386611817404628, "__label__games": 0.040855713188648224, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.0011795104946941135, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.0018775658681988716, "__label__entertainment": 0.5312193632125854, "__label__history_and_geography": null, "__label__literature": 0.5000100135803223, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.01244165189564228, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Do You Value Independent Arts Journalism & Would You Like To Help Us Produce More? Find Out More Shadowland Review (Arts Centre Melbourne) Every lift of a finger, turn of a head or curve of a spine becomes magnified and meaningful in Shadowland, as its performers create human characters and exotic animals through the art of shadow in this 90 minute show. Weaving in and out from behind a white screen the US-based contemporary dance group Pilobolus bring to life the story of a young teenager (performed by Lauren Yalango) who wants to grow up and explore the world, and does so through a narrative of elaborate dreams. Falling asleep in her ordinary home, she is transported into a “shadowland”, and encounters a series of people, animals and scenarios in far away places. Her adventure soon becomes a nightmare when a menacing “hand shadow” transforms her into a half-human half-dog. She must learn what it means to be an outsider in society, as crazy chefs want to boil her in a stew, exploitative circus masters enlist her to perform, a road-tripping cowboy is first friend then foe, and sea creatures nip at her heels. The girl/puppy must confront, then escape every situation which leads to sometimes comical, and sometimes dramatic scenes of characters leaping, dashing and chasing across the shadow screen. New Yorker Neil Patel’s set places the large screen in pride of place as the mostly stark and moody lighting plays with the size and dimensions of each black shadow. The troupe of nine expertly brings each character or creature to life behind the screen forming grand-scale or intricate shadows that speak to the audience wordlessly. It demonstrates how innately we recognise personality, sentiment, or danger from just a shadowy outline or subtle movement. Each vignette is punctuated by composer David Poe’s score – which could be brash and loud such as in the circus scene, or more melancholic in the under-the-sea scene as it emphasises the different steps in her journey. Shadowland is unique and visionary as it extravagantly pushes the boundaries of shadow art. When the performers are not in shadow there are impressive sequences of contemporary dance movement where the girl is lifted high, or thrown about in feats of acrobatics. However the choreography also includes a lot of classic, but unsurprising “drop and roll” routines. The story of a young girl’s journey through strange lands is certainly family-friendly but rather thin; it could pack more of an emotional punch if more grown-up adventure was incorporated with the shadow work. On opening night in Melbourne the audience appeared enraptured. An encore saw the performers let loose, creating comical shadows as the young girl travelled from New York to Australia and the performers impressively created the word “Melbourne” with their bodies. For this reviewer, it was more a case of appreciating the immense skill on display, but wanting a more powerful narrative to take it that extra step. Shadowland tours to Brisbane, Sydney, Canberra, Perth and Adelaide until July 13. Your email address will not be published. Required fields are marked * Newsletter Signup
c64e13fe-f848-4d70-a11c-362c17b0a0a6	{ "cc_dump": "CC-MAIN-2023-23", "dolma2_qc": { "0": 0.999958634376526, "1": 0.00006135057628853247 }, "exact_duplicates": 0, "lang": { "en": 0.8447412848472595 }, "madlad": { "num_sentences": 60, "rule.2": [ 48 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 992808544786, "cc_idx": 2, "cc_size": 3 }, "original_word_count": 1428, "sa_remove_ranges": [ [ 21, 8001 ], [ 8022, 9212 ] ], "text_hash": "105506473939965577196009803727214353488", "warc_content_type": "text/html", "warc_date": "2023-06-08T07:18:20.000Z", "warc_url": "https://voelkerrechtsblog.org/de/autonomous-weapon-systems-and-proportionality-2/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.01283121295273304, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.004478383809328079, "__label__games": null, "__label__home_and_hobbies": 0.00507033197209239, "__label__science_math_and_technology": null, "__label__software": 0.01244165189564228, "__label__software_development": null, "__label__finance_and_business": 0.0005803157691843808, "__label__health": 0.0019367348868399856, "__label__politics": 0.0007421813788823783, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.005564924795180559, "__label__food_and_dining": 0.0007421813788823783, "__label__industrial": null, "__label__transportation": 0.01169725600630045, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Alle Artikel anzeigen Subscriber not found, it probably has already been removed. No further actions are required.
7c90c053-91dc-4f1e-a4fc-82032ad6efd2	{ "cc_dump": "CC-MAIN-2023-06", "dolma2_qc": { "0": 0.9999605417251588, "1": 0.00005951135608484037 }, "exact_duplicates": 0, "lang": { "en": 0.905149221420288 }, "madlad": { "num_sentences": 32, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 10640345269847, "cc_idx": 1, "cc_size": 2 }, "original_word_count": 582, "sa_remove_ranges": [ [ 2846, 3500 ] ], "text_hash": "309160672614700908181179262339765380926", "warc_content_type": "text/html", "warc_date": "2023-02-04T14:23:02.000Z", "warc_url": "https://bradsdesignsandjewelry.com/citystate/schererville-custom-rings/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9648651480674744, "__label__education_and_jobs": 0.0010749627836048603, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.8670457601547241, "__label__games": null, "__label__home_and_hobbies": 0.01283121295273304, "__label__science_math_and_technology": 0.0004405571380630135, "__label__software": null, "__label__software_development": 0.003085370408371091, "__label__finance_and_business": 0.0008140857680700719, "__label__health": null, "__label__politics": null, "__label__social_life": 0.0004273156810086221, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.0003559916513040662, "__label__food_and_dining": null, "__label__industrial": 0.0011435691267251968, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Schererville Custom Rings At Bradâ€™s Designs and Jewelry, we take designing jewelry seriously. From the initial consultation, to the design revisions and consultations with the client, to the final product we seek to create custom jewelry that is as special as the person who wears it. Whether it is a custom ring, necklace, earrings, pendant or bracelet all of our designs incorporate these 7 principles of jewelry design to create a beautiful, balanced piece you will treasure forever: 7 Principles of Design for Jewelry-Making Inspiration: • Balancerefers to the distribution of the visual weights of materials, colors, texture and space in jewelry designs. • Emphasis refers to the main focus the jewelry design. This may be a center stone that stands out and is different from the other elements in size, shape, color or texture. • Movement refers to how our eyes follow in a particular piece of jewelry. This is how the elements are arranged or repeated within a piece. • Proportion – is when the color, size, and amount of the elements in a jewelry piece relate well with each other. Proportion is about the relationship of each part of the design to overall whole of the piece • Contrastis when elements play off of one another. This can be done using light and dark colors, or complementary colors to draw the eye to a particular area in a piece. • Unity â€“ is how all of the elements in a design work together as a whole. All of the elementâ€™s parts need to fit together to make the piece work as a whole. • Harmony refers to how the different elements in a piece of jewelry relate to and complement each other. Custom Rings for Generations At Bradâ€™s Designs and Jewelry, we seek to create pieces not just for todayâ€™s occasions but for future generations. Whether it is a custom ring that is passed down through the generations or a necklace, pendant or bracelet, we seek to create a piece which represents you. Our goal is to create meaningful pieces to celebrate the special occasion and people in your life now and in the future. Custom Rings Crafted in Schererville with Skill & Precision At Bradâ€™s Designs and Jewelry, we strive to create a unique piece of art that reflects you. While we know you are anxious to have your piece, we work diligently to ensure you have a one of a kind creation that reflects the quality craftsmanship and design youâ€™d expect. We wonâ€™t shortchange your vision for a quick turnaround. So while it may be hard to wait, we know you will be ecstatic with the end result. That is why we guarantee our work. We want to make youâ€™re your custom piece is absolutely perfect. In the end, we promise you will love it. Contact us at 219-663-5801, so we can begin designing a piece that can last generations
34f75faa-47ee-4b84-a0db-b8631d73cf00	{ "cc_dump": "CC-MAIN-2020-50", "dolma2_qc": { "0": 0.9999808073043824, "1": 0.00003918058064300567 }, "exact_duplicates": 4, "lang": { "en": 0.9715349078178406 }, "madlad": { "num_sentences": 22, "rule.2": [ 21 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 11396041424278, "cc_idx": 1, "cc_size": 2 }, "original_word_count": 547, "sa_remove_ranges": [], "text_hash": "144759148240705869609362337188608508525", "warc_content_type": "application/http; msgtype=response", "warc_date": "2020-11-27T18:31:00Z", "warc_url": "https://news.temple.edu/news/architecture-students-work-community-honor-local-heroes", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.974052667617798, "__label__education_and_jobs": 0.0191340371966362, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.014513582922518252, "__label__science_math_and_technology": 0.007587242405861616, "__label__software": null, "__label__software_development": 0.0018775658681988716, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.0025609128642827272, "__label__social_life": 0.05835584178566933, "__label__entertainment": null, "__label__history_and_geography": 0.04604391008615494, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.0015587612288072703, "__label__food_and_dining": null, "__label__industrial": 0.0015587612288072703, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Posted December 3, 2007 Architecture students work with community to honor local heroes This fall, 13 architecture students worked closely with community residents to design and install a park threshold that honors 12 local heroes. The mosaic tiles have a permanent home at Baobab Park at 11th and York streets, in Philadelphia’s Fairhill community. The project, which took roughly three weeks to design and build, was spearheaded by Sally Harrison, an associate professor of architecture and director of the Urban Workshop, an architectural group created to address the problems of rebuilding neighborhoods in the Philadelphia area. “The threshold design-build project in Baobab Park was just the first part of a 10-part project dedicated to developing short-term, medium-term and long-term design ideas for the Village of Arts and Humanities,” explained Harrison. The mosaic threshold was the entry point to an art exhibition titled “Evoking Spirit, Embracing Memory,” which honored the community’s “icons and unsung heroes who have passed away,” according to Kumani Gantt, artistic and executive director of the Village of Arts and Humanities, a group dedicated to revitalizing North Philadelphia neighborhoods. Baobab Park Photo Betsy Manning/Temple University A segment of the threshold at Baobab Park north of Main Campus, designed and built by Temple students, honors community leader Cecil B. Moore. The threshold features 12 different mosaic plaques to honor community heroes. In the background stands part of the sculpture exhibit that inspired the students’ work. Harrison and 13 advanced architectural design studio students put all that they had into ensuring that their part of the project would be completed on time. “Because the exhibition was opening Sept. 15, the students hit the ground running as soon as the semester started,” Harrison said. The students, who ranged from design assistants to accomplished builders, faced a daunting task. Aside from struggling with the over 90-degree heat, how could such a diverse group of students expect to capture the essence of a community that they were not a part of? “They learned most about the community by being there, building on-site for three weeks,” said Harrison, “They talked to the neighbors who were curious and excited about something new and creative happening in the neighborhood.” But community involvement did not end at conversation. The Village Landscape team, which consists entirely of community residents, provided materials and labor to the project, and introduced the team to a city worker with access to a fire hydrant that was used to water the turf. Even some children in the community got in on the act. “A couple really energetic kids from the neighborhood joined us as we excavated rubble for the paving installation,” Harrison said. The art show officially ended in late October, but the exhibit’s bottle tree sculptures — modern, artistic takes on a Central and West African tradition — currently remain in the park, paying homage to 12 of the community’s heroes. The mosaic threshold built by architecture students also remains as a permanent testament to their lives and memories. Meanwhile, Harrison and the Urban Workshop continue to find new ways to serve the surrounding communities, including proposals for an Urban Gardening Center, an outdoor lighting scheme and a small theater. — Written by Tom Rice For the Temple University Office of News Communications
8c75c061-02b0-4255-90df-3b84f363cd52	{ "cc_dump": "CC-MAIN-2020-29", "dolma2_qc": { "0": 0.9999504089355468, "1": 0.00006958517769817263 }, "exact_duplicates": 0, "lang": { "en": 0.9833448529243468 }, "madlad": { "num_sentences": 10, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 11423069515390, "cc_idx": 1, "cc_size": 3 }, "original_word_count": 151, "sa_remove_ranges": [ [ 94, 623 ] ], "text_hash": "146359736906641564782175574269536721769", "warc_content_type": "application/http; msgtype=response", "warc_date": "2020-07-06T05:07:13Z", "warc_url": "https://onlyhumanco.com/creativity/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.0695517510175705, "__label__education_and_jobs": 0.02369946800172329, "__label__electronics_and_hardare": 0.005921069998294115, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.01244165189564228, "__label__science_math_and_technology": 0.061885979026556015, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.006107562687247992, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.0011795104946941135, "__label__history_and_geography": null, "__label__literature": 0.03964884206652641, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.020974241197109222, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.017452487722039223 }, "weborganizer_max": "__label__art_and_design" }	bree pear in heart Creativity And The Human Experience In Experiences by BreeLeave a Commenthaven’t had very diverse experiences. So they don’t have enough dots to connect, and they end up with very linear solutions without a broad perspective on the problem. The broader one’s understanding of the human experience, the better design we will have. To the moon and back, humans.
49c92efa-106e-4c67-9c9a-4ec8169fb7d9	{ "cc_dump": "CC-MAIN-2015-14", "dolma2_qc": { "0": 0.9999774694442748, "1": 0.0000424879981437698 }, "exact_duplicates": 1, "lang": { "en": 0.9594329595565796 }, "madlad": { "num_sentences": 46, "rule.2": [ 35, 45 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 9815527003742, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 1133, "sa_remove_ranges": [], "text_hash": "241398226976915197430424096318520178572", "warc_content_type": "application/http; msgtype=response", "warc_date": "2015-03-29T11:39:34Z", "warc_url": "http://www.scmp.com/magazines/48hrs/article/1213158/wong-chuk-hangs-low-rents-attract-galleries", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9344051480293274, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.053413331508636475, "__label__science_math_and_technology": 0.0020607432816177607, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.003085370408371091, "__label__health": null, "__label__politics": 0.0038344827480614185, "__label__social_life": 0.004080137703567743, "__label__entertainment": 0.014513582922518252, "__label__history_and_geography": 0.0038344827480614185, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.042097724974155426, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.0017107223393395543, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Wong Chuk Hang's low rents attract galleries \| South China Morning Post Wong Chuk Hang's low rents attract galleries Wong Chuk Hang's low rents and big spaces are luring art galleries away from Central, writes Janice Leung WONG CHUK HANG is no longer the industrial wasteland it once was. An Ovolo hotel is scheduled to open in autumn, and a cluster of hip cafes and restaurants have sprung up alongside a home store, prime office blocks and, less conspicuously, a growing number of art spaces. "There's already a spirit, although it is hidden because everybody is in a building," says Dominique Perregaux, owner of Art Statements, as he enters a lift in the office tower opposite the nearly completed Ovolo on Wong Chuk Hang Road. His eighth floor art gallery is among the seven spaces in Wong Chuk Hang that are participating in this year's ArtWalk: the others are 3812 Contemporary Art Projects, Caroline Chiu photography studio, the Cat Street Gallery Annex, Pekin Fine Arts, Spring Workshop and Yallay Space. Last year, there were none. Perregaux, who moved to Wong Chuk Hang last June, says galleries are drawn to the area because of the bigger spaces and lower rents compared with Central and Sheung Wan. The Swiss gallerist used to have a space the "size of a shoebox" on Mee Lun Street off Hollywood Road between 2004 and 2010. The monthly rent was as high as HK$80,000. For the same amount "you can have almost a floor in Wong Chuk Hang", he says, sitting in his 5,000 sq ft white-cube loft. This sentiment is shared by Fabio Rossi, director of London's Rossi & Rossi, who co-launched Yallay Space in the district with French art dealer Jean-Marc Decrop in January, showcasing art from Asia and the Middle East. "You have greater accessibility in Central but you may end up working [and only managing to] pay the rent," he says, lolling on the sofa in his office at the back of his 6,500 sq ft gallery. In Wong Chuk Hang, "you can own the space and not be at the mercy of landlords who keep upping the rent". Having spent more than 20 years travelling to Hong Kong on business, Rossi kept an eye on Wong Chuk Hang's progress while living in New York. Then, in the summer of 2011, he relocated to the city. He rented a small office in the district as a year-long "pilot experiment" to test out the possibility of setting up a larger art space for more adventurous projects - and it worked. "While there's still that psychological reluctance - 'You're not in Central!' - the reality is if you have something interesting, people will come," says Rossi, over the sound of construction work outside his window. Pekin Fine Arts purchased its Wong Chuk Hang space two years ahead of its official opening last December. "It is an exciting neighbourhood in transition, much like the Caochangdi village area in Beijing," says gallery owner Meg Maggio. "It is a grass roots neighbourhood, very local, very real and down to earth." A specialist in contemporary Asian and Chinese art, the Beijing-based American gallerist studied and worked as a corporate lawyer in colonial Hong Kong in the '80s and '90s. She has endless enthusiasm for Wong Chuk Hang. "I love its location, convenience and proximity to Central, Wan Chai and Causeway Bay," she says. "It's just 15 minutes away from Central," says Perregaux, whose clientele are mainly from overseas or living on Hong Kong Island. Once the MTR South Island Line is completed in two years, the journey time from Central will be reduced to seven minutes. Other than the rent, one major reason galleries are either setting up shop or migrating to Wong Chuk Hang are the possibilities that come with a large space. For Perregaux, that means realising his vision. He says his Central space in the past was not only small but also narrow and strangely shaped - not an ideal venue for art exhibitions. Now, he can showcase high-quality, large-scale works by international artists. "In Wong Chuk Hang you can do interesting things that you may not be able to do on Hollywood Road. And people won't see shops selling paintings here ... but real exhibitions," he says. But with a sense of excitement in the air, will Wong Chuk Hang retain the grass roots character that made it so charming to the likes of Maggio? Having witnessed how gentrification had turned his former neighbourhood around Gough Street in Central from printing shops to upscale restaurants in just six years, Perregaux is realistic about the car washing and repairing businesses around the corner. "Unfortunately, I think they'll be kicked out at some point." [email protected] Hong Kong ArtWalk 2013, April 18, 4.30pm-11.30pm, various locations. HK$450, HK$150 (students). Proceeds go to the Society for Community Organisation. Free shuttle bus services between Central, Wong Chuk Hang and Aberdeen/Tin Wan. Tel: 9843 0553, or go to hongkongartwalk.com Right up your street As it enters its teens, art tour broadens palette with a spread of sideshows ArtWalk is celebrating its 13th year, with a total of 70 galleries in Central, Sheung Wan, Wan Chai, Happy Valley, Quarry Bay, Western and Southern districts taking part. As in previous years, the art feast offers a diverse range of events for participants to enjoy while roaming between galleries. At Schoeni Art Gallery Project Space on Chancery Lane you can learn more about the work of the event's benefiting charity, the Society for Community Organisation, through Lei Jih-sheng's photography. There will be clay throwing demonstrations at The Pottery Workshop on Hollywood Road, while towards Sheung Wan an "arts bus" will be parked next to Man Mo Temple to play videos. AO Photo Book Centre, The Space and DeeM will display their photography books, modernist furniture and design items, respectively. Local artist Otto Li Tin-lun will set up a mixed-media sculpture on Shin Hing Street, near Hollywood Road. Climb further up to Tai Ping Shan Street and you'll see another young artist, Law Yuk-mui, staging her installation inspired by the nearby Blake Park. The itinerary of this year's extra events extends to Wong Chuk Hang, where photographer Caroline Chiu will open her studio to display selected works, while charity art space Spring Workshop is showing an installation by architect duo Eskyiu, as well as Bibliotheek, an ever-expanding library as part of the art space's year-long collaboration with Rotterdam's Witte de With Centre for Contemporary Art. There will be more posters, paintings, photographs and installations displayed along various streets until around midnight on April 18. For unlimited access to: SCMP.com SCMP Tablet Edition SCMP Mobile Edition 10-year news archive SCMP.com Account
55960ca1-ccd9-40a4-bce4-3c3e51173ca7	{ "cc_dump": "CC-MAIN-2023-14", "dolma2_qc": { "0": 0.9999760389328004, "1": 0.00004398768214741722 }, "exact_duplicates": 2, "lang": { "en": 0.9026918411254884 }, "madlad": { "num_sentences": 11, "rule.2": [ 0 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 7228295745049, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 158, "sa_remove_ranges": [ [ 394, 971 ] ], "text_hash": "313369453573565069449144454179369294119", "warc_content_type": "text/html", "warc_date": "2023-03-24T05:11:47.000Z", "warc_url": "https://capturingcambridge.org/places-in-south-cambridgeshire/bassingbourn/26-north-end-fern-cottage-bassingbourn/", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.4921981394290924, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.0695517510175705, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.00001000000338535756, "__label__entertainment": 0.00240673148073256, "__label__history_and_geography": 0.3702353835105896, "__label__literature": 0.0007893660222180188, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.026769286021590233, "__label__crime_and_law": null, "__label__food_and_dining": 0.00034535021404735744, "__label__industrial": 0.008857354521751404, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	North End, Bassingbourn, view south of Church Room (R) and church c.1900 26 North End, Fern Cottage, Bassingbourn History of Fern Cottage Listed building: Cottage. Circa 1500 with C17 and late C17 alterations and additions, C19 and C20 alterations and renovation. Timber-framed and plastered, red pantiled roof and red brick ridge stack. [In photo Fern Cottage is behind hedge to the left]
67af13a5-fdff-46b8-9da4-a4769cefe10d	{ "cc_dump": "CC-MAIN-2020-16", "dolma2_qc": { "0": 0.9999285936355592, "1": 0.00009143729403149337 }, "exact_duplicates": 0, "lang": { "en": 0.9026159048080444 }, "madlad": { "num_sentences": 18, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 7537768277318, "cc_idx": 1, "cc_size": 2 }, "original_word_count": 454, "sa_remove_ranges": [], "text_hash": "290249185944547742555317301632032309424", "warc_content_type": "application/http; msgtype=response", "warc_date": "2020-04-02T12:47:20Z", "warc_url": "https://www.serralunga.com/designer-2/andree-olivia-putman", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.5775054097175598, "__label__education_and_jobs": 0.0029910325538367033, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.01972912810742855, "__label__games": null, "__label__home_and_hobbies": 0.004765199031680822, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.0029910325538367033, "__label__health": null, "__label__politics": null, "__label__social_life": 0.0019367348868399856, "__label__entertainment": 0.02162533439695835, "__label__history_and_geography": 0.0032830648124217987, "__label__literature": 0.0036036029923707247, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.009135636501014233, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	We inform you that the e-commerce site remains operational but orders may be delayed due to the limited operations imposed by the current emergency. For any information, do not hesitate to contact our assistance at [email protected] #andratuttobene #iorestoacasa Mini Cart Andrée & Olivia Putman Andrée & Olivia Putman Andrée & Olivia Putman Andre Putman starts her career with a very important achievement: Prisunic's art entrance. In New York she invents a modern vision of the hotels, building the first hotel-boutique, the Morgan, in 1984. Her successful achievements intensify her natural disposition to eclecticism: from the Museum of Fine Arts in Rouen to the CAPC in Bordeaux, from the Guggenheim in New York to the universal expo in Sevilla, from the cinema decors for Greenaway to the Concorde of Air France group. Recently she realized the Guerlain top-shop on the Champs-Elysées in Paris, she re-designed the general image for Helena Rubinstein brand and the astonishing Blue Spa in the Beyerischer Hof Hotel in Munich, with its suspended swimming-pool. Indisputable star of design, she imposes her unique style in Hong Kong too, where she signed the external design and the internal architecture of two skyscrapers. Olivia Putman was born in 1964, she grew up in Paris; after graduating from high school in 1987, Olivia Putman completed a bachelor’s degree in History of Art at the Sorbonne University in Paris. She then divided her time and workspace between Paris and New York. Satisfying a long-time wish of her mother, the founder of the Studio Putman, Olivia Putman became the Art Director of the company. In 2007, she followed the renovation of the Morgans Hotel in New York. Olivia designed a villa in Kuwait and signed the collection "Inside out" for Fermob. Olivia also inaugurated "Le rivage" Hotel in Hong-Kong. The Studio Putman presented a new chair for the American manufacturer EMECO, a collection of sunglasses, a knife for Laguiole, carpets for Toulemonde-Bochart, a collection of furniture for the French editor Silvera, the scenography for Christophe's concerts at the Olympia and the Chateau de Versailles, as well as the Madeleine Vionnet‘s exhibition at the Decorative arts Museum of Paris. The Studio also imagined the meridian line “Belle Etoile” for the Italian editor Serralunga. In 2012, Olivia also drew the collection "Ondes" for Lalique, the lamp "Jour de fête" for Charles Paris, a collection of fabrics for Pierre Frey and a new chair for Drucker. In 2013, Olivia revealed her new hospitality project: Sofitel Arc de Triomphe in the Champs-Elysées neighborhood. In may 2013, she presented her interpretation for L'air du temps by Nina Ricci. Andrée & Olivia Putman for Serralunga: • Belle Etoile outdoor sofas We can't find products matching the selection.
f9ff2610-3791-4f4e-9d71-233a42447d34	{ "cc_dump": "CC-MAIN-2017-43", "dolma2_qc": { "0": 0.999968647956848, "1": 0.000051345949032111093 }, "exact_duplicates": 2, "lang": { "en": 0.8905377984046936 }, "madlad": { "num_sentences": 12, "rule.2": [ 4, 8 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 11632063291417, "cc_idx": 0, "cc_size": 6 }, "original_word_count": 263, "sa_remove_ranges": [], "text_hash": "289123668747831509305992247806254387496", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-10-23T17:07:14Z", "warc_url": "http://jlef.artstation.com/projects/qQ0Yy", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.771853506565094, "__label__education_and_jobs": 0.007587242405861616, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": 0.02844603545963764, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.008325778879225254, "__label__software": 0.002261847723275423, "__label__software_development": 0.006107562687247992, "__label__finance_and_business": 0.003955406602472067, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.004208795726299286, "__label__history_and_geography": 0.004765199031680822, "__label__literature": null, "__label__sports_and_fitness": 0.017452487722039223, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	The Order 1886: Whitechapel area -Julien Lefebvre- Julien lefebvre 192 168 40 107 20141121 0188 copy So I was the main modeler of the whitechapel levels. In some area especially for the E3 levels other environment artists helped: David Budlong, Edgar Martinez, Nestor Carpintero and James Rosenkranz The textures/materials was done by a separate team. Megan Parks was in charge of making / assigning / layer blending / optimizing most of the material of the scenes. Some materials used too have been made by the rest of the textures team for some elements ( Erin McKown, holly Wilson, Alberto Rodriguez, Bobby Rice and Hugo Beyer). As for the lighting it was done by : Paul Gimm , Huan Tran and Nathan Phail-Liff The Fx were created and placed by the FX team: Sabra Goebel, Orson Favrel, Eric Cloutier and Brian Merril. The far Vista area was the work of: Brandon bien, Ethan Ayer and Martin Bergstrom. The prop team made tons of objects and material: Jo Watanabe, Juan Hinojosa, Brandi Parish, Scot anderson, james tran, Arin Robinson and Derek Hise. Great support from the concept team and the art director with drawings and a tons of photo references. : Nathan Phail-Liff, Joe Studzinski, Mike Sekowski, Brandon Bien, Steven Wen and Tobi Kwan. Thanks to Heather Howard, Mark Judkins and Lucas Sparks for the support on visibility and collision. Play the game to have a real feeling of my work and see the rest of my talented colleagues levels. Check the credits of the game to find out more names ;) quite a list a great people in it.
878e2eed-3e85-4ea8-bb6e-3dc5b4d6c560	{ "cc_dump": "CC-MAIN-2017-43", "dolma2_qc": { "0": 0.9999674558639526, "1": 0.000052608116675401106 }, "exact_duplicates": 10, "lang": { "en": 0.9651277661323548 }, "madlad": { "num_sentences": 160, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 5484069262675, "cc_idx": 1, "cc_size": 2 }, "original_word_count": 3989, "sa_remove_ranges": [], "text_hash": "327730119403558397512966387121383962790", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-10-24T11:09:52Z", "warc_url": "http://www.thelogofactory.com/the-spec-work-debate/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9381340146064758, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.032110705971717834, "__label__fashion_and_beauty": 0.04604391008615494, "__label__games": 0.05185545980930328, "__label__home_and_hobbies": 0.01972912810742855, "__label__science_math_and_technology": 0.03115382604300976, "__label__software": 0.01323282066732645, "__label__software_development": 0.03964884206652641, "__label__finance_and_business": 0.09535945951938628, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.01543455570936203, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	the-logo-factor-designers-lead Debating the spec work issue from a designer’s point of view. Is it an exploitative process that threatens the graphic design industry, or the future of design that embraces everybody? Let’s discuss.. Last week, I told you about Specdebate, a supposedly open forum where designers can duke it out over the design contest issue. While action on the forum is light, George Ryan, the owner of the site (and a design contest site known as elogocontest) posted a pro-contest puff piece that I found interesting. Not surprisingly, I don’t agree with most of what he says, but at least he’s strong enough in his convictions to mount a defense of his position. Thought I’d take the time to address some of his points on The Factor. George’s comments are in bold. Mine aren’t. They Say: design contests are a waste of a designers time. Depends on the designer! If you have weeks or months of work lined up in front of you then yes, it probably a waste of time to spend valuable minutes working for spec. If, on the other hand, you are starting out as a designer or are having a dry spell design contests can be a readily available way to bring in some quick cash. Also, regardless of what the critics say the skill of the designer DOES make a HUGE difference in winning a contest. I can tell you right off the bat which designers on eLogoContest can win a contest if they choose, quality wins out 9 times out of 10. At the same time designers who DON’T ever win (it happens) can critique themselves and improve their work. Design contests aren’t a waste of a designer’s time if the designer is simply honing their skills. Certainly, any time spent drawing, sketching or creating logos is never time wasted and is generally recommended as a way to keep skills sharp. Attempting to sell those efforts as finished artwork is another matter entirely. I’d also think that design contests are a waste of a designer’s time, if they want to earn a living, which, other than people just learning about the trade, is what professional design is all about. Which is kind of odd, because making money is how design contests are marketed to potential participants. And a professional design solution is how design contests are marketed to potential holders. Dollars & sense. The actual chances of bringing in ‘quick cash’ for any one individual is extremely minimal. Judging by the number of contests that are abandoned without any winner being accepted (roughly 9% – a figure determined by a quick perusal of two design contest sites) and the sheer volume of designers participating, the chance of an individual making any ‘quick cash’ is almost nil. Especially if they’re going to put any effort, and the required time, into their entries (which goes a long way to explaining why so many copied logos and purloined clip art designs make their way into submissions.) The weirdness that is “guaranteed contests”. Logo contest sites are trying to minimize abandoned contests by featuring what they refer to as ‘guaranteed prizes’ – an interesting concept where the contest holder pays the site owners the prize money up front, and even if they decide to abandon the contest in progress, the prize will still be awarded (though how the winner is selected is often a little foggy.) Trouble is, holding a ‘guaranteed prize’ contest is still optional (makes you wonder if the people opting out of holding ‘guaranteed prize contests’ have any intentions of making good on selecting a winner at all) and most contest holders opt out. The risk of entering a logo contest, only to see it abandoned at a later date, is so great that some entrants (especially the better ones) are refusing to submit work to any contest that isn’t guaranteed, something which the design contest sites aren’t too quick to admit up front. Easier to attract contest holders when these sites imply that they can walk at any time, without awarding the contest prize (still not sure if that’s even legal). The best design wins? In terms of the best design winning one of these contests, and judging by the winning designs themselves, the client is often unversed in what makes a good logo, how that logo will reproduce over a wide range of media, and even the difference between vector art and bitmap generated designs. Without any one-on-one interaction, they remain unversed throughout the logo design process, unaware of the technical and visual issues with the designs they’re viewing. Bottom line, they pick crap logos. Being the client and all, this is their right, and a normal day-to-day occurrence at any design studio where clearly superior work is tossed aside for designs that meet some requirement that has nothing to do with good design. In a design contest, this translates to the best design not always being selected, nor the work of the best designer. More often than not, designer skill, or the quality of the logos entered into the contest, has nothing – absolutely nothing – to do with the winning entry being selected. Which translates into the best designer NOT getting paid. Which is kind of the antithesis of what a design contest is supposed to be about. Don’t take my word for it – take a trip through one of these websites and see for yourself. “In a normal studio environment, or a one-on-one freelance basis, the designer will get paid even if the client decides to direct the creation of a logo that isn’t, by any definition, a good logo.” In a normal studio environment, or a one-on-one freelance basis, the designer will get paid even if the client decides to direct the creation of a logo that isn’t, by any definition, a good logo. A friend of mine once said “The client is always King. But they can’t be art director”. During any contest, the contest holder has no choice but to be an art director. That, by the way, is something that the contest holder brings to the ‘contest’, rather than any ‘worth‘ gained by holding one. In terms of designers having their work critiqued, most contest holders don’t even bother. The time required, and the volume of entries makes this impractical for most (if they were able to explain why they didn’t ‘like’ a logo in the first place), and many contests go on without any feedback at all, save the selection of the winner. The cynicism of rating stars. Many logo contest sites have realized that this is an issue and have instituted simple rating systems – usually stars or numbers out of five – so that they can still claim the designers’ work is being critiqued, while minimizing the amount of time the holder has to spend. Funny thing – even that very basic ‘click here to rate’ requirement is still being avoided, and without any criteria at all often ends with designers wondering why their design – which rated a 4 out of 5 stars – lost to a design that was rated 3 out of five. Bottom line – the idea that a designer receives any valuable feedback, ostensibly to enhance their skills, is like most contest site claims, a stretch at best. They Say: Design contests are not a valid source of regular income. I agree! It can be an awesome source of supplementary income but I would never encourage a designer to rely on design contests as their main source of income, even if they could, simply because it is not guaranteed income. Design contests can be part of a powerful approach to freelancing, including freelance job sites, local work and networking, but stand on them alone and you are asking to fall. Okay. A guy who owns a logo design contest site admits that entering contests is not a valid source of regular income. No comment necessary I guess. In terms of being ‘part of a powerful approach to freelance’ I supose I’d have to ask “how so?” if entering contests is not a ‘valid source of regular income’. Most freelance designers view their practice as a career, not some hobby where they might make some ‘quick cash’. Some design contest sites (including George’s) will claim that entering contests is a great way to build up a client list, as contest holders engage the designer to create collateral design work – brochures, stationery, websites, etc. If this were true, then it’s only winning entries are likely to gain this advantage. As a designer’s chances of winning a contest are slim to begin with (if a winner gets selected at all) this so-called benefit is negligible to begin with. Ironically, most design contest sites also hold contests for brochures, websites and stationery, claiming that the contest model is a great way to get these items developed, NOT working one-on-one with a designer or design firm. Bottom line – you can’t have it both ways, though as we’ll see, design contest advocates attempt quite often to do just that. Should also take this opportunity to point out that design contest sites charge holders a fee (above and beyond the prize amount) to run contests, and some even claw back prize money by charging a percentage of the entrant’s winnings. In other words, the logo contest sites’ income is guaranteed, while the designers who are creating their ‘product’ shoulder all the ‘risk’ and invest all the time. While we’re talking about having it both ways and all. They Say: Clients get the short end of the stick when running a design contest. Nothing personal against the proponents of this theory but this is without a doubt one of the most ridiculous things I have ever heard. Even if all the client gets out of it is a bunch of ideas I fail to see how that is the “short end of the stick”. I DO encourage contest holders to get the most out of their contest by using the actual contest as a brainstorming process and then working with the winning designer to finetune the design if needed (paying the designer their regular rates of course), but even if they just use the winning design as it is they still more than get their moneys worth out of the contest. It’s also worth pointing out that I have never heard this complaint from a client, only from designers. The abundance of “choice”. Well, if the sheer number of designs presented ever turns out to be a factor in what makes a good logo, or a factor in ascertaining the worth of a logo, then perhaps contests might have a leg-up. However, the idea that 100 bad designs is somehow better than two or three good ones is a concept that still eludes me. This is the graphic design version of spam e-mail – throw enough designs at a client and hope that something ‘sticks’. In terms of the designs themselves, the vast majority of logos entered into design contests aren’t any good (and that’s being charitable.) They’re cobbled together by folks who are (as George points out) looking to make some ‘quick cash’ and ‘developing their skills’. Often by so-called designers who have no idea about design, and figure slapping together some rudimentary shapes in a bootleg copy of Illustrator is a perfectly valid way to produce a logo. The designs are often ripped off other entrants work, often in the very same contest, in order to win favor with the client. There’s very little concept. Execution is often shoddy. Often, contest entrants will submit the same design, rejected from a previous contest, over and over again, hoping that someone will eventually select their logo for something. Anything. I’ve even seen designs that were selected as the winner for one contest, being entered by the same designer, into another. “I’ve even seen designs that were selected as the winner for one contest, being entered by the same designer, into another.” Wading through several hundred extremely bad designs, in order to find a decent logo, is overwhelming to even the most experienced design client, let alone someone who may be new to the process. And designing an effective logo is always about the end product, not the number of preliminary designs it took to get there. There’s many a design project at the shop that only required one pass – that logo is every bit as valuable as one that required multiple steps. I’d go as far to say that the sheer volume of entries can be overwhelming to the first-time design buyer. Take a look at any contest where there are a lot of entries. On most contest sites, the contest holder is supposed to critique every design (a ‘pro’ that is boasted by contest advocates – they claim that having one’s work critiqued is is one of the main benefits of entering a design contest in the first place.) The comment sections often degenerate into skirmishes between the holder and the entrants when the volume of designs makes it impossible for the holder to comment on every single one. Do a search for ‘feedback please’ on any contest site to see how often this happens. Critiquing work that is of no interest? Many contest holders end up resenting the time they’re expected to spend telling designers what they like, and don’t like, usually skipping over this expectation as the volume of entries increases. The ‘client’ is supposed to critique artwork that they have absolutely no interest in using, which they see as a waste of their time and as they’re paying for ‘services’ not necessarily part of their obligation. Let’s be honest here – most people who hold logo contests have been convinced that they get more design options for a greatly reduced cost, not spending additional time trying to explain why they don’t like this or that design, nor educating designers on what makes a great logo, when they probably don’t have any idea past “I like that” and “I don’t like that”. There’s also the idea that a logo development takes place in a very public venue, where designs are likely to get ripped off by other unscrupulous folks trolling the internet looking for images, either to add to their so-called portfolios, adapt for their own projects, or add to their own template logo collections. During a one-on-one project with a freelancer or design studio, concepts and preliminary designs (which may be very similar to the final work) are not published, and the final logo won’t be revealed until there are a minimum of copyright protections in place. That doesn’t happen in logo contests, where the artwork is publicly available from step one. This was an earlier criticism of mine, to which some logo contest sites have reacted, creating ‘private contests’ that are only accessible to logged in members and contest holders. Here’s the funny thing though – the fact that these contest are ‘hidden’ only increases the chance that plagiarized logos will get entered as ‘designers’ out for a ‘quick buck’ figure their ripped off entries won’t be seen by folks who will recognize the designs. The simple truth is this – by their very nature, logo contests attract folks who aren’t opposed to cutting corners to make a ‘quick buck’. This isn’t unique to the design industry. It is, in fact, human nature. Astonishingly, George makes this suggestion – I encourage contest holders to get the most out of their contest by using the actual contest as a brainstorming process and then working with the winning designer to fine tune the design if needed (paying the designer their regular rates of course). Unless I’m missing something (which is always possible) a guy that owns a logo design contest site advocates using his ‘services’ to brainstorm for a logo, then hire a designer (at regular rates) to ‘fine tune’ the design. So, what’s the point of holding a logo contest again? In terms of having never heard complaints about ‘getting the short end of the stick’ (I actually think George is quoting yours truly) from what George refers to as ‘clients’, that’s not terribly surprising. Many folks, new to the design process, may think that ‘the more, the merrier’ is a valid barometer of the quality of design. It isn’t. It’s applying grocery store mentality to a logo design, and at the risk of mangling a metaphor is comparing ‘apples and oranges’. Also, as the rate of abandoned contests is almost 10%, it would appear that at least some ‘clients’ ended up deciding that holding a logo contest wasn’t the way to develop their logo, the number of presented designs be damned. They Say: Design contests encourage plagiarism and clip art. The creative industry itself encourages plagiarism and unoriginal designs, not directly of course, but any industry that relies on creativity will have the lazy trying to take advantage of it. This is NOT something that is unique to design contests, it happens every day all over the globe. The fact that it is much more obvious in the design contest format because of the public display of all entries does not mean that it is a direct result of the “contest format”. In fact I think that design contests provide much MORE transparancy and contest holders can be much more confident that they are getting original work than they would working with an unknown designer. We regularly have “designers” attempting to pass off ripped work as their own, thanks to our viligant community of designers these “designers” are usually reported and banned within minutes of posting the work, let’s see that happen with a conventional studio! No offense to George, but this wanders into bullshit territory. Owners of logo contest sites – every single one – know that this is an ongoing issue and have disclaimers within their terms and conditions that state, very specifically, that they are not responsible for originality of any logo presented. George’s site, elogocontest, for example, has this to say – eLogoContest is a independent ‘middle-man’ and makes no claims whatsoever as to the originality of any user-submitted content. George also seems to think that the ‘creative industry’ encourages unoriginal designs (an oxymoronic statement if there ever was one) because ‘lazy’ people are always tempted to take advantage. Shouldn’t have to point this out, but when people’s jobs and careers are on the line, they are less likely to risk whatever security they have by ripping off another designer. Studios and graphic design firms are liable for some very real, and costly, damages. No designer, or firm, who values their reputation is going to risk it all by presenting stolen work as their own – it’s only with the relative anonymity of the internet (the very model of logo contest sites) does this become an issue. There are some very high risks for established designers or graphic design firms foisting off purloined work as their own. In logo design contests, the anonymity of the entrants, as well as the ‘not necessarily original’ disclaimer illustrates quite clearly that logo contest sites are aware of this inherent flaw, and try to avoid this liability that everyone else assumes (though whether these disclaimers are legally sound is anyone’s guess.) Again, in his defence of logo contests, George makes another astonishing admission – We regularly have “designers” attempting to pass off ripped work as their own. Regularly? That’s nice. He then goes on to defiantly state that these ‘designers’ are banned and demands ‘let’s see that happen in a conventional studio’. Ahm, if this were to happen at any ‘conventional studio’ the designer would be fired instantly. Might even find themselves at the wrong end of a lawsuit if they’re under contract. Ask yourself this – who’s more likely to pinch a logo they found on the internet – a designer working for a decent wage with benefits who’d risk that job and suffer an insurmountable blemish on their resume, or a designer entering a logo contest without any payment, in order to earn the chance of winning $100 or so, while hiding behind a screen name like logodsgr151? While the site itself attempts to absolve itself from any ‘originality’ liability. It’s at this juncture, that I should point out that I found two examples of our client’s work being submitted to two of George’s contests, and that it was only after we wrote about them were the designs yanked. See, here’s the thing. On any logo design contest site, that’s ANY site that uses the contest model, I can guarantee that copied logos will eventually find their way into the submissions. To say that this happens ‘regularly’ at conventional studios, or with fairly established freelancers is, to be charitable, nonsense. It doesn’t. They Say: Design contests are ruining the industry. If the industry that you mean is the “3 logo concepts for a hundred and fifty bucks” industry then yes, you might be right. I do not, however, think that design contests are a replacement for an experienced design firm coming up with a full fledged brand, nor are they the same as working one on one with a designer, but they certainly do have their place in the industry, and for the small startup that has a few hundred dollars to spend on a brand they can be the most powerful way to go. Ruining the industry? Not logo design contests per se, but the attitude that a designers work is only worth remuneration if it meets some undefined criteria, that a designers time isn’t worth anything and that the education, experience, skill and reputation of a designer amounts to squat, is certainly a little disconcerting for folks who are IN the industry. Especially when folks like George market logo design contests as being a better alternative than more conventional avenues (he compares his contest site to other companies using the volume of designs as the only barometer), when clearly, they’re not. And while I certainly understand George’s efforts – trying to make money off other people’s efforts without paying for those efforts – it’s certainly not a position that’s going to be supported by the denizens of any ‘industry’ be it design or not. Does his model work out to better design? No. While theoretically, not paying for your ‘staff’ could be argued as a sound business position, a quick calculation of George’s income from the site ($19.95 per contest, plus 10% of any winnings) will show that the logo design contest model isn’t exactly a boon to his bank account either. George would be better served opening a traditional graphic design studio. Cause here’s the thing. As more and more of these things pop up on the interwebs, with the resultant competition, site owners are going to have to figure out how to attract designers, while charging contest holders less and ‘relaxing’ the terms they have to agree to. A downward spiral of design integrity checks and balances. At the end of the day, logo design contest sites are not about developing value, better design, better client interaction or better working conditions for designers. Far from it. Every single design contest site – without exception – were created by folks trying to make a buck from the design industry while not having to pay their ‘workforce’ – the very developers of their ‘product’. Off-shoring was the big challenge of the design industry a few years ago, as globalization introduced western companies to international wage rates. Contest sites have figured out a way to reduce those wage rates to zero. In a weird sense, my hat’s off to them for having the cojones to pull it off. But it certainly isn’t a road to better design, nor the road to a career for up-and-coming designers. Which is what this particular industry has always been about to me.
f16cf524-841d-4eec-afcd-225459e7311b	{ "cc_dump": "CC-MAIN-2020-16", "dolma2_qc": { "0": 0.9999589920043944, "1": 0.00006101205144659616 }, "exact_duplicates": 0, "lang": { "en": 0.9760775566101074 }, "madlad": { "num_sentences": 43, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 9148381019826, "cc_idx": 2, "cc_size": 3 }, "original_word_count": 937, "sa_remove_ranges": [], "text_hash": "64023375067268102483049275336885936267", "warc_content_type": "application/http; msgtype=response", "warc_date": "2020-04-07T12:18:15Z", "warc_url": "http://lesauvage.tv/information/", "weborganizer": { "__label__adult_content": 0.0036036029923707247, "__label__art_and_design": 0.8311530351638794, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.01972912810742855, "__label__fashion_and_beauty": 0.06561483442783356, "__label__games": null, "__label__home_and_hobbies": 0.02162533439695835, "__label__science_math_and_technology": 0.008071991614997387, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.004208795726299286, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.032110705971717834, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": 0.004208795726299286, "__label__travel_and_tourism": 0.011341754347085953, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Select Page Andres Lesauvage DOP About Me First of all, I’m not going to write about myself in the third person. I can never figure out why people do that! This is my site and I want to say how it is and how I see it. I’ve been taking pictures a few years now when I first picked up a camera and took photos of the cool girl in school. However, I was only 8 at the time and she often ran a mile when she saw me coming. I ended up running the school darkroom and spent many hours in the dark processing films and printing those black and white 5×4 pictures with little white frames around them. Whilst photography was always there in the background I spent some time as an architect and got bored, then I went into the design industry and got bored, I then got into the print industry and after a short time I got bored. So when I was offered the opportunity to travel in the 90s I took the chance and left the UK and spent eight years on the road traveling the world learning my skills as a people photographer visiting as many places as I could with a camera over my shoulder. Somehow I never got bored! I was one of the early adopters of digital photography picking up a Nikon E2N 1.3 megapixel camera in 1996 which was great as I never had to go back into the darkroom however it was to take another 4 years until the world was ready for full digital being one of the early photographers in London to be published purely from digital files from a Nikon D1X and a six page spread. Mind you that wasn’t without its own difficulties, the magazine color repro guys did everything in their power to sabotage the files to make them look poor quality so they wouldn’t lose their jobs from scanning the negatives! The thing is I was on to them as unknowing to them I had spent a few years working in the print industry so I knew what they were up to and got them to correct the job before it went to print! Now 2018 and 18 digital cameras later I now shoot on a varied bunch of cameras from Panasonic to Nikon to my iPhone. My main aim being to create the lightest camera kit available so I can sail through airports without the hassle. A personal challenge! I’ve never been inspired by great photographers only great photography no matter who it was shot by. I have my own personal collection of great images harvested from the net which inspire me to do better. Being a great believer in “being original is not disclosing where you first saw it” I have many little ideas tucked away until the right shoot with the right person when they can pop out and be exploited. How I shoot Cool calm and collected! That’s what we want on a photo shoot. A photographer must be a negotiator, diplomat, somebody who is supposed to stay calm when the shoot is all going wrong and models are scrapping! If all models want world peace…..how come they always fight? I shoot quick and decisively and get rid of unnecessary people on a photo shoot as I find it distracting. My shoot lights are plotted out in my head and so I always know where to position the subject and how the lights are going to affect the shot in the final image. I love shooting guerrilla style as its unpredictable and you can be more experimental. I dislike shooting tethered as it takes away the energy from the shoot as that’s why I’ve been hired in the first place as I know what I’m shooting. Shooting tethered slows you down and when the client sees the shot they like they always want you to shoot more so wasting time and money by overshooting. I’ve never been able to figure that one out. You’ve got the shot in the can so why shoot more!!! It’s my camera Go away! My studio “PoutStudios” established in central London in 2003 and is a stone throw away from St Paul’s cathedral. It’s always busy with people. It’s my personal workspace where I collect my various lights and props gathered from over the years from different shoots. It can get a little cluttered sometimes but that forces me to every so often have a clear out. Having shot everything from celebrity weddings, portraits, magazine spreads, dinner parties, adventure trips to hanging out of airplanes and the front end of powerboats to get “that” shot and adding to the mix shooting quite a bit of commercial editorial and glamourtorial has left me in the good running to cater for any surprises. I like the challenge and find by not just restricting myself to just one kind of photography I’m very experienced in catering for most events and photographic challenges thrown in my direction. I plan to be doing this as long as I can hold a camera! The thing about this job is that you never know what is going to happen next! And when you think nothing is going to happen it usually does! Blah blah blah blah….. If you have reached this point and are still reading, you win a free bar of good English chocolate. Please call me on London 07748651830 to claim yours! Andres Lesauvage Director of Photography [email protected] Message me 15 + 8 =
d570018e-4ad5-4647-8bbd-345c85ac9a82	{ "cc_dump": "CC-MAIN-2023-23", "dolma2_qc": { "0": 0.9999734163284302, "1": 0.00004664769585360773 }, "exact_duplicates": 0, "lang": { "en": 0.9544128179550172 }, "madlad": { "num_sentences": 106, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 7738188899041, "cc_idx": 1, "cc_size": 3 }, "original_word_count": 1876, "sa_remove_ranges": [], "text_hash": "26243055029571428376431644944852242576", "warc_content_type": "text/html", "warc_date": "2023-05-29T10:58:15.000Z", "warc_url": "http://www.gcpvd.org/2014/05/27/projo-procaccianti-group-proposes-extended-stay-hotel-for-downtown-providence/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.16027602553367615, "__label__education_and_jobs": 0.005394937004894018, "__label__electronics_and_hardare": 0.00507033197209239, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.027595279738307, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": 0.008325778879225254, "__label__finance_and_business": 0.03309597820043564, "__label__health": null, "__label__politics": 0.05034062638878822, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.07160120457410812, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.013646835461258888, "__label__transportation": 0.003386611817404628, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	ProJo: Procaccianti Group proposes extended-stay hotel for downtown Providence The ProJo reports that The Procaccianti Group (TPG) will announce tomorrow a proposal to tear down the Fogarty Building on Fountain Street to build an extended stay hotel: The Procaccianti Group is expected to announce plans Tuesday to “build a premium-branded upscale extended-stay hotel” in Providence, right across the street from the Rhode Island Convention Center and the Dunkin’ Donuts Center, on the site of what is now the John E. Fogarty Memorial Building. Paul Sacco, chief development officer for PGI Hospitality, said the project “represents a $40-million private investment in Providence.” TPG already has a 7-year old ‘temporary’ surface parking lot at the site of the Old Public Safety Complex just down the block. [alert type=”muted”]See also: Providence Business News: Procaccianti Group plans 170-room downtown hotel[/alert] Greater City Providence Promoting the smart urban growth of the Greater Providence region. • Who wants to make a beer bet that this will still be a vacant lot in May 2019? • I won’t miss the Fogarty Bldg., but if they knock it down, can we require the developers to pay upfront for a deposit to maintain a park there if they don’t finish development? (like Salt Lake City requires). That way there’s no danger of a vacant lot. The new building looks almost as ugly as the old, but as long as it’s not full of parking, I give my thumbs up. • If I recall, the new zoning for Downcity no longer permits surface parking for temporary uses. I won’t miss this building, but it’s perverse when knocking down a building within what, 500 feet of a vacant space that’s already owned, is cheaper than developing the vacant space. If I had my druthers, any tax stabilization that they will surely seek should come with a condition that they develop their other underdeveloped land. Of course, that might just kill any activity. Another thought– get ready for serious protesting from the employees who have attempted to unionize at The Masonic Temple. And a final thought– I’m still shocked at how strong the hotel market seems to be. • It is not clear to me that our market actually needs a “premium-branded upscale extended-stay hotel,” but I could always be wrong. • This is on my walk to work, and I marvel every day at what an ugly thing it is. It’s gotta be the ugliest thing in Providence, or close to it. With that said, it isn’t worth investing a dime of public money for bad jobs and parking lots. If we can secure an enforceable agreement otherwise, great. • Greg, to be honest, I think the Hilton downtown looks much uglier. It looks so bland and out of place. architecturally speaking, It looks like one of those airport Hiltons. It looks like it belongs in an office park not a downtown area. The Refurbishing only made it look a tad better. • I recently was at a travel related meeting and the need for this exact type of lodging was a hot topic by many Providence based companies. Companies often have workers that get assigned to projects that are based in RI and they have to put them up in the suburbs. There is also little to no “corporate” housing in Providence like many other cities have, so this would seem to be a very sound approach. The patrons effectively become residents of the city for weeks or months at a time, so the spill over to food, entertainment, and street activity is a good thing as well. Given the majority of alternatives we’ve seen the last few years, this seems to be pretty good. As for the look and architecture – not my thing to judge, but I do like the overall development in the right direction. • I don’t know – if it had been maintained the Fogarty building could have been re-developed. It’s 60’s and 70’s Brutalist architecture and valid for that matter. • The window layout of the facade more than likely was dictated by the extended stay hotel program. The architecture may not be the best, but it’s by no means the worst. They made a sincere effort to vary the facade with changes in texture, color, and volume. There’s a defined base, middle, and top to the building and it will have an open active street frontage on Fountain and Mathewson. No one will ever be totally satisfied with the architecture. Some would prefer a more glassy modern expression, while others a more traditional historical design. It’s great that they will be developing a new hotel on this site. At 60-70% occupancy rates for downtown hotels, 170-rooms will contribute to the continued 24-7 activation of the La Salle Square/Convention Center neighborhood. Plus, the city will get additional real estate tax revenue. Even if many of the hotel’s jobs are low or lower paying, they will support many in the city who lack the education or skills for higher paying jobs. • That thing looks like a mash up of every cliche surface treatment in the architectural renderer’s pattern book. Build it next to T. F. Green. Makes the Fogarty Building (which I kind of like for its rigorous brutalist formality) look positively masterly. • Peter, at best you’re rationalizing in your defense of the aesthetics of this proposal. I don’t even like Brutalism, but at least the Fogarty is a proud example of the architectural movement it represents. If the best things you have to say for this new proposal are 1) that it has a discernible top, middle, and bottom and 2) that the facade isn’t completely homogenous, then that’s damning with faint praise. A bored thirteen year-old with a working knowledge of Photoshop could produce better. At least the Fogarty HAS a style. This garbage? Not so much. Lewis is right: this would fit RIGHT in on Post Rd near the airport. Now, your point about activating LaSalle Sq, on the other hand, is valid. But as previously mentioned above, Procc could just as well achieve that end by putting this proposed building on the lot of the former Public Safety complex, just a few yards away. And the very same logic logic applies to your points about jobs and hotel occupancy rates. So why demolish? Because this site, directly across the street from from the state’s two premier entertainment venues, is sexier than the old Public Safety site. Only a few yards apart, but that makes all difference. And you know what? Fine. I can accept that. But, that being the case, let’s have a cutting-edge proposal for this high-value site. Ditch the crap. Procc wants to demo the Fogarty, fine, but make the effort worth it. • Even if they say their proposed extended stay hotel is luxury or high-end, it’s more likely a mid-level hotel brand. I wouldn’t be surprised by the window layout that they’re proposing an Extended Stay by Westin – mid-range. I acknowledge the architecture isn’t the best. It could improved and through the design process could or should be. If the option is to let them build or not because of aesthetics, I say build. The Fogarty site is only a quarter or a third the size of the old police and fire site. It would be a complete waste to use that property for a 170 room hotel. At best that few rooms on that site might look like the Providence Marriott surrounded by a sea of parking. The fire safety is zoned for 300′. There are better uses and it’s worth waiting. A better solution for transforming the Fogarty Bldg to a hotel could be to preserve the facade of the top two floors and other than the columns demolish the garage plinth and first floor. Then construct a grand glassy lobby floor, have function space behind the old facade, and build the L-shape hotel room tower above. I could be beautiful, preserve a portion of the 60s brutalist structure in an elegant way. But, they’ll never do it in the Providence market because it would cost too much. It would be pricey even in Manhattan. • Peter, that “better” solution is actually a great idea, regardless of cost. I can actually picture it. It would look pretty awesome (if only I had the skills to draw it out). I actually like the Fogarty building and would prefer to see the facade preserved. • The ‘Empire at Broadway’ proposal at the Old Public Safety Building site had an offset tower design sitting on a parking pedestal: Conceivably, they could build their underground parking deck, a hotel building on part of the site, and have a pad ready for future development on the rest of the site. The Blue Cross Blue Shield building was built on a pad over existing parking, reducing the cost of construction of that building. If TPG didn’t have the resources to develop the second part of the site, a prepared pad would be attractive to other developers. The Old Public Safety Building site is set to get slightly bigger as part of the road reconfiguration at LaSalle Square. • Jef, any idea when the Lasalle Square road configuration is supposed to begin? • Mental757&Peter have it right here.I also appreciate hearing how the BCBS tower can be a model for the La Salle corridor. Personally I think this hotel ‘look’ has a nice cladding .If this is just a fast track design to propose,then that is good,because most times the design can only improve as the plan evolves. I’d like to see the Convention center side though.That would be the facade that visitors inside the center would see. • These are the same people who settled a $25 million dollar debt to the State from the Credit Union shutdowns for $2.5 million so they could but the Westin. Only in RI. • So… there are two extended-stay hotels in the works right now? One on Memorial (triangular lot), and this one? There is also supposed to be a hotel and conference center in the new life sciences complex on the i195 land, too, right? Then the Aloft hotel project on the other side of i95 (if that isn’t completely dead?). This is a lot of capacity — it’s exciting, no doubt, but how about some full-time non-collegiate residences? Adding 800 hotel beds (or whatever it is) is great for downtown commerce (restaurants, retail) and the tax base… but, it does nothing to add to the cultural fabric of the city. Visitors probably spend more money, but in order to get Providence to the next level, we need full-time non-student residents. I’m not sure how many people those 800 beds would translate into if they were residences, but putting 1,000 more people downtown full-time in a few different areas would be very exciting and do a lot more for the City than more hotels. 5:14 am8:11 pm EDT Feels like: 66°F Wind: 15mph NE Humidity: 37% Pressure: 30.03"Hg UV index: 1 72/45°F 75/50°F 82/57°F %d bloggers like this:
afc8e2a8-5093-448a-a72a-9a8300bbeb6e	{ "cc_dump": "CC-MAIN-2017-26", "dolma2_qc": { "0": 0.9999594688415528, "1": 0.00006049967851140536 }, "exact_duplicates": 4, "lang": { "en": 0.8765610456466675 }, "madlad": { "num_sentences": 16, "rule.2": [ 0, 3 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 572, "sa_remove_ranges": [], "text_hash": "96363235852542563124965117446231582086", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-06-25T03:35:20Z", "warc_url": "http://www.world-guides.com/europe/spain/basque-country/san-sebastian/san_sebastian_art.html", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.9814634323120116, "__label__education_and_jobs": 0.0010749627836048603, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": 0.0005293049616739154, "__label__home_and_hobbies": 0.0003669706347864121, "__label__science_math_and_technology": 0.0004144815029576421, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.00037829793291166425, "__label__entertainment": 0.0006978511810302734, "__label__history_and_geography": 0.009135636501014233, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.546748161315918, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	San Sebastian Art Galleries (Donostia - San Sebastian, Gipuzkoa, Basque Country, Spain) View of San Sebastian's San Telmo MuseumThe arts scene in San Sebastian is highly developed, with plenty of art galleries and museums on offer. Many of the largest and most popular galleries feature free admission and large collections of paintings and sculptures, such as the Altxerri Gallery (Galeria Altxerri) and the San Telmo Museum (Museo San Telmo). Many impressive religious works can be found in the Diocesan Museum (Museo Diocesano), while other notable exhibition spaces include the Goyaz Gallery (Galeria Goyaz), which is known for its oil paintings and changing exhibitions. Further picture of the San Telmo Museum, of San Sebastian San Telmo Museum (Museo de San Telmo) Address: Plaza de Zuloaga, 1, San Sebastian (Donostia), Guipuzcoa, 20003, Spain Tel: +34 943 48 1580 Housed in a historic 16th-century monastery, San Sebastian's San Telmo Museum was founded in the 1930s. Featuring a large collection of paintings, including works by a number of notable Spanish artists, the Museo San Telmo also offers a number of religious artefacts, a collection of antique weapons and well-preserved period architecture. Open hours: Tuesday to Saturday - 10:30 to 13:30, 16:00 to 19:30; Sunday - 10:30 to 14:00 Admission: free Altxerri Gallery (Galeria Altxerri) Address: Reina Regente, 3, San Sebastian (Donostia), Guipuzcoa, 20003, Spain Tel: +34 943 42 4046 Actively promoting the art works of local up-and-coming artists in the San Sebastian area, the Altxerri Gallery specialises in contemporary pieces. Many famous artists have exhibited their modern art at the Altxerri Gallery, gaining international recognition and acclaim. Open hours: Monday to Saturday - 17:00 to 21:30 Admission: free Diocesan Museum (Museo Diocesano) Address: Sagrada Familia, 11, San Sebastian (Donostia), Guipuzcoa, 20010, Spain Tel: +34 943 47 2362 Dedicated to religious works of art, San Sebastian's Diocesan Museum is part of the Amara Church and was founded in the early 1990s. Housing an eclectic mixture of paintings, sketches, sculptures and artefacts, many items on exhibit date from the 1200s. Seasonal events and temporary exhibitions are staged year round at the Museo Diocesano. Open hours: Tuesday to Saturday - 09:00 to 14:00 Admission: charge Goyaz Gallery (Galeria Goyaz) Address: Plaza de Sarriegi, 5, San Sebastian (Donostia), Guipuzcoa, 20003, Spain Tel: +34 943 42 5596 Specialising in oil paintings by many well-known artists, the Goyaz Gallery stands in the Plaza de Sarriegi, in the Historic Quarter area of San Sebastian. This commercial arts centre offers many temporary exhibitions, which fill the calendar, and oil paintings here range greatly in size, style and price. Open hours: Monday to Saturday - 10:00 to 13:00, 17:00 to 20:30 Admission: free Koldo Mitxelena Arts Centre (Centro Cultural Koldo Mitxelena) Address: Urdaneta, 9, San Sebastian (Donostia), Guipuzcoa, 20006, Spain Tel: +34 943 48 2750 Situated in the centre of San Sebastian, the Koldo Mitxelena Arts Centre is known for hosting many notable cultural events and art exhibitions throughout the year. Containing a number of function rooms and a large hall, the centre also contains a permanent collection of modern works, which are displayed in the exhibition room. One of the most eye-catching buildings in the Plaza del Buen Pastor area, the centre also features a library and conference hall. Open hours: Monday to Friday - 08:30 to 20:30, Saturday - 08:30 to 14:00 Admission: free, charge for events
b654cf47-bcf0-48ac-86b5-ef0c873463f9	{ "cc_dump": "CC-MAIN-2020-40", "dolma2_qc": { "0": 0.999935269355774, "1": 0.00008478790550725535 }, "exact_duplicates": 0, "lang": { "en": 0.8360625505447388 }, "madlad": { "num_sentences": 6, "rule.2": [ 0 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 237, "sa_remove_ranges": [], "text_hash": "91638778874327405584478216972873049828", "warc_content_type": "application/http; msgtype=response", "warc_date": "2020-09-24T00:35:06Z", "warc_url": "http://fasaconcordia.com/event/the-struggling-exploited-artist/?ical=1", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.3998216390609741, "__label__education_and_jobs": 0.09269777685403824, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.014513582922518252, "__label__health": 0.007587242405861616, "__label__politics": 0.0566624328494072, "__label__social_life": 0.01799621433019638, "__label__entertainment": 0.022296184673905373, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": 0.005230126902461052, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.038476187735795975, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.008857354521751404 }, "weborganizer_max": "__label__art_and_design" }	BEGIN:VCALENDAR VERSION:2.0 PRODID:-//FASA Concordia - ECPv4.6.20.1//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:FASA Concordia X-ORIGINAL-URL:http://fasaconcordia.com X-WR-CALDESC:Events for FASA Concordia BEGIN:VEVENT DTSTART;TZID=UTC+0:20180315T183000 DTEND;TZID=UTC+0:20180315T200000 DTSTAMP:20200924T003506 CREATED:20180302T192824Z LAST-MODIFIED:20180302T192824Z UID:[email protected] SUMMARY:The Struggling [EXPLOITED] Artist DESCRIPTION:CARFAC National President Ingrid Percy\, Studio XX Representative Roxane Halary and Curator Amber Berson will join together for a conversation on the importance of paying artists\, and the complications that exist within unpaid internships in the arts. \nThe goal of this talk is to create a constructive dialogue on how to battle these issues; ways to help students and artists properly ask to be paid\, how accepting unpaid work effects the diversity of the workplace in the Fine Arts and what artists and clients should expect from one another. This discussion will not only talk about the labor associated with the upkeep of an organization or studio\, but also recognize the amount of emotional and mental labor associated to the people that complete this work. \nAn artist’s labor should not be exploited\, but recognized and valued – \nThere will be some snacks and refreshments served following the event! \nThis panel is a collaboration with the Concordia Student Union\, and their campaign against unpaid internships. \n URL:http://fasaconcordia.com/event/the-struggling-exploited-artist/ ATTACH;FMTTYPE=image/jpeg:http://fasaconcordia.com/wp-content/uploads/2018/03/exploit.jpg END:VEVENT END:VCALENDAR
6600a0c0-6440-4324-b30a-6e4d70beb33c	{ "cc_dump": "CC-MAIN-2024-33", "dolma2_qc": { "0": 0.999974250793457, "1": 0.00004577158688334748 }, "exact_duplicates": 2, "lang": { "en": 0.9050848484039308 }, "madlad": { "num_sentences": 9, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 182, "sa_remove_ranges": [ [ 491, 1127 ] ], "text_hash": "215117370335995589588375084813380717746", "warc_content_type": "text/html", "warc_date": "2024-08-09T07:55:30.000Z", "warc_url": "https://www.annglynndesign.com/portfolio/shortbytes-branding/", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.994455099105835, "__label__education_and_jobs": 0.0038344827480614185, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.008071991614997387, "__label__games": null, "__label__home_and_hobbies": 0.0021927168127149343, "__label__science_math_and_technology": null, "__label__software": 0.0005457804654724896, "__label__software_development": 0.00240673148073256, "__label__finance_and_business": 0.026769286021590233, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.00001000000338535756, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.0036036029923707247, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	With many years experience working in marketing, ‘Shortbytes’ director Rachel already had a solid idea of the look and feel she wanted for her company. Professional and contemporary but also friendly and approachable. She had already mocked up a logo idea and knew the colour she wanted to use. I developed the logo further, refining the type and making the elements vector for future use in print and marketing materials. Client: Shortbytes Logo Design \| Branding \| Station
61341d44-deac-4928-88a0-67442b02bbf7	{ "cc_dump": "CC-MAIN-2021-21", "dolma2_qc": { "0": 0.9999699592590332, "1": 0.00005008195876143873 }, "exact_duplicates": 0, "lang": { "en": 0.9590131640434264 }, "madlad": { "num_sentences": 37, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 821, "sa_remove_ranges": [], "text_hash": "191123076722278454073193122110319355823", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-05-08T09:39:48Z", "warc_url": "https://local.paintingwithatwist.com/ohio/cleveland/44105/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.5698626637458801, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": 0.01641303114593029, "__label__home_and_hobbies": 0.3775506913661957, "__label__science_math_and_technology": null, "__label__software": 0.0004542184469755739, "__label__software_development": 0.0006767021841369569, "__label__finance_and_business": 0.0007421813788823783, "__label__health": null, "__label__politics": null, "__label__social_life": 0.02596735954284668, "__label__entertainment": 0.01543455570936203, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.001042230986058712, "__label__crime_and_law": null, "__label__food_and_dining": 0.0012943083420395851, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Painting with a Twist Near 44105 More Information Join a Fun Painting Event Near 44105 Painting with a Twist If you believe a painting event at Painting with a Twist near 44105 is just a place to learn how to paint, think again! At Painting with a Twist, our painting events are all about fun art, not fine art. But that doesn't mean you can't learn something! Whether you've got painting experience or you've never touched a paintbrush in your life, our in-studio artists can help guide you through every brushstroke, painting technique, and color option so that you can paint confidently and create something entirely your own. Sign up for a scheduled painting event near 44105 that interests you, and let us handle the rest. We'll have all the supplies set up for you when you get to the studio. All that's left for you to do is call your friends, grab your beverage of choice, and start painting your one-of-a-kind work of art! Twist at Home At-Home Paint Kits & Virtual Painting Events Near 44105 Can't join in at your nearest studio but still want to join a fun painting event? Get an at-home painting kit, which comes with all the supplies you need to enjoy a fun painting experience without leaving your house. Would you like to put a fresh twist on your next paint and sip event? Make it virtual with a Twist at Home painting event hosted by Painting with a Twist near 44105. There's no need to leave your Cleveland home to enjoy a sip and paint event. Book a seat at an upcoming Twist at Home painting event from Painting with a Twist near 44105, and you can pick up your supply kit from our studio before the event. Have you been wanting to host a private gathering? Schedule your own private Twist at Home event! Pick the painting of your choice, give us your list of attendees, and we'll help you throw a party they'll remember for years to come. Fun 44105-Area Events Done Your Way A paint and sip event at Painting with a Twist is ideal for celebrations of all types or even a simple, everyday occasion. (And who says everyday can't be a celebration, too!) Maybe you're looking for date night ideas near Cleveland. Skip the same old dinner and movie date, and try a paint and sip event that you'll both appreciate! Whether you're looking to ease that first-date pressure or you're celebrating your 20th anniversary, Painting with a Twist near 44105 can turn your next date night into an unforgettable experience! When you're planning on getting your girl squad together again for some overdue bonding time, a little wine and some conversation are a perfect way to spend your get-together! Throw in a sip and paint event at your local Painting with a Twist near 44105, and be prepared to share laughs and make memories that everyone can cherish forever. Is it time you unplug from the world for a little while? Book a seat at a zen painting event at Painting with a Twist close to Cleveland to help you relax and reset your mind! Break loose from the stress of everyday life with relaxing music and a calming painting, all in a soothing environment that gives you a much-needed zenful experience. You’ll leave our Zen event refreshed and rejuvenated to take on whatever the world has to throw your way! Put a twist on your upcoming team building event by bringing your crew to Painting with a Twist near 44105! Book an in-studio or virtual private event for your team, and be prepared to spark conversation, nurture relationships, and enjoy an unforgettable experience with the whole team! While Painting with a Twist's in-studio events are open to any aspiring Twister, sometimes you would prefer to have a painting experience that's more private. For these moments, book a private painting event at your local 44105-area studio to have our space for just you and your guests! From birthday celebrations to family reunions to bachelorette parties, Painting with a Twist near 44105 has space for you! Celebrate the Big & Small at Painting with a Twist Near 44105 Are you looking for a fun event near Cleveland that doesn't cost a fortune? A paint and sip event near 44105 is what you need! Our painting events, both in-studio and virtual, are a great way to destress, try something new, develop a skill, and even meet friends in the Cleveland area, all while enjoying a glass of your favorite beverage! Join your fellow Twisters at Painting with a Twist near 44105, and get ready to get inspired. PLANNING AN <strong>event?</strong> If you can think it, we can create it! At Painting with a Twist, the fun is endless.
8d35432e-14d4-4280-85f3-78d7402c5874	{ "cc_dump": "CC-MAIN-2024-51", "dolma2_qc": { "0": 0.999953269958496, "1": 0.00006678342469967902 }, "exact_duplicates": 0, "lang": { "en": 0.9532326459884644 }, "madlad": { "num_sentences": 23, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 523, "sa_remove_ranges": [ [ 2388, 3185 ] ], "text_hash": "53967386199112261897059130303583927714", "warc_content_type": "text/html", "warc_date": "2024-12-10T00:52:49.000Z", "warc_url": "https://cedarandhyde.com/collections/home-goods-baskets/products/minna-medium-palm-basket", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.7248802781105042, "__label__education_and_jobs": 0.0007893660222180188, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.4532718360424042, "__label__games": null, "__label__home_and_hobbies": 0.16027602553367615, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.001042230986058712, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": 0.00048285454977303743, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": 0.00318268220871687, "__label__industrial": 0.0004020417982246727, "__label__transportation": null, "__label__religion": 0.0005627787322737277 }, "weborganizer_max": "__label__art_and_design" }	This site has limited support for your browser. We recommend switching to Edge, Chrome, Safari, or Firefox. Cart 0 No more products available for purchase Is this a gift? Add order notes Subtotal Free Shipping, taxes, and discount codes are calculated at checkout Pair with Medium Palm Basket The Medium Palm Baskets are your new go-to solution for stylish storage. Perfect for the kitchen, bathroom, or even as a beautiful planter in your living space, these hand-braided palm baskets are not just pretty but also sturdy. Toss in your essentials and keep your space organized with ease, without sacrificing your home aesthetic. • 10 in diameter x 11 in • Dried palm and cotton thread • Due to their handmade nature, the weave and size may vary slightly • Handmade in Oaxaca, Mexico • Wipe clean with a clean damp cloth [{"variant_id":"41230250770519" , "metafield_value":""}] Medium Palm Basket Designer Profile Minna is a queer-led brand that was founded in Brooklyn, New York, in 2013 by Sara Berks. Berks, who studied graphic design at the School of Visual Arts in New York City, gave up her career in digital design in 2013 to concentrate on her creative passions like weaving and painting. Berks herself wove every Minna piece until 2015, having learned to weave on her own. Named after Berks' grandmother, the Minna patterns, colors, and textures are designed to be combined, layered, and mixed for today's contemporary home aesthetics. Vintage textiles, traditional processes, the Bauhaus, and feminist art all influence and inspire designs across each collection. The brand’s guiding principles are producing beautiful, ethically made goods, and using their business to bring good to the world. The idea that design may have a beneficial impact and that commerce can be used for good led to the creation of the artisan collection, which was inspired by two of her journeys to Mexico and Guatemala to learn more about traditional production. By collaborating with skilled artisans in Central and South America, the brand aims to facilitate the survival of traditional craftsmanship, and the creation of jobs in these areas. Minna’s core principles are humanity, intentionality, and honesty. They focus on being a transparent and responsible brand, where all decisions are made with the intention of prioritizing people and the environment alik
e33e710d-4fdd-4189-9992-1ee516b0b988	{ "cc_dump": "CC-MAIN-2014-10", "dolma2_qc": { "0": 0.9999359846115112, "1": 0.00008400830120081082 }, "exact_duplicates": 0, "lang": { "en": 0.9446505904197692 }, "madlad": { "num_sentences": 42, "rule.2": [], "rule.5": [ 41 ], "status": "survived" }, "minhash": null, "original_word_count": 863, "sa_remove_ranges": [], "text_hash": "1165851535781240387684707232555343033", "warc_content_type": "application/http; msgtype=response", "warc_date": "2014-03-08T04:37:58Z", "warc_url": "http://www.bigvisible.com/2011/09/feeling-the-tempo-book-review/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.15611489117145538, "__label__education_and_jobs": 0.1067005917429924, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.05034062638878822, "__label__software": null, "__label__software_development": 0.024433093145489693, "__label__finance_and_business": 0.03115382604300976, "__label__health": 0.024433093145489693, "__label__politics": 0.003085370408371091, "__label__social_life": 0.009718479588627815, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": 0.07586817443370819, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.024433093145489693 }, "weborganizer_max": "__label__art_and_design" }	March 8, 2014 Agile Coaching Blog Feeling the Tempo (Book Review) On the surface, Tempo is a book about making decisions using stories. More deeply, Tempo is a call to revisit how you relate to the world: whether you are cooking a meal, driving a high-powered business meeting, guiding a career, or dealing with the next stage your life, you can use both your felt sense and intellectual awareness to harmonize and even master the experience. Dr. Rao begins with an exploration of the various fundamental elements of the organism’s experience of tempo. It’s felt emotion is an essential sensor for cultivating situation awareness — you can get a feel for what’s going on in a situation by connecting to the feeling tone. The organism interacts with his environment in a set of key relationship modes: merging, going with the flow, pace-setting, and disruption — knowing which mode you are in can inform your decision of what to do next. In this exploration he develops a Vocabulary of Thought, sketching a glossary of mental models of the self, others, and situations. He helps us make sense of how these mental models interact in the mind and how they externalize into the outside world, manifesting through Enactments. All of these ideas build toward the intentional key insight of the book: by developing the awareness of and leveraging the structure of the Deep Stories in an otherwise seemingly amorphous flow, one can more creatively and skillfully navigate the experience. You can make better decisions if you look at life through the lens of a story. Rao calls this approach Narrative Rationality. The book provides a patchwork of loosely anchored frozen steps across the stream of sense-making. It is a survey, not an exhaustive treatment. It is a heavy lift: a consilience of military thought, culinary arts, software development, the creative process, organization theory, psychology, systems and control theory, metaphysics, economics, improvisation and poetry. Tempo is more than theory. Rao sprinkles exercises throughout the book inviting the reader to not just contemplate but engage. Use Tempo Doodling to explore a sense of rhythm in a conversation. Help reinforce the more positive behavior patterns in others through skillful mimicry. Cultivate an awareness of the ebb and flood of energy throughout your day by seeing your calendar as an artful map, not a sequence of meetings. Pull these skills and the theory together in order to wield the central power tool of the book: the Deep Story — a richly annotated narrative structure that can be used to orient one’s self in non-trivial situations. For example, in a given circumstance, do you sense confusion and/or volatility? You might be experiencing the “Exploration” epoch of a Deep Story. In this part of the story, a good move might be encouraging creativity (through play or “random exploration”)… fertilizing the field toward finding what Dr. Rao calls a “cheap trick” — an organizing insight that provides (hopefully) significant leverage… This is theory begging to be applied. This book has been simultaneously disruptive and a normalizing experience for me. Venkat pulls together a set of ideas that were either vague and, at best, loosely connected in my own mind. He affirms many of the ways I already approach situations, firming up that understanding with intellectual rigor. He also has introduced me to a fresh set of perspectives. The material becomes quite dense as it climaxes and in parts of those sections, I simply had to allow the words to wash over me during this first reading. Even still, enough stuck that I can start using it. For example, I am addressing the question of “I want to be a catalytic leader, how do I encourage the self-organization of my team?” by recasting it in the form of a deep story: “What is the journey of a team learning to self-organize? … and how can I help catalyze that experience?” Even if this one is not a nail, I’m at least getting some feel for the heft of the hammer. It’s better-informed play. I love this book. The author has struck a beautiful balance of science and art. He explores the very personal and pulls it back to the universal. As I finished reading the book, I felt sated, energized to put these concepts to use and yearning to learn more. If you resonate with the notion of more fully connecting with the vibe of life especially to be more effective in your participation in it, you owe it to yourself to pick this book up. Price for pound, it’s an embarrassment of riches. About John Ryan John Ryan John Ryan is an Agile consultant with BigVisible whose mission is to instill in the hearts of programmers a responsibility within themselves and their profession to align themselves with the organization they chose to join. He does this by constantly improving the efficiency of personal processes, honing technical chops, reflecting on how we can work better with others, and integrating ourselves into the solution. John has spent time doing and mentoring agile programming techniques such as Test-Driven Development, implementing continuous integration, and cultivating collective code ownership.
390672ca-f044-429f-8980-6bb189077409	{ "cc_dump": "CC-MAIN-2024-46", "dolma2_qc": { "0": 0.9999333620071412, "1": 0.00008660585444886237 }, "exact_duplicates": 3, "lang": { "en": 0.9424128532409668 }, "madlad": { "num_sentences": 20, "rule.2": [ 2, 8 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 473, "sa_remove_ranges": [], "text_hash": "40119103215455335257132170402428166235", "warc_content_type": "text/html", "warc_date": "2024-11-07T15:01:53.000Z", "warc_url": "https://www.uml.edu/fahss/art/how-to-apply/scholarships.aspx", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.9715740084648132, "__label__education_and_jobs": 0.44553956389427185, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.00001000000338535756, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.00001000000338535756, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.0007196703809313476, "__label__health": null, "__label__politics": 0.00001000000338535756, "__label__social_life": 0.00001000000338535756, "__label__entertainment": null, "__label__history_and_geography": 0.00001000000338535756, "__label__literature": null, "__label__sports_and_fitness": 0.00001000000338535756, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Scholarships for Current and Incoming Students in Art & Design There are a variety of scholarships available to UMass Lowell students, who are encouraged to apply if they qualify. Please read all guidelines carefully. The Friends of the Art and Design Department Endowed Scholarship Fund The Friends of the Art and Design Department Endowed Scholarship Fund provides scholarship support for students pursuing a degree in the Art and Design Department at the University. Scholarships will be awarded to students selected by the Office of Financial Aid in consultation with the Chairperson of the Art and Design Department based on the following criteria: • Students will be enrolled full-time as undergraduate majors in Studio Art or Graphic Design; • Students must have and maintain a grade point average of 3.000 or higher; and • Students must have financial need as determined by the Financial Aid Office The William E. Peredina, Sr. Memorial Scholarship Fund This scholarship supports undergraduate art students. Scholarship recipient must be a declared major in one of the following art degree programs: a) Studio Art concentration, b) Graphic Design concentration; declared majors in their freshman year; with a minimum GPA of B+ for consideration. Any Massachusetts resident student may be eligible. The Brenda Atwood Pinardi Endowed Scholarship Fund Awarded twice each academic year in April and October. Eligible are rising senior students in the Studio Art Discipline with a 3.000 GPA whose work reflects serious and exceptional aesthetic investigation that grows out of a painting discipline (may include painting, drawing, sculpture and printmaking). If there is not a senior who meets the criteria, an award may be given to a junior who meets the criteria. This award is provided by the Brush Gallery and Artists’ Studios whose mission is to nurture the working artist; to keep the visual arts alive and healthy in the heart of Lowell's historic district; to use art to focus attention on important social and environmental issues; to demonstrate through exhibitions and cultural programming the diverse and rich heritage that exists in Lowell; and to make Lowell a destination for viewing some of the finest art being produced in New England and beyond. Priority for this scholarship is given to incoming and first-year art majors. However, all art majors are eligible to apply. The scholarship is an annual award of $1,000 based on merit. Applications for these scholarships can be found in the UMass Lowell online scholarship system website. Includes all the art department scholarships and university wide scholarships. The scholarship deadline is early April every spring. Please note that in addition to the Financial Aid application, if you are applying for one of these scholarships, you need to submit your art or design portfolio online. In addition, the Art and Design Department matches the College of FAHSS World Ready Scholarship: This is a scholarship for study-abroad students.
e0957394-74f0-45d0-90e6-ed12e08080c2	{ "cc_dump": "CC-MAIN-2018-43", "dolma2_qc": { "0": 0.999976634979248, "1": 0.000043371968786232173 }, "exact_duplicates": 6, "lang": { "en": 0.9564628005027772 }, "madlad": { "num_sentences": 11, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 297, "sa_remove_ranges": [], "text_hash": "213447135171933148934703937514996112234", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-10-22T08:13:59Z", "warc_url": "https://www.lensculture.com/projects/129706-outland", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.952584147453308, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.010662510991096497, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.02369946800172329, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": 0.0038344827480614185, "__label__politics": 0.020974241197109222, "__label__social_life": null, "__label__entertainment": 0.05835584178566933, "__label__history_and_geography": 0.1259327530860901, "__label__literature": 0.04469086229801178, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.004619571380317211, "__label__crime_and_law": 0.00942259095609188, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Project info Outland is the culmination of almost twenty years work for artist-photographer Roger Ballen and amounts to one of the most extraordinary photographic documents of the late twentieth century. Beginning by documenting the small ‘dorps’ or villages of rural South Africa, Ballen’s photography moved on in the late 1980s and early 1990s to their inhabitants: isolated rural whites, scarred by history, in the process of losing the privileges of apartheid which had provided them livelihoods and sustained their identity for a generation. The results were shocking, both powerful social statements and disturbing psychological studies. Through the late 1990s and into 2000, Ballen’s work progressed again. Continuing to portray whites on the fringe of South African society, his subjects begin to act. Where previously his pictures, however troubling, fell firmly into the category of documentary photography, these pictures move into the realms of fiction. Ballen’s characters act out dark and discomfiting tableaux, providing images which are exciting and disturbing in equal measure. One is forced to wonder whether they are exploited victims, colluding directly in their own ridicule, or newly empowered and active participants within the drama of their representation. Originally published in 2001 and named Best Photographic book of the year at PhotoEspaña 2001, Madrid, Spain, a new and expanded edition of Outland, featuring 45 previously unpublished pictures from Ballen’s archive and a new essay by Elisabeth Sussman, Curator and Sondra Gilman Curator of Photography at the Whitney Museum of American Art, New York, United States, is due to be released in April 2015. The book is introduced by Peter Weiermair, former Director of the Rupertinum Museum in Salzburg, Austria and the Galleria d’Arte Moderna in Bologna, Italy. Outland was published by Phaidon Press, London, in 2001, and republished by Phaidon Press in 2015.
16a568d0-aaf5-4eb0-bb21-d9649c35e99b	{ "cc_dump": "CC-MAIN-2024-22", "dolma2_qc": { "0": 0.9999639987945556, "1": 0.000056006014347076416 }, "exact_duplicates": 1, "lang": { "en": 0.9373944401741028 }, "madlad": { "num_sentences": 5, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 145, "sa_remove_ranges": [], "text_hash": "1881883388094964718453468227626947522", "warc_content_type": "text/html", "warc_date": "2024-05-27T20:55:59.000Z", "warc_url": "https://www.ashburnmagazine.com/uncategorized/one-loudoun-featured-tonight-on-salvage-dawgs/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.20690405368804932, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.1259327530860901, "__label__science_math_and_technology": 0.005230126902461052, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.00574024673551321, "__label__health": null, "__label__politics": 0.03309597820043564, "__label__social_life": 0.013646835461258888, "__label__entertainment": 0.042097724974155426, "__label__history_and_geography": 0.0036036029923707247, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.026769286021590233, "__label__transportation": 0.1778208613395691, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	One Loudoun featured tonight on ‘Salvage Dawgs’ One Loudoun Downtown will be featured tonight at 9 p.m. on the DIY Network show “Salvage Dawgs.” The show will showcase an iconic lighting and seating area, design-and-build project, that was developed and installed by Black Dawg Salvage. Both objects, lighting and seating area fall at the center of “Four Corners” – a dynamic meeting space featuring new retailers every six to 12 months, and a unique patio and gathering place for the Loudoun County and wider Northern Virginia community to shop and enjoy. A One Loudoun senior executive, Nick Over, will appear in tonight’s episode alongside representatives from Black Dawg Salvage, providing the vision on how this concept came to fruition. Nick Over and Kim Fuhrman, senior executives at RPAI, were instrumental in getting this project complete, with the support of other key departments and individuals.
8da7b915-36ce-4c6e-971b-d710489b5d08	{ "cc_dump": "CC-MAIN-2024-46", "dolma2_qc": { "0": 0.9999555349349976, "1": 0.0000644552128505893 }, "exact_duplicates": 8, "lang": { "en": 0.9528650641441344 }, "madlad": { "num_sentences": 6, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 110, "sa_remove_ranges": [], "text_hash": "275522237556621772259641302720080905625", "warc_content_type": "text/html", "warc_date": "2024-11-08T03:52:42.000Z", "warc_url": "https://siskiwit.brainsideout.com/2001/08/24/anvil_and_prince_or_two/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9697954058647156, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.016924913972616196, "__label__fashion_and_beauty": 0.007825888693332672, "__label__games": 0.06372499465942383, "__label__home_and_hobbies": 0.017452487722039223, "__label__science_math_and_technology": 0.009135636501014233, "__label__software": 0.23935934901237488, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.009718479588627815, "__label__entertainment": 0.03309597820043564, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.02162533439695835, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	August 24, 2001 anvil and prince… or two I got a new scanner, so I’ve been scanning a bunch of oddities I have collected through the years… photos, outhouses, anvils and a prince or two. I intend to creatively impliment these images into this website, but I am finding out rather quickly that I am no graphic designer. Nay, forced to imagically survive on my wits alone I have resorted to trial-and-error Photoshop filters. Some things work, most do not. If I had an employable room of monkeys at my disposal I would turn the work over to them. Monkey art is damn cool when it turns out.
057f7177-780b-400a-884c-e76b6b309ddf	{ "cc_dump": "CC-MAIN-2018-22", "dolma2_qc": { "0": 0.9999514818191528, "1": 0.00006858271081000566 }, "exact_duplicates": 10, "lang": { "en": 0.9427255988121032 }, "madlad": { "num_sentences": 23, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 634, "sa_remove_ranges": [], "text_hash": "36241357642206380428385441140774783770", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-05-21T22:36:49Z", "warc_url": "http://www.steelclassics.org/how-art-appreciation-improves-quality-of-life-6.html", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9073222279548644, "__label__education_and_jobs": 0.00240673148073256, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.0008140857680700719, "__label__health": 0.0007421813788823783, "__label__politics": null, "__label__social_life": 0.004478383809328079, "__label__entertainment": 0.00318268220871687, "__label__history_and_geography": null, "__label__literature": 0.0032830648124217987, "__label__sports_and_fitness": 0.03309597820043564, "__label__travel_and_tourism": 0.0007893660222180188, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.001042230986058712 }, "weborganizer_max": "__label__art_and_design" }	How Art Appreciation Improves Quality Of Life ArtsArt is an abstract and subjective quality: It could be studied, however cannot be objectively measured, counted, weighed, or completely in contrast; it may possibly solely enchantment to the viewers or viewers’s private senses. Due to the nature of activity concerned in martial arts training, adults will discover enhancements in cardio and anaerobic fitness. We name it HEMA, Historic European Martial Arts and plenty of teams root their study into the context of Christian Chivalry. That is the over-arching question that the Data and Art Hackathon will exploreduring the first native occasion co-hosted with a non-profit arts organization, the West Windsor Arts Council. The weekly attendance payment (we called it a subscription) was set to pay the rental assuming a median weekly attendance. As a TRG lead advisor, Jill has recommended solutions for growth to scores of individual clients including orchestras, opera, dance, and theater firms, arts facilities, festivals, and museums. Works of public art like the Tucson Arts Brigade’s mural challenge remind us of art’s capability to influence our on a regular basis lives in optimistic methods,” says Blakely. To examine the Dark Arts is to study the nature of 1’s self and also to explore the paths of magick that makes use of the crude feelings, dark feelings, and anger into something helpful and productive. Those artists who dare to draw up leviathan with a hook and specific that may actually be considered as practitioners of the Dark Arts. Self protection is perhaps thought to be the obvious advantage of martial arts coaching. ADMISSION: free and open to artists, musicians, actors, writers, dancers, performers, arts directors, educators, municipal and community leaders, enterprise owners, nonprofit representatives, and arts supporters dwelling or working in Bergen County. Artist members of the Birregurra Community Arts Group, be they visual or performing artist, mixed over this year’s competition weekend to carry the 3rd Arts Expo in the usually disused Masonic Lodge. Training in martial arts will arm you with the boldness, energy, skill and can needed in a self-protection state of affairs. Birregurra’s Festival is only a week or so away, so they’re all busy getting ready their showcase for the Arts Expo @ The Masonic. I came across this Rainbow Crayon Cupcake Recipe the other day and thought it could be excellent for an Arts & Crafts Crayon birthday celebration! If you might have a previous martial arts background, that puts you better off than someone who enters with little to no earlier coaching at all. After the crayon cupcakes are baked and cooled, they can be utilized through the occasion or put into the celebration favor luggage for the youngsters to take residence. Most individuals who know about martial arts are only acquainted with the traditional (like the Japanese, Okinawan or Korean types) or the sportive types (like Judo, boxing, or wrestling). Here are samples of crafts patterns and projects inspired by free clip artwork You can illustrate your blog, lens or net web page with clip art. The Council awards grants twice each year to artists and arts teams from each state and domestically-raised funds, and seeks to improve public consciousness of the arts. Just about all the things on the web and in literature concerning the darkish arts is rubbish and have come to understand the fantastic thing about the night, the celebrities, the natural world of that time and all of the different dynamics which exist on this specific time. Free Arts NYC supplies underserved children and families with a novel mixture of academic arts and mentoring programs that help them to foster the self-confidence and resiliency wanted to understand their fullest potential. The Kung Fu, Karate, Kali (and so forth.) all wrap spirituality and martial arts into one complete.
f9b04461-7229-4b66-8da3-84dd47562d6c	{ "cc_dump": "CC-MAIN-2024-38", "dolma2_qc": { "0": 0.9999747276306152, "1": 0.000045285469241207466 }, "exact_duplicates": 5, "lang": { "en": 0.9632426500320436 }, "madlad": { "num_sentences": 20, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 486, "sa_remove_ranges": [], "text_hash": "185786149347377370239274072163707748633", "warc_content_type": "text/html", "warc_date": "2024-09-10T19:29:23.000Z", "warc_url": "https://termpapernow.com/samples/term-paper-on-architecture-2104/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9836069941520692, "__label__education_and_jobs": 0.00942259095609188, "__label__electronics_and_hardare": 0.0009210511343553662, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.008071991614997387, "__label__software": 0.0014203583123162389, "__label__software_development": 0.00507033197209239, "__label__finance_and_business": 0.0025609128642827272, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.004080137703567743, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0020607432816177607, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.0007196703809313476, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Term Paper on Architecture Term Paper: Architecture is the art of planning and construction of complex buildings and the discipline which studies all the methods, techniques and ways of building. Architecture is one of the most important and visible material values which make people’s life more beautiful. Architecture plays an extremely important role in the culture of every country, because very often the traditions, customs and perception of the world are reflected in the design of the temples, public houses and private buildings. It is very easy to detect the country just looking at the photo of a house, because every country has its own traditional design and style of building. Architecture often reflects the lifestyle of people and the natural environment of the country and the definite area. For example northern variants of architecture differ greatly from the southern, being smaller and closer to the ground in order to accumulate heat. The buildings in the areas which are often flooded are often higher and have a more solid foundation in case of high water level. Hire a custom writer who has experience. It's time for you to order amazing papers! order now Nevertheless, the way and the manner of building is not limited by the environment and the country, because there are international architectural styles which have their own representations in nearly every country. For example, such styles as Romanesque, Gothic, Baroque and Neoclassical are well known on the territory of the whole Europe and every country has its own variants of these architectural styles. Architecture has a range of interesting qualities except of the esthetical and cultural ones. For example, the masterpieces of architecture never get old-fashioned and are always fascinated by people around an very often older buildings are of the higher quality than the newer ones what does not make their price lower in spite of the age. Architecture plays many functions for human life, starting from a simple shelter to a great sophisticated temple. Students who are going to prepare a good architecture term paper should do their best to explain the problem from all sides, prove its value and importance for the humanity. The topic is quite general and extremely broad, so one can limit the scope of research and dwell on the architecture of the definite historical period, a country or a style. Despite the choice, every paper should be informative and contain interesting and reliable up-to-date data. Everybody will agree that it is difficult to prepare a good term paper without a professional well-organized example for writing. It is possible to find a good free sample term paper on architecture in the Internet and construct your own assignment on its basis. On the other hand one should be careful using a free example term paper on architecture and never use its data in his own research; otherwise he will be accused of plagiarism.
17673065-adad-4b6e-ad18-7df918478da9	{ "cc_dump": "CC-MAIN-2024-33", "dolma2_qc": { "0": 0.999981164932251, "1": 0.000038884536479599774 }, "exact_duplicates": 0, "lang": { "en": 0.7575064301490784 }, "madlad": { "num_sentences": 19, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 296, "sa_remove_ranges": [ [ 504, 1565 ] ], "text_hash": "56735050356627348196851724940641707385", "warc_content_type": "text/html", "warc_date": "2024-08-04T10:25:07.000Z", "warc_url": "https://www.shalomhouse.com/products/blue-poppies-3-ketubah-by-stephanie-adler.htm", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9935217499732972, "__label__education_and_jobs": 0.0009797518141567707, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.010996942408382893, "__label__games": null, "__label__home_and_hobbies": 0.06755668669939041, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.00507033197209239, "__label__entertainment": 0.004208795726299286, "__label__history_and_geography": 0.003386611817404628, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.010023568756878376, "__label__crime_and_law": null, "__label__food_and_dining": 0.0019367348868399856, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.02369946800172329 }, "weborganizer_max": "__label__art_and_design" }	עם ישראל חי-Support Israel-Buy Israeli Products-עם ישראל חי Blue Poppies 3 Ketubah SKU: blue-poppies-3-ketubah-by-stephanie-adler Poppies! A colorful bouquet of poppies for all seasons. The graphic flowers reflect a joyous union of the bride and groom. These compositions are original artwork created with linoleum block cuts. A modern, unique approach to traditional techniques. Because the text is white, reversed on a darker background, a white pen is provided with this design. ver The Rainbow Ketubah Sku: over-the-rainbow-ketubah-by-cindy-michael Beloved Birds Ketubah in Forest Green Sku: beloved-birds-ketubah-in-forest-green-by-nehama-samson Madein Israel Blossom Ketubah Sku: blossom-ketubah Beginnings Ketubah Sku: beginnings-ketubah-by-howard-fox Silhouette Ivory Ketubah Sku: silhouette-ivory-ketubah-by-danny-azoulay
f7d51c23-453c-414b-93ed-ed7c1de1edd8	{ "cc_dump": "CC-MAIN-2018-34", "dolma2_qc": { "0": 0.9999350309371948, "1": 0.00008498787065036595 }, "exact_duplicates": 0, "lang": { "en": 0.9094987511634828 }, "madlad": { "num_sentences": 14, "rule.2": [ 13 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 284, "sa_remove_ranges": [ [ 461, 1697 ] ], "text_hash": "124734918377152347763044629453767458073", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-08-14T08:29:49Z", "warc_url": "http://forever-florist-bangladesh.com/Send_flowers_Gifts/Polka_Dot_Delight", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.30736804008483887, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.02596735954284668, "__label__games": null, "__label__home_and_hobbies": 0.275139719247818, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.0020607432816177607, "__label__social_life": 0.05185545980930328, "__label__entertainment": 0.0018775658681988716, "__label__history_and_geography": null, "__label__literature": 0.0010749627836048603, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.004080137703567743, "__label__crime_and_law": null, "__label__food_and_dining": 0.005921069998294115, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.0004683129664044827 }, "weborganizer_max": "__label__art_and_design" }	Polka Dot Delight : 56.00 USD Fresh and bright, the Polka Dot Delight Handtied Bouquet is a beautiful arrangement for any occasion. A stunning choice for Valentine’s, engagements, weddings, and new job celebrations, it includes 4 ruby red roses, 6 red carnations, 4 red gerberas, 4 white roses, 6 white carnations, and a minimal amount of greenery to support this ball of gorgeous blooms. 4 Red Roses, 6 Red Carnations, 4 Red Gerbera, 4 White Roses, 6 White
6bd498c0-e3fe-4b51-937d-264baae8bc33	{ "cc_dump": "CC-MAIN-2021-17", "dolma2_qc": { "0": 0.9999407529830932, "1": 0.00007931303116492927 }, "exact_duplicates": 17, "lang": { "en": 0.9112173914909364 }, "madlad": { "num_sentences": 15, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 305, "sa_remove_ranges": [], "text_hash": "213647562032064070943011136951287287482", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-04-16T03:39:28Z", "warc_url": "https://www.awesomefoundation.org/en/projects/104977-the-black-lunch-table-in-south-africa", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.4225146472454071, "__label__education_and_jobs": 0.01283121295273304, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.00942259095609188, "__label__software": 0.022296184673905373, "__label__software_development": 0.011341754347085953, "__label__finance_and_business": 0.01543455570936203, "__label__health": null, "__label__politics": 0.08510905504226685, "__label__social_life": 0.01972912810742855, "__label__entertainment": 0.018556566908955578, "__label__history_and_geography": null, "__label__literature": 0.05185545980930328, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	The Black Lunch Table in South Africa The Black Lunch Table(BLT)’s primary aim is the production of discursive sites, wherein cultural producers can engage in dialogue on a variety of critical issues. BLT animates discourse and initiates a democratic rewriting of contemporary history around and among the people living it. The past few years have seen an increase in public dialogue around issues of race and BLT has provided a critical platform for exchange, staging and recording community roundtable discussions at institutions internationally. Our roundtable sessions provide both physical space and allotted time for interdisciplinary and intergenerational discussions, bringing together a diversity of community members and fostering candid conversations. The Artists’ Roundtable series curates artists of the Black African and African Diaspora into roundtable discussions, while The People’s Table series invites participation from all community members. We also stage Wikipedia edit-a-thons to mobilize the collective authoring of articles pertaining to the lives and works of Black artists and curators. At the roundtables, participants are provided with conversation prompts on a variety of topics. We record, master, and transcribe the conversations from each table. The dialogues are then published on BLT’s forthcoming dynamic online archive (launch end of Summer). The archive structure will enable web visitors to search our dynamic database using a variety of metadata tags. The BLT archive is significant in that it will provide a unique collection of primary source materials. It is critical for this project, about Blackness and the Diaspora, to include voices from the content of Africa. We have the opportunity to present this project internationally this summer in Cape Town and Johannesburg, our first events overseas. My collaborators and I have worked hard to make this connection happen and BLT can’t fully realize this opportunity without further funding. Funded by Awesome Without Borders (September 2018)
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(Creating Checking out Maintaining Originality through the arts) has obtained funding from the Southwest Minnesota Arts Council to bring “Art to the Willmar Library” for college students in grades 4-12. Monica Villars is the instructor. Utmost class sizing is 10. Pre-registration is essential, write to Monica at [email protected] with title, age, courses, and call information. Stroll-ins welcome if place permits. Course for pupils in grades 4-8, 3:30 to 5 p.m. at the library. April 19: Drawing, Riley op artwork Courses for students in grades 7-12, 3:30 to 5:30 p.m. at DEMO inc Studios, west of Svea on U.S. Highway 71. April 18: Printmaking, Gelli printing April 25: Intro to western paper The once-a-year Spring Paper periods have been established for April. Pre-registration is essential, deliver your name, age, address, cellular phone variety, your electronic mail and check manufactured payable to DEMO Inc. to 728 Second St. S.E., Willmar, MN 56201. For much more information, email [email protected] . Stroll-ins welcome if area is out there. Spring Paper: For teens and adults, master and observe the “western paper” earning process throughout the 90-minute course, occur ready to get damp and have on shoes that can get damp. Six sessions, 4 p.m. Friday, April 22 10 a.m. and midday, Saturday, April 23 and 1:30 p.m. and 3:30 p.m. Sunday, April 24 $5 for every person reservation fee that will be refunded at the workshop. Lessons scheduled at the Willmar Neighborhood Center. To sign-up connect with 320-262-5288 or willmarparks-rec.com. Very little Art Gallery-Small Art Course: The Willmar Group Middle will have five no cost art classes to start the Little Art Galleries around Willmar. You are welcome to occur at any time between the advertised hours and make your very own creation or follow a action-by-action venture delivered by the Willmar Neighborhood Center. The Minor Art Gallery System strives to produce neighborhood connections, inclusion and engagement towards producing different art. We really encourage artists to use any art medium that will healthy in our 12-inch by 20-inch gallery. Components will be delivered for patrons to borrow to full their craft and Riley will be there to assist with assignments. The open up course occasions are 3 to 5 p.m. on Tuesday, April 19, and from 2 to 5 p.m. Fridays, April 15 and April 22. Cooking with Riley, Japanese Ramen: April 30, 2 p.m., $25, pre-registration demanded make this dish native to the Japanese society. Milan Village Arts classes have been scheduled for the upcoming 12 months. The full timetable is on the web page. Users acquire a lower price on tuition. Supply expenses are compensated to the instructor at the conclusion of class. To sign up or for far more data on any of these workshops, simply call 320-734-4807 or go to the web page at www.milanvillageartsschool.org e-mail: [email protected]. The artwork university has many studios. Look at the website for studio dates and more info. Forthcoming courses listed by registration deadline are: Shrink box magic: Could 31-June 2, 9 a.m. to 5 p.m. instructors Bill Rickard and College Johson rookie and over, bare minimum age 18 you will clear away the bark from a area of a inexperienced tree or department, hollow it out, in good shape the base in and carve and in shape the lid tuition $200, provides $30 registration deadline May possibly 17. The Spoon Gathering: June 2-4, all working day and into the night household pleasant event for individuals intrigued in wood spoon carving and regular handcrafts. Device sharpening demystified: June 2, 9 a.m. to 4 p.m. instructor Paul Linden rookies and higher than, minimal age 16 concentration on the course of action of sharpening and keeping numerous edge equipment for woodworking with arms-on option to acquire a resource to perfect sharpness tuition $75, supply payment $25 registration deadline May 21. Kolrosing, a Scandinavian tradition: June 18, 9 a.m. to 5 p.m. teacher Ty Thornock beginners and earlier mentioned, least age 14 specially built knife is employed to minimize great traces into the wood which is backfilled with pigments tuition $90, registration deadline June 4. Open up carving night: Carvers of all persuasions are invited to fulfill from 6:30 to 9:30 p.m. on the initial Tuesday of each and every thirty day period at the college to carve and community. Free of charge. Silver Studio: Open to all people that have taken commencing silversmithing and are MVAS associates. Payment is $10 for evening and $20 for all working day. Weaving Studio: Open up to all those with expertise with looms or have taken the weaving rugs course and are MVAS associates by appointment or be part of a weaving team, no payment looms are maintained with warp at no cost. Framing Studio: A absolutely-purposeful framing workshop open up to people who have taken the framing workshop and are MVAS customers $5 hour, $10 for half day, $20 complete day by appointment only.
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I had coffee with a writer friend. She was lamenting how the artists in the country were not being given the chance to express their highest and best self. She had no work and was looking for editing jobs so she could keep on writing her novel. Creativity is being killed by the requirements of survival – economic survival – to keep body alive. I agreed 100 percent with all her sentiments. I know full well the struggle and deep angst of the creative people, whose muses bring them to heights and depth of inspiration so they can reflect back those flights, and express them in whichever way they choose – music, dance, poetry, theater, a painting. This theme was the same I had heard through the past years from artists, all friends – a dancer whose expressionist art cannot find a commercial return, a writer whose intellectual sophistication cannot be understood by a non-reading populace (who are themselves in the cycle of trying to survive), a sculptor who must struggle to find commissioned works just to give his men salaries for their families to be kept alive, a musician who must write jingles for commercials just to put food on the table. A theater performer who had to take a side role in a sexy film. And the poets – well, they teach. The dancers, they go off to jump around as Minnie Mouse in Disneyland. Filmmakers create product or corporate AVPs and inane fantasy shows to put on screen. Such is the state of our country where everyone, creative or not, is forced to go on survival-mode. Where the few who manage to do so continue to find work abroad, through revenues from foreign enterprises, or battle the corporate world. The economics of survival in the Philippines seems to have dictated that one must work 24/7 and still not be able to take a vacation. And the artists feel it the most. Why? Because what they create and try to sell, or develop an audience for, is to celebrate and share the many nuances of the Spirit. And survival is about the Body. Between both polarities is the great divide where angst means having to make both ends meet. I remember telling an artist friend once that if we lived during the times of the Renaissance, artistic genius is recognized for what it is. But we live in this period where money’s importance reigns supreme, and thus, corrupts the spirits and souls of majority who are not aware or conscious of a higher life or even feel God. Survival, the mode of animals, separates people in fears and anxieties, greed, power struggles and one-upmanship. So art and creativity is forced to compromise. Artists must look to the market to design and create within advertising or design groups. Artists must take their creativity away from the higher spheres and move it towards the world to understand that to survive in it, they must learn to play by some rules of the world. To understand the commercial paying markets; to enter the game of promotions; to work to build relationships that will garner some monetary return; to take time to comprehend financial issues. A new term has emerged in the past five years – the "Creative Industries" – or translated roughly as how to make creativity’s artistic by-products sustaining and sustainable for the artist and his community. We hear happy news of the Filipino animators, artists who are working with technology, are in demand all over the world. We see art moving to design to meet the demand for functional wares. We hear of designers being pirated to work in international companies abroad. And so they fly – with the hope that what they make financially can also allow them to be creatively fulfilled on some level. "I do not want to compromise, I will not compromise," thus replied my gifted writer friend when I was throwing some ideas about possible funding sources. And my heart broke in listening to her as I understood her totally - in fighting to keep the Muse intact, untainted. And knowing that she will continue the suffering of a deep angst while trying to find ways and means to survive and keep her stand. Creativity – oh it’s there in the Filipino all right, in abundance. But its very soul is dying. The artists are being humbled. And I look around, feel deeply with them – for am I not painter and writer, too? But I always like to see things from a different perspective and level. That we are going through a collective karma as a race and a people, in a time where great evolutionary changes are happening, in a period called "The Cleansing." Where each and everyone, artistic and creative or not, will be challenged to bring out the best and highest part of themselves despite all the challenges. All the suffering and angst is rooted in the ego, that false self (that harbors selfishness, greed, jealousy) that sees only the personality and the physical body’s reality (from the perspective of fear and alienation). The challenges of life, the situations that make us struggle so are mere tests to peel away the veils of the false self. And this ego is not only about the artists (who traditionally are considered to have the biggest egos), but for everyone. Carl Jung wrote a book called Modern Man in Search of a Soul wherein he talked about four stages that people go through to reach maturity. The highest stage is that of the Spirit. Reaching here will make us finally recognize that we are not an artist, an athlete, a warrior, or a statesman. That we are in this world, but not of this world. We will recognize that we are not human beings having a spiritual experience, but are spiritual beings having a human experience in a life so very temporary. It is a spiritual life that we must look to. And for the artist, a creative life founded on the spirit. A life founded on the higher values for everyone – sharing, forgiving, healing, understanding, helping, reaching out, loving. Mere words yes, but actions rooted in the spirit of these words, bring us and our communities to a higher state. It’s in the taming of the ego that we will find the sacred in our life. It is the detachment from the small egoist self that will allow us all to lighten up and understand our higher purpose. When we can learn to surrender the outcomes of what we work and strive for, even if we try very hard to continue surviving, we will come to understand that we are not alone. And that we are being guided by some Higher Hand and Intelligence to the perfection that we can be, within this period of cleansing. If we can, in our daily struggles, keep our minds mostly in the realm of the Spirit, there will be no worry or guilt. All answers will come when we allow the Higher Self to guide us. And the magic and mystery is that there will be the blessing of food on the table. So I tell my angst-ridden co-artists (and all who have such creativity inside them): From this state will emerge the true genius of the Artists who has surrendered their creative power to the Source of all creativity. These artists will become vessels that will continue to create art, regardless of the difficulties. And beauty, music, dance, theater and art will continue to be born to illuminate this tired world. To honor and maximize Mercury Retrograde’s energy for deeper learning, I will be conducting a lecture on July 22, Saturday, 2 p.m. to 6 p.m. It is entitled "Introduction to Astrology And Your Birth Chart." It will be held at the Sai Shanti Yoga Shala at 40 Rocha Street, San Lorenzo Village, Makati City. For more information please e-mail [email protected] Are you sure you want to log out? Philstar.com is one of the most vibrant, opinionated, discerning communities of readers on cyberspace. With your meaningful insights, help shape the stories that can shape the country. Sign up now! Get Updated: Signup for the News Round now or sign in with
0dcaf1e1-ba16-4c24-aa03-da09d969a594	{ "cc_dump": "CC-MAIN-2019-26", "dolma2_qc": { "0": 0.9999169111251832, "1": 0.00010306260810466485 }, "exact_duplicates": 0, "lang": { "en": 0.8538232445716858 }, "madlad": { "num_sentences": 5, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 57, "sa_remove_ranges": [], "text_hash": "255091177539666338819424526758208205097", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-06-16T01:05:19Z", "warc_url": "http://www.msn.com/en-gb/sport/tennis/ceramic-artist-paints-rainbow-tie-dye-onto-realistic-face-bowl/vp-AABBbmw", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.982567548751831, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.0025609128642827272, "__label__games": 0.0025609128642827272, "__label__home_and_hobbies": 0.010023568756878376, "__label__science_math_and_technology": null, "__label__software": 0.008325778879225254, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": 0.0011435691267251968, "__label__politics": null, "__label__social_life": 0.00001000000338535756, "__label__entertainment": 0.0021927168127149343, "__label__history_and_geography": 0.00001000000338535756, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	You are using an older browser version. Please use a supported version for the best MSN experience. Ceramic Artist Paints Rainbow Tie-Dye onto Realistic Face Bowl This ceramic artist wanted to paint their realistic face bowl in a unique pattern. Amazingly, they slowly dripped a rainbow tie-dye glaze onto the bowl. image beaconimage beaconimage beacon
e6dbe009-657d-41c6-826f-a3f5e5536fce	{ "cc_dump": "CC-MAIN-2022-33", "dolma2_qc": { "0": 0.99997079372406, "1": 0.00004920296851196326 }, "exact_duplicates": 0, "lang": { "en": 0.9211134314537048 }, "madlad": { "num_sentences": 52, "rule.2": [ 0, 15, 22, 51 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 1488, "sa_remove_ranges": [], "text_hash": "28129595482420641628931902414862732332", "warc_content_type": "application/http; msgtype=response", "warc_date": "2022-08-10T07:21:39Z", "warc_url": "https://www.nysmuseums.org/MANYnews/12668439", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6150978803634644, "__label__education_and_jobs": 0.03022458776831627, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.0027249858248978853, "__label__science_math_and_technology": 0.010023568756878376, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.010023568756878376, "__label__health": null, "__label__politics": 0.01799621433019638, "__label__social_life": 0.00574024673551321, "__label__entertainment": null, "__label__history_and_geography": 0.1259327530860901, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0021927168127149343, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.0027249858248978853, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Log in Login/Logout My Profile Museum Association of New York Announces 2022 Awards of Merit March 16, 2022 5:28 PM \| Megan Eves (Administrator) Ten Awards of Merit will be presented at the 2022 Annual Conference in Corning, NY Troy, NY — The Museum Association of New York (MANY) is pleased to announce the 2022 Awards of Merit recipients. Awards of Merit will be presented as part of the 2022 Annual Conference Envisioning Our Museums for the Seventh Generation at the Corning Museum of Glass in Corning, NY on Monday, April 11 at 12 PM. Awards of Merit recognize outstanding and innovative programs, staff and volunteers who have enriched New York State museums with new and remarkable projects. This year, the review committee reviewed over 50 nominations and awarded ten recipients in six categories. The Anne Ackerson Innovation in Leadership Award recognizes a board member or staff leader that saw their organization through a critical challenge or significant opportunity in a creative, effective manner. This year, Brenda Simmons, Founder and Executive Director of the Southampton African American Museum, recieves this year’s most prestigious award. “Brenda is truly a force of nature who has demonstrated an extraordinary commitment to inclusion and the African American community on the East End of Long Island,” said Assemblymember Fred W. Thiele. Members of the review committee noted her leadership and tireless work makes her a worthy recipient of the Anne Ackerson Innovation in Leadership Award and is an inspiration to the museum field. The Award of Merit for Individual Achievement recognizes devoted staff or volunteers who are instrumental in moving their organizations forward over a sustained period. This year, the Individual Achievement was awarded to Melissa Dunlap for her incredible 30 year career as Curator and Executive Director of the Niagara County Historical Society. Over the course of her 30 year career, Dunlap increased the number of permanent staff, increased the historical society’s operating budget, reorganized the archives, increased school tours, led two major capital campaigns, relocated the historical society–including building a new gallery space and redesigning exhibition spaces. The committee applauded her dedication and leadership that supported and grew the Niagara County Historical Society. The Rising Star Award recognizes a museum professional who is under the age of 35 and currently employed at a cultural institution. The Rising Star displays creative thinking and inspired institutional change. This years’ RIsing Star is Mary Tsaltas-Ottomanelli, Special Programs & Engagement Manager at the Fraunces Tavern Museum. Mary’s investigation into visitor interests, her detailed research, and the stories she chooses to tell have pushed the Museum to collectively reexamine how they interpret their collection and to think strategically about the stories the Museum chooses to tell. Her work inspired others to share the lesser-known stories found in the Museum’s collection and she is a champion for diverse narratives. The Excellence in Design Award recognizes an exhibition produced by a cultural institution that articulates content through engaging design and creates a satisfying visitor experience. This year, the committee awarded the Museum of Arts and Design’s Story Makers: Burke Prize 2021, an interactive exhibition that highlights 16 finalists and winners of the Museum's Burke Prize, which honors excellence in contemporary craft. The review committee was impressed by the multimedia interactive website and how this reimagines the exhibition experience for a digital audience. The Innovation in Collections Access Award recognizes exemplary projects that broaden access, preserve, and catalog museum and heritage organization collections. This year the committee recognizes Digital Carpet Restoration for Historic House Access at Frederic Church’s Olana. This project sought a creative solution to the restoration and preservation of the rugs owned and used by the Church family. Olana staff utilized high-resolution photography and digital printing to produce highly accurate reproductions of historic flooring and carpeting materials printed on a rubber-backed material that provides a protective layer against visitor traffic. The review committee was impressed by the innovative use of technology to offer authentic visitor experiences and promote long-term conservation of collection assets. Olana State Historic Site is one of the first instiutitions in the United States to use this technology alongside Mount Vernon and Geroge Mason’s Gunston Hall. The Engaging Communities Award recognizes organizations that use creative methods to engage its community and build new audiences. Projects can include collections interpretation, exhibitions, lecture series, educational or public programs, focus groups, strategic planning, or other community engagement efforts. This award is given to organizations based on the size operating budget. Volunteer- $100,000 Standing on their Shoulders: 101 Years of Voting and Still Marching for Women’s Rights – Historical Society of Woodstock Based on the campaigns of two early US women’s rights workers as documented by their Woodstock-related descendants, this was the final exhibition in the Historical Society’s yearlong women’s rights centennial series “Standing on their Shoulders,” a project made possible by a grant from Humanities New York with support from the National Endowment for the Humanities. This exhibition included early 20th century photographs and artifacts with interactive videos and music. It highlighted the social justice work of Elisabeth Freeman (1876-1942) and Edna Kearns (1882-1934) whose activism and use of horse-drawn wagons as campaign plaforms inspired generations. $100,000-$500,000 A Visual Dialogue on Environmental Issues –Long Island Explorium Long Island Explorium partnered with Stony Brook University’s Department of Art students to curate a digital art exhibition “A Visual Dialogue on Environmental Issues.” This exhibition focused on the balance of local community needs fueled with artistic insight on environmental justice. It also encouraged innovative multi-disciplinary artistic exploration by individual artists that expressed how the arts and new media can propose solutions to environmental issues and create alternatives that support sustainability and climate justice, fostering cooperation and an exchange of ideas. $500,000-$1,000,000 Jupiter Hammon Project –Preservation Long Island The Jupiter Hammon Project is a major, long-term initiative focused on developing a more relevant and equitable interpretation of the life, literature, and world of Jupiter Hammon (1711- ca. 1806) and the other individuals enslaved at Joseph Lloyd Manor, one of Presevation Long Island’s four historic properties. While enslaved at the Manor, Jupiter Hammon wrote powerfully about the social and moral conflicts slavery raised in the newly formed United States, becoming one of our country’s earliest published Black authors. Preservation Long Island hosted three public roundtable discussions over Zoom with nearly 700 total attendees that brought together scholars and professionals to explore the legacy of slavery on Long Island via the life and work of Jupiter Hammon. The public’s response to the scholarly information presented in the roundtables will shape the interpretation of Jupiter Hammon’s story. $1,000,000-$5,000,000 Tomashi Jackson: The Land Claim – Parrish Art Museum Tomashi Jackson is a multidisciplinary artist working across painting, textiles, sculpture, and video to place formal and material investigations in dialogue with recent histories of displacement and disenfranchisement of people of color, resulting in formalist compositions of exuberant color, bold geometries, and intricate layerings of material. In 2021, Jackson was invited by the Parrish Art Museum as part of their annual project series for artists to consider the entire Museum as a site for workers that transcend disciplinary boundaries, encouraging new ways to experience art, architecture, landscape, and community. Tomashi Jackson: The Land Claim focused on the historic and contemporary lived experiences of Indigenous, Black, and Latinx families on the East End of Long Island, and how issues of housing, transportation, livelihood, migration, and agriculture link these communities. Over $5,000,000 GATHER: Conversations led by Black & Indigenous Changemakers – Guild Hall of East Hampton Devised specifically for community leaders, services workers, teachers, and developers, GATHER: Conversations led by Black & Indigenous Changemakers platforms the voices and experiences of BIPOC scholars, artists, and leaders, providing both lessons on our past histories and strategies and examples of how to progress forward together. The July 2021 GATHER series was programmed in tandem with the Guild Hall exhibition, “Alexis Rockman: Shipwrecks, platforming indigenous experiences, traditions, and histories with our waterways and systems.” The four events were led by Jeremy Dennis, artist and tribal member of the Shinnecock Indian Nation, Anthony Madonna, Guild Hall’s Patti Kenner Senior Associate for Learning and Public Engagement, and a rotating panel of historians, artists, and/or leaders of the Hamptons, including Roddy Smith, Andrina Wekontash Smith, Tecumseh Ceaser, Chief Harry Wallace, Dr. Georgette Grier-Key, Donnamarie Barnes, and Skip Finley. The Award Ceremony will take place at 12 PM on Monday, April 11 at the Corning Museum of Glass in Corning, NY. Photo opportunities will be available. For further information please contact [email protected] or 518-273-3400. The Museum Association of New York helps shape a better future for museums and museum professionals by uplifting best practices and building organizational capacity through advocacy, training, and networking opportunities. Museum Association of New York is a 501 (c) 3 nonprofit organization. 265 River Street Troy, NY 12180 USA 518-273-3400 Powered by Wild Apricot Membership Software
3acd97b3-9252-484b-9b43-3269ff05ed9f	{ "cc_dump": "CC-MAIN-2024-46", "dolma2_qc": { "0": 0.9999209642410278, "1": 0.00009901514567900448 }, "exact_duplicates": 5, "lang": { "en": 0.9421520233154296 }, "madlad": { "num_sentences": 16, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 271, "sa_remove_ranges": [], "text_hash": "291780602589079672082418843328009004719", "warc_content_type": "text/html", "warc_date": "2024-11-13T04:00:54.000Z", "warc_url": "https://blog.mikelarson.com/2011/02/robert-hall-vineyard-wedding-photographydoug-elizabeth/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.16886694729328156, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.007355827372521162, "__label__games": null, "__label__home_and_hobbies": 0.040855713188648224, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.07586817443370819, "__label__entertainment": 0.02518884465098381, "__label__history_and_geography": 0.002482622629031539, "__label__literature": 0.0011795104946941135, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.06009664759039879, "__label__crime_and_law": null, "__label__food_and_dining": 0.005230126902461052, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.0012943083420395851 }, "weborganizer_max": "__label__art_and_design" }	Late fall is my very favorite time of year everywhere in the world, but on the California coast, its most amazing. Warm days and warm nights make this time of year the most popular time for visitors and locals to make the most of the region. Later in the month, the leaves start to turn color, transitioning to the golden color that pops out in mid-late October. This day was perfect. Meet Doug & Elizabeth. They got married at Robert Hall Winery. Just a few weeks ago I posted Doug & Elizabeth’s casual portrait session we shot in Santa Barbara. This time of day is one of my most favorite times. The golden light, sun flare and soft ambiance of the evening light is stunning. The smell of vines, california grass, and oak trees radiating the heat from the day makes everything about evening in a vineyard pleasant. Today was no exception The evening reception was filled with stunning moments of joy with the family, and this shot of Elizabeth and her Grandfather is priceless. The final frame here is the patio at dusk, radiating the heat from the mid day sun until the moon and stars came out. It was a perfect night. Kramer Entertainment played a perfect selection of relaxing music for an evening on the terrace. Wow, what a day, thank you guys for the honor of including me to capture your vineyard wedding! 2/16/11 Doug + Elizabeth travel & availABility Private Estates Get to know Mike & Rachel All about our couples Weddings, Editorial Follow our most recent work Lets' connect
6f8289b8-ef6d-40cc-94a3-c6639132c344	{ "cc_dump": "CC-MAIN-2023-23", "dolma2_qc": { "0": 0.9999799728393556, "1": 0.000040010159864323214 }, "exact_duplicates": 0, "lang": { "en": 0.8783012628555298 }, "madlad": { "num_sentences": 19, "rule.2": [ 15, 16, 17 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 429, "sa_remove_ranges": [], "text_hash": "18937994118536670246532663708986164979", "warc_content_type": "text/html", "warc_date": "2023-05-30T19:49:19.000Z", "warc_url": "https://reichert-verlag.de/en/keywords/cultural_media_studies_keyword/9783895004568_the_life_of_the_buddha-detail", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.9046605229377748, "__label__education_and_jobs": 0.0007654056535102427, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.0006767021841369569, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.00001000000338535756, "__label__entertainment": null, "__label__history_and_geography": 0.08270734548568726, "__label__literature": 0.029322227463126183, "__label__sports_and_fitness": 0.00001000000338535756, "__label__travel_and_tourism": 0.0027249858248978853, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.3775506913661957 }, "weborganizer_max": "__label__art_and_design" }	By Gudrun Bühnemann with Transliterations and Translations from the Newari by Kashinath Tamot The Life of the Buddha Buddhist and Saiva Iconography and Visual Narratives in Artists’ Sketchbooks from Nepal 21.0 x 28.0 cm, 204 p., 81 illustrations color, soft cover with dust jacket ISBN: 9783895004568 Short Description This book describes, analyses and reproduce line drawings from two manuscripts and a related section from a third manuscript. These are: 1. Manuscript M.82.169.2, preserved in the Los Angeles County Museum of Art (circa late 19th century) 2. Manuscript 82.242-1-24, preserved in the Newark Museum (from the later part of the 20th century) and 3. A section from manuscript 440 in the private collection of Ian Alsop, Santa Fe, New Mexico (early 20th century). The line drawings depict Hindu/Saiva and Buddhist deities and themes, but the Buddhist material is predominant, as one would expect in artists’ sketchbooks from Patan. The sketchbooks from Patan. The sketchbooks are important for several reasons. They provide drawings of a large number of deities, including some groups rarely depicted elsewhere. Among them are the EIght Great Bodhisattvas, the Eight Siddhas, the Nine Serpents and - corresponding to the months of the year - twelve forms of Narayana and Lokesvara, and (associated with the ekadasi days of the months) twelve forms of Mahadeva. Many of the deities and legends are relevant to contemporary Newar Buddhism. The two narratives are of special interest. They deal with the life story of Sakyamuni Buddha and the legend of Sarvajnamitra(pada). The illustrated life story of the Buddha follows the Newar tradition, which incorporates the episodes of the sufferings of Yasodhara after Sarvarthasiddha’s departure and of the Buddha’s (return) journey to Lumbini (lumniniyatra). The book also contains a longer section on Srstikarta Lokesvara, a form of Avalokitesvara who emanates Brahmanical divinities from his body. Biographical Note Gudrun Bühnemann is Professor in the Department of Languages and Cultures of Asia at The University of Wisconsin-Madison, USA. Her recent publications include “The Iconography of Hindu Tantric Deities” (2 vol., Groningen, 2000-2001), “Mandalas and Yantras in the4 Hindu Traditions” (Leiden, 2003; New Delhi, 2007), “Eighty-four Asanas in Yoga. A Survey of Traditions” (with illustrations, New Delhi, 2001, 2011) and “Buddhist Iconography and Ritual in Paintings and Line Drawings from Nepal” (Lumbini, 2008). 19th century, c 1800 to c 1899 (65) \|\| 20th century, c 1900 to c 1999 (81) \|\| Buddhism (39) \|\| Cultural & media studies (284) \|\| Drawing & drawings (12) \|\| Fine arts: art forms (177) \|\| Indian sub-continent (26) \|\| Nepal (17) \|\| Religion & beliefs (223) \|\| Society & culture: general (386)
2f033379-2de1-4ac9-91f8-2efedd3b5e38	{ "cc_dump": "CC-MAIN-2019-22", "dolma2_qc": { "0": 0.9999748468399048, "1": 0.00004513563908403739 }, "exact_duplicates": 0, "lang": { "en": 0.9813891649246216 }, "madlad": { "num_sentences": 20, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 329, "sa_remove_ranges": [], "text_hash": "185400324755675927697593131999726797117", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-05-24T21:55:13Z", "warc_url": "http://latma.com.au/cool-designs-for-labels/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.3629792034626007, "__label__education_and_jobs": 0.00507033197209239, "__label__electronics_and_hardare": 0.02596735954284668, "__label__fashion_and_beauty": 0.23371636867523193, "__label__games": null, "__label__home_and_hobbies": 0.08510905504226685, "__label__science_math_and_technology": null, "__label__software": 0.010338151827454569, "__label__software_development": 0.03964884206652641, "__label__finance_and_business": 0.1294127255678177, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": 0.006498271133750677, "__label__industrial": 0.08757384121417999, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Cool Designs for Labels What is considered as cool designs all depends on who is classifying them. Designers of labels and various forms of print have to satisfy many different categories of people. The professionals who are taking on design contracts must meet the demands of their clients. At the same time, their finished products must appeal to their intended markets. When a client and their customers indicate that a design is cool, then it can be considered to be a success. What Industries Need to Rely on Cool Designs Most industries have the competition to deal with. Their print materials and design are what can set them apart. One sector where this is very important is for the online casinos to set them apart from their competitors. This is an industry that has grown considerably in the last several years. For them to each be unique they must rely on cool designs that are going to build their brands. This is a concept that applies to any industry that serves consumers. Product Design Professionals that are creating labels for products face a lot of challenges. Those that are considered to be cool designs are normally those who are following the trends at times. Usually, several product producers are producing the same products. This means the label designers have the task of creating labels that are going to put the products they are intended for ahead of the rest. Remember: • Creativity: a label designer has to be creative and be able to create a label that is unique. To do this, they have to rely on their own ideas and then be able to use the best resources available to them. • Compliance: Another factor that has to be kept in mind is that there are compliance regulations that come with label production. The label designer has to make sure their design does not interfere with this. There is a lot of hard work that goes into producing cool designs.
02ca6da7-8c1f-4ac0-a449-d5e3d493636d	{ "cc_dump": "CC-MAIN-2024-42", "dolma2_qc": { "0": 0.9999802112579346, "1": 0.00003982913767686114 }, "exact_duplicates": 0, "lang": { "en": 0.9155442118644714 }, "madlad": { "num_sentences": 20, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 404, "sa_remove_ranges": [], "text_hash": "316663663123293081702508187812259309863", "warc_content_type": "text/html", "warc_date": "2024-10-06T15:29:08.000Z", "warc_url": "https://www.spenational.org/members/tracy-longley-cook/2013-caucus-application-portfolio", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6224693655967712, "__label__education_and_jobs": 0.0012165895896032453, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.008071991614997387, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.08036746829748154, "__label__software": 0.000949943671002984, "__label__software_development": null, "__label__finance_and_business": 0.001042230986058712, "__label__health": 0.002810927340760827, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.0020607432816177607, "__label__history_and_geography": 0.01641303114593029, "__label__literature": 0.0019977742340415716, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	submit Remember my login Looking for a chapter event? Past SPE Annual Conferences SPE Member since 2004 Member Chapter: Midwest 2013 Caucus Application Portfolio In this series of photographic images I am exploring themes of personal and geographical landscape from an alternative point of view. Utilizing my body and photographic chemistry to create direct imprints on film, the resulting negatives are then scanned, cropped and printed as large-scale digital prints. Visually, the "body prints" mimic aerial landscape photographs, where scars, hair or wrinkles are reduced to black and white lines that emulate land and water formations. Through this comparison, a correlation is drawn between the earth's surface as a record of natural and man made alterations, and the body (specifically the skin) as a record of individual experience. The human body's largest sensory organ is the skin. While covering and protecting our entire physical surface it provides us with a defense against most environmental dangers. Skin is also a reflection of the person, in the sense that it denotes someone's age, cultural identity or race, well-being, as well as identity. Prints, scarring, hair growth, warts, calluses, wrinkles, and other dermatological variations reveal a wealth of information about who we are. Our skin provides a record of experience and a means to navigate a particular kind of personal history. In a similar vein, the surface, or skin, of various terrains within the landscape offers a comparable history of the earth's lifespan. Natural and human influenced alterations present a way to detect change, both gradual and immediate. Geological and man-made structures, water formations, erosion, and weather patterns alter the natural world, creating a lasting mark imprinted onto the environment. The method of imprinting the body on film is a cameraless process, where photographic chemistry is placed directly on the skin, and then impressed onto film before exposing it to light. Once developed the areas where the chemistry has touched the film will remain clear, and the areas where only light has hit the film will remain opaque. The result is a negative impression of the details of the skin's surface revealing fingerprints, hair, scars and other physical variations. Topography 1 Topography 2 Topography 3 Topography 4 Topography 5 Email Sign Up SPE email updates contain resources, news, and more! About this piece Comments about this piece Dialogue and critique are important to the SPE mission. Please join the conversation. Exit Full Screen Mode
b4c0c035-83a7-41ef-ad0e-d0626d575e5d	{ "cc_dump": "CC-MAIN-2019-43", "dolma2_qc": { "0": 0.9999678134918212, "1": 0.000052167564717819914 }, "exact_duplicates": 2, "lang": { "en": 0.9351245760917664 }, "madlad": { "num_sentences": 18, "rule.2": [], "rule.5": [ 11 ], "status": "survived" }, "minhash": null, "original_word_count": 247, "sa_remove_ranges": [], "text_hash": "26528154021824428402014300658471370960", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-10-16T22:44:12Z", "warc_url": "https://clarkarchitectural.co.uk/how-we-work", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9924327731132508, "__label__education_and_jobs": 0.040855713188648224, "__label__electronics_and_hardare": 0.003717252518981695, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.027595279738307, "__label__science_math_and_technology": 0.032110705971717834, "__label__software": null, "__label__software_development": 0.22271016240119937, "__label__finance_and_business": 0.04743587225675583, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.0008395892800763249, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.4921981394290924, "__label__transportation": 0.0021257030311971903, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	How we work. Architectural and Design projects use an established structure which provides a clear sequence of stages taking a project from initial concept to completion. We guide our clients through the design process step by step using the stages below. Stage 1. Brief Building & Survey Our projects begin by understanding both our client and the building or site we are working with. At this stage we arrange a measured survey of the site and work with you to summarise your ambitions and objectives which sculpt the project ahead. Stage 2. Concept Design With your aims clear, we go away, reflecting on everything we have discussed to generate thoughtful, enjoyable and feasible ideas. From these ideas we assemble your final concept. This agrees the direction of a project. Stage 3. Design Development A well formed concept provides a strong foundation for any project. From this point our proposals are honed in close consultation with our client, specialist consultants and local planning authorities to produce a Final Design that represents the best combination of what you like, what will work, and what can be approved for building. Stage 4. Technical Design Stage four involves developing production drawings from which the project will be built. The devil really is in the detail. This is a hugely important stage which determines exactly how every corner your project will be built. Our production drawings form the basis of your application to Building Control and the briefing required to appoint a contractor.
cf3c38ea-59b1-4daa-9a0e-d74184643279	{ "cc_dump": "CC-MAIN-2017-17", "dolma2_qc": { "0": 0.9999585151672364, "1": 0.00006143635255284607 }, "exact_duplicates": 0, "lang": { "en": 0.9424629807472228 }, "madlad": { "num_sentences": 62, "rule.2": [ 39 ], "rule.5": [ 4, 38, 40 ], "status": "survived" }, "minhash": null, "original_word_count": 1338, "sa_remove_ranges": [ [ 0, 708 ] ], "text_hash": "67547890084223177416821241009989688227", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-05-01T06:17:12Z", "warc_url": "http://thebead.net/index.php/the-bead-blog/292-learning-to-design-and-make-jewelry", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.1259327530860901, "__label__education_and_jobs": 0.07586817443370819, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.0980893224477768, "__label__games": null, "__label__home_and_hobbies": 0.1067005917429924, "__label__science_math_and_technology": 0.004341503139585257, "__label__software": 0.007587242405861616, "__label__software_development": 0.0071314298547804356, "__label__finance_and_business": 0.01323282066732645, "__label__health": null, "__label__politics": null, "__label__social_life": 0.0036036029923707247, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.006702851038426161, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	goldsmithingSomeone recently suggested I do some tutorials on jewelry-making, and I truly appreciated the thought. The problem is, Shannon is our resident jewelry artisan & designer, and she's swamped with day-job stuff. Someday hopefully she will be able to make some videos and share her techniques, but in the meantime, there is an incredible wealth of resources available from experts near and far, depending on your particular interests. Since my previous life was in college administration, I'm a big fan of formal education. My strongest recommendation to folks, if they have the time and means, would be to go to an art institute or formal jewelry program. GIA (the Gemological Institute of America) is one to consider. In their jewelry design and technology program, they cover the gamut, from jewelry design and manufacturing. to CAD design software, product concept development, rapid prototyping, and more. Their training is the 'gold standard' for many in the jewelry business, especially for those who want to work with gemstones. If you are more into goldsmithing or metalsmithing, a program specific to that specialty may be more of interest. In this case, I'm going to share the advice of Helen Driggs, senior editor of Lapidary Journal Jewelry Artist magazine and host of best-selling jewelry-making Metalsmith Essentials series DVDs, including Basic Fabrication, Textures and Patinas, and Riveting and Cold Connections. Helen says the most important thing she did was take a 10-week Jewelry and Metals class at the The University of The Arts in Philadelphia. It gave her a firm foundation in all of the basics, plus she learned to solder and use shop tools properly. There, she was exposed to many techniques and metalworking disciplines that weren't covered her basics class, such as blacksmithing, enameling, forging, and casting. Seeing that work going on helped her decide what she wanted to pursue in her own work. And she recommends continuing education as well. She says the aspiring metalworker should take every class or workshop they possibly can, according to their interests. She also recommends reading everything you can to learn about techniques. We learned about Helen through the great magazine Jewelry Making Daily, where you can learn about almost every type of jewelry making there is. Check them out here: http://www.jewelrymakingdaily.com/ jewelry labWhat if you just want instruction in basic stringing and wirework? Internet videos/tutorials might be the most affordable (some classes are even free!), least demanding/life-changing option. Here are just a few sites you might want to check out for the basics, if you like learning online. https://classes.michaels.com/OnlineClasses/control/main?firstVisit=firstVisit http://www.jewelrymakingdaily.com/media/g/sbs-wire-jewelry-videos/default.aspx https://www.beaducation.com/ http://jewelryfromhome.com/ http://www.interweavestore.com If you prefer an in-person experience, look around in your own community for resources. The craft store Michaels sometimes offers 'on-ground' jewelry-making classes. And my old community college also offered a very affordable and comprehensive jewelry-making program (and still does, for a matter of fact -- here's their web site: http://www.sfcc.edu/programs/jewelry pearlsThere are classes at bead fairs and gem shows (check out the Gem and Mineral Show in Tucson -- you can read more about it in this previous post on Preparing for the Tucson Gem Show), and there's Bead Fest coming up in a few different places, with a huge selection of workshops and learning opportunities. And there's the Bead Cruise I wrote about previously, where you not only get to see the Caribbean, you get to learn how to make great jewelry! And there are local artisans who are eager to connect with people who are serious about learning their craft, and teach them! (Read about our friend Nanette, who does this at the Sonoran School of Glass in Tucson, AZ.) On Pinterest, here are a few boards focused on providing resources for training in beading/jewelry making: https://www.pinterest.com/curiouscom/jewelry-making/ https://www.pinterest.com/rush71/diy-bijoux/ https://www.pinterest.com/mssharpe55/metal-worked-jewelry/ And there are groups on LinkedIn and Facebook devoted to moral support, advice and help to aspiring and developing artisans -- here are a few examples: Artfire, Beads and Beading, Beads, Beading and Jewelry Supplies, Jewelry By Design, Handmadeology, and More... (LinkedIn) Artisan Jewelry Designers, South West Jewelry Makers, Jewelry, Gemstones, Wirewrapping, & Handmade, and More... (Facebook) Then in the big general world of the Internet, I found these resources -- some are likely good to excellent, though I can't claim to have tried them out. http://www.auntiesbeads.com/Beading-Center.html https://www.youtube.com/watch?v=Vwm-dUxVIA0 https://www.facebook.com/pages/Jewelry-Making-Learning-Center/1467318663497065 lampworkIn the end, it's nice to see that it's sort of an equal-opportunity world out there when it comes to jewelry making. I still say the best way is to go to an art institute or to GIA, but if you can't afford that in terms of time or money, there are many, many other ways to pursue this passion. To me, perhaps a question more important than 'where do you train' is, what is it exactly that you want to do? Is it the craft of lampwork that is so alluring? Or the dream of being an a modern-day alchemist, turning gold and precious metals into beautiful works of art? Or is it simply to take a set of beautiful gemstone beads and work them into a stunning necklace design? The answer to the question of where you pursue your training cannot be effectively tackled until you identify that most important question: What is your specialty and your true desire? Many great artisans only learned a few specific techniques, and then turned those into high art -- peyote stitch, chainmaille, dichroic glass, lampwork, goldsmith, wirework -- you don't have to learn it all! It is true that as Helen Driggs said, it helps to be in an environment where you can see the uinverse of jewelry making in action, because until you see it, you may not know it was what you were born to do. In some small way -- that's what I try to do with this blog -- expose you, bit by bit, to the great big universe of beads and jewelry creation -- to help you discover what MOST floats your boat. If you have specific questions about resources in your area, or which path to take, we hope you'll get in touch. We will be happy to help you research it! And in the meantime, you might also be interested in our previous post about the elements of design -- which gives you an idea about how complex this business is. You can go as shallow or deep as you like -- as beautiful things can be made with simple, affordable items, and a good sense of style and taste. But there is a limitless ocean of knowledge and skill beyond the basics, hard won and shared throughout the ages -- and available to you. It's like anything else; all you have to do is want it, enough, and then do it. :-) Until Next Time, p.s. Check out the notice about Bead Fest on our web site while you're here -- we'll be at the Santa Fe show and we're offering a discount coupon for admission. More about that in upcoming posts! Copyright © 2017 The Bead Collection. All Rights Reserved.
06452d0a-7b26-4faa-8864-cac3b536cd1d	{ "cc_dump": "CC-MAIN-2015-35", "dolma2_qc": { "0": 0.9999773502349854, "1": 0.0000426173719461076 }, "exact_duplicates": 3, "lang": { "en": 0.9885726571083068 }, "madlad": { "num_sentences": 37, "rule.2": [ 36 ], "rule.5": [ 36 ], "status": "survived" }, "minhash": null, "original_word_count": 715, "sa_remove_ranges": [], "text_hash": "198719666336091896103158466424421646407", "warc_content_type": "application/http; msgtype=response", "warc_date": "2015-09-02T12:51:28Z", "warc_url": "https://www.jerrysartarama.com/blog/post/2010/05/12/Where-Does-Inspiration-Come-From-by-Carissa-Goldstein.aspx", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9099169969558716, "__label__education_and_jobs": 0.03623005375266075, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.006702851038426161, "__label__games": null, "__label__home_and_hobbies": 0.004765199031680822, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": 0.0026416745968163013, "__label__finance_and_business": 0.003717252518981695, "__label__health": null, "__label__politics": null, "__label__social_life": 0.009135636501014233, "__label__entertainment": 0.004208795726299286, "__label__history_and_geography": null, "__label__literature": 0.006107562687247992, "__label__sports_and_fitness": 0.002482622629031539, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Where Does Inspiration Come From by Carissa Goldstein Art has always been a mystical field for me. Having taken only one art class in high school, I didn't have a lot of exposure other than visits to art galleries. I would wander from piece to piece at each gallery, stunned at how these artists came up with such amazing ideas. Where did these ideas come from? Divine inspiration? Brilliant epiphanies? Whatever the source, I was sure I did not possess the brain cells necessary to create these masterpieces. Being very left-brained, I went to school for engineering, reveling in the order and objectivity of numbers and equations. However, I soon realized this was not enough. Staring at the same thing all day exhausted my brain and using the same equations became monotonous. I then started working at the Jerry's Raleigh retail store assisting with event planning, and I finally got the exposure I needed to the art world. I realized that real people were taking these workshops and learning to create art. All of these people had other responsibilities, such as jobs, kids, etc. Yet they still found time to paint, draw, or exercise the right side of their brain in some fashion. This was a wakeup call. These artists were not the pretentious, full time creators I had pictured. Some of them had formal education in art, but many of them had stumbled upon this area later in life and picked it up as a hobby. It was during this time I started to think, "Maybe I CAN do this!" Very enthusiastic at this discovery, I signed up for a workshop and came in prepared to learn everything there was to know about becoming a master artist. That definitely did NOT happen. I thought that once someone had shared the "secret" to art with me, I would be able to do anything I wanted. I quickly became frustrated that I could not come up with fantastic ideas and then, when I could think of something, it was as if my brain and hand were speaking different languages. My perfectionist nature was getting in the way and telling me everything I did was wrong or ugly. Fortunately I was working under a boss who is also an artist and she was, and continues, to be a mentor to me. She shared with me that art is a journey, not a destination. At first I thought this was just a cheesy clichÃ©, but soon began to believe what she was saying. Most artists don't sit down in front a canvas with a finished image in their head. They begin to play with the paint and create; as Bob Ross used to say, "Happy Accidents." I also became friends with another amazing artist who said the point of art is to make "interesting marks." I also learned that many artists do not finish a piece in one sitting. They take the time to walk away and relax their mind, understanding the idea of getting bogged down in details and not being able to see the forest for the trees. I realized that I was comparing myself to people who had been doing this for years, expecting to produce results similar to them. That was crazy! I was expecting to pick up a basketball for the first time and play in the WNBA. Beginning my journey only a year or two ago, I am definitely still a beginner. I am learning to turn off my inner judge and let go of my perceptions, trying to enjoy art for the sake of art without trying to create a masterpiece each time. I am also learning my strengths and how to utilize them rather than copying someone else. I am still inspired by the professional artists I've had the pleasure to meet, but I know I will not be like them overnight. Art truly is a journey, and I feel I've just begun! 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f6fa60d1-03d1-4a4d-a438-7f19a400362d	{ "cc_dump": "CC-MAIN-2018-09", "dolma2_qc": { "0": 0.9999678134918212, "1": 0.00005216452700551599 }, "exact_duplicates": 0, "lang": { "en": 0.96855890750885 }, "madlad": { "num_sentences": 26, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 606, "sa_remove_ranges": [ [ 53, 558 ] ], "text_hash": "33102627538870572567415524566331108211", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-02-21T07:32:55Z", "warc_url": "https://www.pacegallery.com/news/32/david-hockney-s-impressionist-period", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.984585464000702, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.001465063076466322, "__label__games": null, "__label__home_and_hobbies": 0.013646835461258888, "__label__science_math_and_technology": 0.004765199031680822, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.0071314298547804356, "__label__history_and_geography": 0.029322227463126183, "__label__literature": 0.0229873675853014, "__label__sports_and_fitness": 0.005230126902461052, "__label__travel_and_tourism": 0.007355827372521162, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.003717252518981695, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Pace Galleries David Hockney's Impressionist Period of late 19th-century European masters like Cézanne, Pissarro, Monet, and Van Gogh. The paintings on view at two of PaceWildenstein’s three Manhattan galleries through December 24 were completed between 2006 and 2009. They mark Hockney’s first New York show of new paintings in more than 12 years—as well as a return to his geographic roots. Born in Yorkshire and trained at London’s Royal College of Art, Hockney famously decamped to Los Angeles in the mid-1970s, lured west by Santa Monica beaches and the sort of buff, tanned macho men he pined over from across the pond. Throughout the decades, he maintained a residence in Yorkshire, but didn’t spend any significant amount of time there until the late-1990s, when he quickly became transfixed by the English countryside. (His eventual relocation wasn’t driven purely by aestheticism—the artist’s partner, John Fitzherbert, lost his U.S. residency earlier this decade when he overstayed his visa by a few days). After re-settling in England, Hockney started producing watercolors of his idyllic surroundings. It was more of a side project, really, as he was still focusing mainly on portraiture at the time. But in 2005, the artist used these studies as a jumping-off point for a more ambitious body of work. Like his Impressionist predecessors, Hockney set up his easel outside. He worked quickly, capturing his surroundings as the nearly psychedelic colors of spring, summer, and fall dulled into steely shades of winter. With its tree-lined passageways and abundant shades of greens, the Bridlington, Yorkshire landscape is not unlike that of Arles, France—the site immortalized by Van Gogh and Gauguin in the late-1880s. Hockney worked on small-ish canvases for the most part, some acting as standalone works and others functioning as building blocks for much larger pieces. I wish the larger works had been completed on single, giant panes but alas, and save for Monet’s Water Lilies, scale is one thing that the Impressionists weren’t particularly known for. Most of the 28 paintings on view have at least one counterpart in the series: the skinny, barren trees shown on one wall are imbued with lush, leafy life on a canvas nearby; a severed tree trunk is bright orange in one painting, and deep bluish gray in two more; a depiction of a thick verdant forest hangs next to its winter-time doppelganger—a pointillist fury of branches and twigs. Hockney balances a mostly cool palette with neon shocks of pink, purple, orange, and blue. They lend a touch of the surreal to his otherwise straightforward canvases, hinting at an abstract, Wonderland-like landscape. The paintings in these shows aren’t nearly as polished as Hockney’s earlier work, but it’s nice to see the former SoCal denizen embrace seasons. The sunshine that was so even in his slick L.A. exteriors is warped and sometimes hidden entirely in these works. Perhaps, at this age, Hockney is thinking more about the passage of time in both life and art. If that’s the case, his new, fertile surroundings have certainly given him fodder to do so. View More Related Posts
1124d69a-fc78-4c8a-ac81-3aba3a90aab1	{ "cc_dump": "CC-MAIN-2023-14", "dolma2_qc": { "0": 0.9999525547027588, "1": 0.00006749284511897713 }, "exact_duplicates": 0, "lang": { "en": 0.8664330840110779 }, "madlad": { "num_sentences": 42, "rule.2": [ 29, 32, 35, 38 ], "rule.5": [ 15, 25 ], "status": "survived" }, "minhash": null, "original_word_count": 630, "sa_remove_ranges": [ [ 2840, 3371 ] ], "text_hash": "156661481833782364049600019916809849828", "warc_content_type": "text/html", "warc_date": "2023-03-24T02:00:38.000Z", "warc_url": "https://ecthehub.com/2022/08/09/20-black-instagram-highlight-covers-free/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.3007555902004242, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.002810927340760827, "__label__fashion_and_beauty": 0.2120788097381592, "__label__games": null, "__label__home_and_hobbies": 0.00942259095609188, "__label__science_math_and_technology": null, "__label__software": 0.1778208613395691, "__label__software_development": null, "__label__finance_and_business": 0.01799621433019638, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.09535945951938628, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": 0.00942259095609188, "__label__travel_and_tourism": 0.003717252518981695, "__label__crime_and_law": null, "__label__food_and_dining": 0.002261847723275423, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	20 Black Instagram Highlight Covers (Free) Instagram is a terrific medium for sharing pieces of your life with your followers. But, sometimes it might be challenging to come up with new ideas for what to discuss. That’s where tale highlights come in! Story highlights help you put together certain posts so that your followers can easily view them. And, if you want to add a little extra flair, you can use an icon cover. Lucky for you, we’ve gathered 20 free Instagram story highlight icon covers that you may use! Black Instagram Highlight Covers A stylish addition to your Instagram stories, black highlight covers are available. Using black covers will give your books a polished, contemporary style that will make them stand out. Highlights can be made to look more professional and well-organized by using black covers. Black covers are the way to go if you want your Instagram account to look more put together and trendy. A perfect addition to anyone’s Instagram account, these minimalist black covers feature the app’s iconic story icons. These Instagram cover icons are ideal if you want something easy to use that still looks great. You can use any of these graphics on your website or in your social media posts because I made them all! Take a look at a sneak peeks at all the iconic cover art. This free set of Instagram highlighter covers is provided with best wishes. Black Me Icon Highlights Instagram Featuring the word “me” in black and white, this free collection of seven Instagram highlight icons is available for download now. You can use them to draw attention to your name, a certain blog post, or anything else you want your followers to see. These sleek symbols will make your story stand out from the crowd with their simple design and contemporary feel. You may get them right now by clicking the link below. Create a Cover for Your Instagram Highlights! To enter the editing page, click the “Make an Instagram Highlight Cover Now” button on this page. You can customize one of the Instagram highlight cover templates displayed on the left side of the editing interface. Alternately, you can begin modifying the current blank page. Change the background color and/or add Instagram highlight cover photographs and Instagram cover icons. Images and icons can be scaled, flipped, and rotated as needed. When you’re done customizing the Instagram highlight cover, select “Download” to save it to your computer. Go to your Instagram app and upload it there. Some Great Instagram Story Covers Black Instagram Highlights Cover. Earthy Watercolor Instagram Cover. Instagram Highlight Covers FAQs What Is Instagram Story Highlight Cover？ What is the standard Instagram highlight cover size? How to optimize highlight Instagram cover? How to Upload Highlight Instagram Cover?Dubai Creek Harbour as a Place for Investment and Permanent Things people get investing in Dubai Creek Harbour The UAE... Gisele Bündchen Says She Was ‘Blindsided’ by FTX Collapse! Gisele Bündchen, a supermodel, said that the sudden collapse... Rapper Tekashi 6ix9ine Was Hurt In A South Florida Gym Attack And Taken To The Hospital! The rapper Tekashi 6ix9ine was attacked at a LA... Baki Hanma Season 2 Confirmed for 2023 Release Date! "Baki Hanma," also known as "Hanma Baki: Son of...
1955b951-9a3c-4d9d-9b0a-928b5add2df4	{ "cc_dump": "CC-MAIN-2024-46", "dolma2_qc": { "0": 0.9999691247940063, "1": 0.00005092834908282384 }, "exact_duplicates": 1, "lang": { "en": 0.9667887091636658 }, "madlad": { "num_sentences": 23, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 8474255704110, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 283, "sa_remove_ranges": [ [ 0, 754 ] ], "text_hash": "325598347091390841354832341699491368635", "warc_content_type": "text/html", "warc_date": "2024-11-13T10:35:39.000Z", "warc_url": "https://www.iainharley.com/2014/03/hard-rock.html", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.15611489117145538, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.032110705971717834, "__label__games": null, "__label__home_and_hobbies": 0.1520422399044037, "__label__science_math_and_technology": 0.02369946800172329, "__label__software": null, "__label__software_development": 0.014073628932237623, "__label__finance_and_business": 0.02369946800172329, "__label__health": null, "__label__politics": 0.014967083930969238, "__label__social_life": 0.08036746829748154, "__label__entertainment": 0.01591639406979084, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": 0.040855713188648224, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	rd Rock Wave Crash I'm a fan of the +Plus One Collection and their yearly collection that is put together every year with proceeds going towards a charity. This year that charity is the Samburur Project, a charity bringing clean water to areas in Kenya. The Photographers For Good Foundation oversees the project that is primarily spread through the very large photography community on Google Plus. Hundreds if not thousands of photos are submitted every year and the top photos of then put together into a book that is for sale. The other photos not selected for the book are shown on the project's website. You can check out the current submissions here. Popular posts from this blog Running... Again? The Pros and (Mostly) Cons of Upgrading to a 4K Monitor
62626559-fce3-452e-bcee-a70fede99dea	{ "cc_dump": "CC-MAIN-2020-05", "dolma2_qc": { "0": 0.9999282360076904, "1": 0.00009179184417007492 }, "exact_duplicates": 0, "lang": { "en": 0.9399616718292236 }, "madlad": { "num_sentences": 26, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 7995584955003, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 588, "sa_remove_ranges": [], "text_hash": "17231125774029083626624043776261480962", "warc_content_type": "application/http; msgtype=response", "warc_date": "2020-01-23T22:54:23Z", "warc_url": "https://sightlinesmag.org/kmfa-89-5-to-build-new-permanent-home", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6791887283325195, "__label__education_and_jobs": 0.007587242405861616, "__label__electronics_and_hardare": 0.027595279738307, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.20690405368804932, "__label__science_math_and_technology": 0.011341754347085953, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.034110426902770996, "__label__health": null, "__label__politics": 0.01169725600630045, "__label__social_life": 0.005564924795180559, "__label__entertainment": 0.16452647745609283, "__label__history_and_geography": 0.004915405530482531, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	January 23, 2020 Home Music KMFA 89.5 to build new permanent home KMFA 89.5 to build new permanent home For the first time in its 52-year history, Austin’s classical music radio station KMFA 89.5 will have its own permanent home. The non-profit radio station has purchased land adjacent to the Rebekah Baines Johnson Center (RBJ Center) as part of a 17.8-acre yet-to-be-named, mixed-use development just east of IH-35 on the north shore of Lady Bird Lake, at 21 Waller Street. The planned 18,000-square-foot building will triple the size of the current KMFA studios in an office building on Lamar Blvd. Most importantly, the building will have new purpose-built amenities including performance and recording spaces and areas for special events. “KMFA is evolving as Austin evolves. We are committed to meeting the demand for more live and local programming, robust onsite production and community events,” said Ann Hume Wilson, KMFA’s president and general manager. “These new headquarters will allow KMFA to share the joy of classical media in new ways for generations to come.” Wilson said that contracts for the purchase were signed June 25. Groundbreaking is slated for July. Once complete in late 2020, the new building is projected annually to host 10,000 people at a variety of station events. KMFA will also offer the 140-seat studio for local arts organizations’ use, helping to fill the void in performance spaces for intimate concerts and recitals, master classes, audition recordings and other programs. KMFA has long operated with a small studio unsuited for the kind of live recordings now popular with public radio stations. Organization leaders considered various scenarios in recent years. But after an anonymous donor came forward with a $3 million donation, KMFA 89.5 leaders decided to pursue building a facility of its own. The freestanding KMFA building will be a centerpiece of the new development, on land that was once the site of a federal fish hatchery. The RBJ Center, which provides affordable housing for seniors, will be updated and integrated into the overall master plan that also calls for retail, offices, and market rate rentals. Architects for the project include STG Design for the interior and Sixthriver Architects for the exterior. In addition to practical features such as production booths for creating on-air content and expanded offices, the purpose-built two-story structure will have a 3,000-square-foot, acoustically dynamic live music studio for broadcasts, recordings, intimate concerts and lectures. Outside, a ground-level patio will have live audio so the public can enjoy the sounds of KMFA. A rendering of the inside of the new KMFA building A rendering of the inside of the new KMFA building showing one of the many public spaces the facility will have. Courtesy STG Design. A second-story terrace garden will be dedicated to the memory of the anonymous donor who bequeathed a $3 million gift that initiated the building project. All of the public spaces will be available to rent for corporate and social events, a move that will provide an important new income stream for KMFA 89.5. Established in 1967, KMFA 89.5 is an independent public classical radio station unaffiliated with any university or other organization. KMFA 89.5 is a media partner of Sightlines. Join us at our next New Music Mixer, July 18. Jeanne Claire van Ryzin Jeanne Claire van Ryzinhttp://sightlinesmag.org An award-winning arts journalist, Jeanne Claire van Ryzin is the founder and editor-in-chief of Sightlines.
bfcf82c4-0f09-47b2-8349-69b1ef753ce4	{ "cc_dump": "CC-MAIN-2024-22", "dolma2_qc": { "0": 0.9999490976333618, "1": 0.00007092386658769101 }, "exact_duplicates": 0, "lang": { "en": 0.9543376564979552 }, "madlad": { "num_sentences": 108, "rule.2": [ 44, 48, 58, 61, 64, 65, 97, 99, 107 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 4288642299299, "cc_idx": 1, "cc_size": 2 }, "original_word_count": 2490, "sa_remove_ranges": [ [ 15338, 15905 ] ], "text_hash": "175390364508506810759790346639106839321", "warc_content_type": "text/html", "warc_date": "2024-05-26T23:14:46.000Z", "warc_url": "https://www.artandobject.com/press-release/old-masters-now-celebrating-johnson-collection", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9496793746948242, "__label__education_and_jobs": 0.0017646141350269318, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.004915405530482531, "__label__science_math_and_technology": 0.006702851038426161, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.002482622629031539, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.16452647745609283, "__label__literature": 0.0028995804022997618, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0015111821703612804, "__label__crime_and_law": 0.0036036029923707247, "__label__food_and_dining": null, "__label__industrial": 0.0013770253863185644, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Press Release September 8, 2017 Old Masters Now: Celebrating the Johnson Collection Philadelphia Museum of Art Philadelphia - This fall, the Philadelphia Museum of Art will present Old Masters Now: Celebrating the Johnson Collection, a major exhibition focusing on one of the finest collections of European art ever to have been formed in the United States by a private collector. The exhibition marks the centenary of the remarkable bequest of John Graver Johnson—a distinguished corporate lawyer of his day and one of its most adventurous art collectors—to the city of Philadelphia in 1917. It also coincides with the celebration of the centennial of the Benjamin Franklin Parkway. The exhibition will include masterpieces by key figures of the Renaissance such as Botticelli, Bosch, and Titian; important seventeenth-century Dutch paintings by Rembrandt, Jan Steen, and others; and works by American and French masters of Johnson’s own time, most notably Winslow Homer, John Singer Sargent, Édouard Manet and Claude Monet. Old Masters Now will also provide a behind-the-scenes look at the collaborative work of the Museum’s curators and conservators who have worked with the collection since it was entrusted to the Museum’s care in the early 1930s. The exhibition will explore a host of fascinating questions ranging from attribution to authenticity and illuminate the detective work and problem-solving skills that are brought to bear when specialists reevaluate the original meaning and intent of works created centuries ago. Timothy Rub, The George D. Widener Director and CEO said, “Over time our appreciation of Johnson’s extraordinary gift continues to grow, and yet it remains a source of endless fascination with many discoveries still to be made. We are delighted to open a window onto our work, offering visitors a fresh look at the process of scholarship and conservation that we bring to the care of our collection and an insight into the questions, puzzles, and mysteries that continue to occupy our staff.” The exhibition will open with a gallery dedicated to Johnson himself, providing a picture of one of Philadelphia’s most prominent leaders during the late nineteenth and early twentieth centuries. A timeline will trace key moments in his colorful legal career, highlighting important cases and invitations he was reported to have received from President Garfield and President Cleveland to be nominated for a seat on the Supreme Court, and another from President McKinley to serve as his Attorney General, all of which Johnson declined. It notes that in 1901, he represented his hometown baseball team, the Phillies (then known as the Philadelphia Ball Club), when players sought to break their contract to play for another team. This section will also explore his decades-long formation of an art collection, from his early acquisitions of contemporary art, such as Mary Cassatt’s On the Balcony, to paintings that he acquired the day before he died. Archival material, travel albums, and large-scale photographs of the interiors of Johnson’s houses at 426 and 506 South Broad Street will reveal the strikingly idiosyncratic way in which he displayed and lived with his collection. Eight paintings in the exhibition will illustrate some of the fascinating breakthroughs in understanding that have emerged from curators’ and conservators’ work researching and caring for the collection over time. Among them is Rogier van der Weyden’s The Crucifixion, with Virgin and Saint John the Evangelist Mourning, from around 1460. This pair of wood panels long puzzled scholars, who were uncertain whether they were created as part of an altarpiece or as an independent work. A conservator’s close technical study eventually led to the realization that they had served as shutters that closed over what was likely one of the largest altarpieces made during the Renaissance in northern Europe, its existence is known only through the Johnson Collection paintings and two others discovered in 2012. Descent from the Cross, painted by the Netherlandish artist Joos van Cleve around 1520, has undergone a year-long conservation treatment and will be placed on view for the first time in thirty years. Once considered to be simply a copy of a major painting of the same subject created by Rogier van der Weyden eight decades earlier, it remained in storage as a study picture. The painting is now considered to be Joos van Cleve’s homage to this revered masterpiece. Another work that illustrates how historical and technical study may recover an artist’s original meaning is Dutch master Judith Leyster’s painting The Last Drop (The Gay Cavalier). Dating to about 1629, it depicts a scene of two men approaching the end of a night of drinking. In 1979, an art historian discovered an early copy of the painting that included a skeleton—a warning to the revelers that they should change their ways. The Johnson painting showed no skeleton, but a conservator’s examination and microscopic cleaning tests in 1992 determined that though it once had been painted over, it remained beautifully intact. Removal of the overpainting, documented in a series of photographs, revealed the true message of Leyster’s painting. Titian’s enigmatic Portrait of Archbishop Filippo Archinto (1558) has been newly cleaned and restored following years of study and conservation treatment. It will be presented alongside a display illustrating how the artist’s original materials have changed with age. Recent analysis by Museum conservators and scientists revealed that Titian painted Archinto with a purple cloak, a color identified with archbishops. The blue pigment that contributed to the purple hue deteriorated over time, making the cloak appear red today. This discovery adds insight into how Titian’s contemporaries would have seen this masterful portrait. Attribution is examined in the section devoted to the Dutch master Hieronymus Bosch. Johnson was among the earliest Americans to collect Bosch, and today the Museum is among only a handful in the United States that possess a work by this great painter. Although Johnson purchased 10 works that he understood to be by the artist, close comparative looking and technical research—most notably through the use of dendrochronology (dating growth rings in wood)—has led to the conclusion that only one of these 10 works can be considered authentic today. Mark Tucker, The Neubauer Family Director of Conservation, said: “The work that goes on in conservation is at the very heart of the Museum’s commitment to expanding the understanding of the art in its care. We are looking forward to sharing with visitors not just the results of that work, but also the processes of investigation and the excitement of discovery.” The exhibition also explores those areas of European painting in which Johnson focused in depth, including Italian, Dutch and Netherlandish, and French art. The number of Dutch paintings he acquired was among the largest of his day, and is especially rich in landscapes by Jacob van Ruisdael and animated genre scenes by Jan Steen. Rembrandt’s Head of Christ will also be on view in this section. One section devoted to some of the earliest works in Johnson’s collection explores how art historians and conservators evaluate the original context of works that today exist only as fragments of a larger whole. Here an image of the Sienese artist Duccio’s great altarpiece called the Maestá will be placed beside his workshop’s Angel, showing how it was placed and functioned within the larger composition. Other fragmentary works on view include four small superb paintings by Botticelli and Fra Angelico’s St. Francis of Assisi. Another section is devoted to Johnson’s fascination with the art of his time. It highlights Édouard Manet’s The Battle of the U.S.S. “Kearsarge” and the C.S.S. “Alabama,” James Abbott McNeill Whistler’s Purple and Rose: The Lange Leizen of the Six Marks, and major paintings by John Constable, Gustave Courbet, Edgar Degas, Winslow Homer, Camille Pissarro, Eduard Charlemont, and a marble by Auguste Rodin. During the presentation of the exhibition the Johnson curatorial and conservation team will be frequently available in the galleries to give talks and answer questions about the works on view. Visitors will also be encouraged to explore the European galleries, where other works from the Johnson Collection are also installed. One installation in gallery 273 is devoted to sculptures from the Johnson Collection and another to embroideries and other textiles from his collection. Jennifer Thompson, The Gloria and Jack Drosdick Curator of European Painting and Sculpture and Curator of the John G. Johnson Collection, said: “Our understanding of the Johnson Collection is constantly changing. This exhibition marks the first significant assessment of how our thinking on it has evolved over the years. While the careful study we have given to objects in the collection is rarely presented to the public, we are quite pleased to give visitors a behind-the-scenes look at the work we do.” Digital Publication The Museum is publishing its first digital catalogue to coincide with this centennial exhibition. The publication includes thematic essays, catalogue entries on objects from the Johnson Collection, and digitized archival resources. The essays focus on the history, scholarship on, and stewardship of this collection and are written by the Museum’s curatorial and conservation team. It will be available for free and accessible to researchers and the public alike. For this new digital publication, the Museum has made use of a new technology implementing IIIF (International Image Interoperability Framework) to present digital images in a more versatile and flexible way. The development of this catalogue, which will be available online beginning November 2017, is led by Christopher D. M. Atkins, The Agnes and Jack Mulroney Associate Curator of European Painting and Sculpture, and Manager of Curatorial Digital Programs and Initiatives; and Karina Wratschko, Special Projects Librarian. Atkins said: “We are connecting art information with archival information. This is the most groundbreaking aspect of the project as most institutions have treated these materials separately, until now.” The John G. Johnson Curatorial and Conservation Team Jennifer Thompson The Gloria and Jack Drosdick Curator of European Painting and Sculpture and Curator of the John G. Johnson Collection Christopher D. M. Atkins The Agnes and Jack Mulroney Associate Curator of European Painting and Sculpture, and Manager of Curatorial Digital Programs and Initiatives Mark Tucker The Neubauer Family Director of Conservation Teresa A. Lignelli The Aronson Senior Conservator of Paintings Carl Brandon Strehlke Curator Emeritus, John G. Johnson Collection Joseph J. Rishel Curator Emeritus, European Painting About John Graver Johnson (1841–1917) Born in the village of Chestnut Hill, now part of Philadelphia, and educated in the city’s public Central High School and then the University of Pennsylvania, Johnson became recognized as the greatest lawyer in the English-speaking world. He represented influential clients such as J. P. Morgan, US Steel, the Sugar Trust, and Standard Oil. He was also known to accept cases that many would consider ordinary if the details piqued his intellectual interest. Johnson quietly acquired many important works of art, but also highly singular ones that have been the source of much scholarly discussion. At the age of 34 he married Ida Alicia Powel Morrell (1840–1908), a widow with three children. He traveled to Europe often, visiting France, Switzerland, Italy, Austria, Germany, and Belgium, and collected pictures as an amateur art historian relying on his own evaluation. In 1892, he published Sight-Seeing in Berlin and Holland among Pictures. Also that year, he published a catalogue of his collection which at the time included 281 paintings. In 1895, Johnson was appointed to Philadelphia’s Fairmount Art Commission where he oversaw the Wilstach Gallery, which housed a public collection of paintings. Under his leadership, the Commission purchased important works, among them James McNeill Whistler’s Arrangement in Black, and Henry Ossawa Tanner’s Annunciation, the first work by an African-American artist to enter a public collection in the United States. Johnson was also the attorney for Alexander Cassatt, brother of the artist Mary Stevenson Cassatt. One of his earliest purchases was Cassatt’s On the Balcony. When Johnson gave this work to the Wilstach Gallery in 1906, it was the first painting by the artist to enter an American public collection. During his 22-year stewardship of the Wilstach Gallery, he made 53 gifts from his personal collection, which are now on view at the Museum. About the John G. Johnson Collection Johnson’s collection was formed through his own study and, in later years, with the assistance of illustrious art historians including Roger Fry and Wilhelm Valentiner. Bernard Berenson advised his purchases of works by Antonello da Messina, Sandro Botticelli, and Pietro Lorenzetti, and others. To this day, the John G. Johnson Collection is distinguished by its quality, rarity, and diversity in European art. At the time of his death on April 14 in 1917, Johnson left his collection to the city of Philadelphia. In his will, he said: “I have lived my life in this City. I want the collection to have its home here.” The City of Philadelphia accepted the conditions of his will, which contained a codicil directing that his house be opened as a gallery for the public to enjoy. In 1933, due to a funding crisis caused by the Great Depression, the Johnson Collection was moved temporarily from Johnson’s house at 510 South Broad Street to the Philadelphia Museum of Art. In 1958 the Museum, the City, and the Johnson Trust entered a formal agreement concerning storage and display of the Johnson Collection at the Museum. Johnson's art was exhibited as a separate collection within the Museum for more than 50 years. In the late 1980s, legal approval was granted for the Museum to integrate the works into its full collection. The current 100-year loan of the collection expires in 2083. The collection numbers 1,279 paintings, 51 sculptures, and over 100 other objects. This exhibition has been made possible by The Annenberg Foundation Fund for Major Exhibitions, The Robert Montgomery Scott Endowment for Exhibitions, The Women’s Committee of the Philadelphia Museum of Art, the Kowitz Family Foundation, Friends of Heritage Preservation, Lawrence H. and Julie C. Berger, The Jill and Sheldon Bonovitz Exhibition Fund, The Gloria and Jack Drosdick Fund for Special Exhibitions, The Harriet and Ronald Lassin Fund for Special Exhibitions, The Robert Lehman Foundation, Lyn M. Ross, Saul Ewing Arnstein & Lehr LLP, and Joan F. Thalheimer. Support for the accompanying digital publication has been provided by Lois G. and Julian A. Brodsky, Martha Hamilton Morris and I. Wistar Morris III, an anonymous donor, and other generous individuals. Credits as of September 6, 2017 Social Media @philamuseum
9dce762f-29af-4990-8af0-d41aa9e7c98f	{ "cc_dump": "CC-MAIN-2021-17", "dolma2_qc": { "0": 0.999974489212036, "1": 0.00004558240107144229 }, "exact_duplicates": 0, "lang": { "en": 0.9622238874435424 }, "madlad": { "num_sentences": 50, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 3215051463524, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 535, "sa_remove_ranges": [], "text_hash": "174163166877453452212004470885098632423", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-04-15T11:17:22Z", "warc_url": "https://www.souldoodles.org/post/discover-the-6-steps-to-illustrate-by-angela-a-self-taught-illustrator", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.989681839942932, "__label__education_and_jobs": 0.06372499465942383, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.002810927340760827, "__label__games": null, "__label__home_and_hobbies": 0.0038344827480614185, "__label__science_math_and_technology": 0.0038344827480614185, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.004765199031680822, "__label__health": 0.06755668669939041, "__label__politics": null, "__label__social_life": 0.006913838442414999, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": 0.005921069998294115, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.008325778879225254 }, "weborganizer_max": "__label__art_and_design" }	Discover Angela's six steps to illustrate, a self-taught illustrator Tell us about yourself My name is Angela. I am from Colombia. Right now, I work at Samsung. I manage all of the shop’s display furniture. Besides my Samsung role, I have a personal project, @Conspiracy_illustration, where I draw and write about my personal stuff. Like SoulDoodles, Conspiracy Illustration is to inspire others. What type of art do you feel most connected to? I feel connected to different types of art, music especially. It transmits emotion and is a wonderful kind of poetry. I think putting creating words out of our emotions is art, which is very inspiring. I really love to write about life. It is therapeutic. I prefer all art that communicates and expresses human concerns. How long have you been drawing or illustrating? I started drawing when I studied my psychology career, and I decided to take some art classes. I have always had a passion for arts and creatively communicate my own ideas. I started to illustrate in my own Instagram account since last year. What inspires you the most to illustrate? When I started to illustrate, my brain began to pay more attention and absorb all of the things that happen during the day. For this reason, I started to be more aware of the things that consume my daily life. I decided to change some habits, incorporating habits that inspire me. I started reading at least 1 book a month. I watched movies and documentaries that truly inspired me, listened to new music, and followed artists and illustrators that I like. These habits inspire me and help me reflect on my surroundings, and give me content to communicate meaningful stuff to my audience. Do you remember your first-ever illustration? What was it? Yes, I remember my first illustration. I did my first illustration on my phone. I bought the last Samsung Note10, and I really wanted to take advantage of the galaxy note pen. I really love to see my old illustrations and see the progress I’ve made. Describe your creative illustration process in several steps 1. Start thinking about something I want to communicate. 2. Read about different topics. 3. Watch my Instagram feed and some Pinterest photos. 4. Choose a palette color that inspires me 5. Start drawing, always with good music. 6. If I feel that an idea is not working and takes a lot of time, I change my mind and start something else. What three things would you tell others to be inspired to make art during Covid-19? COVID-19 has been a good opportunity to create self-awareness. We have had more time in our homes, with our family, with fewer distractions. So it is an excellent time to connect with ourselves and start doing all of the important projects for us. Which tools do you use to illustrate? Which one do you use the most? I use photoshop and a Wacom tablet :) How can others find your work or connect with you? Find my work on @conspiracy_illustration Our goal is to share stories that will inspire you to create art. © 2021 - SoulDoodles Made with ♥ by Lili
2b54e67c-80e7-4b19-ae84-e360565838ec	{ "cc_dump": "CC-MAIN-2015-18", "dolma2_qc": { "0": 0.9999593496322632, "1": 0.00006069391019991599 }, "exact_duplicates": 0, "lang": { "en": 0.8550267219543457 }, "madlad": { "num_sentences": 8, "rule.2": [ 0 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 7733273169353, "cc_idx": 1, "cc_size": 3 }, "original_word_count": 190, "sa_remove_ranges": [ [ 0, 947 ] ], "text_hash": "688848342433620388383392348121057077", "warc_content_type": "application/http; msgtype=response", "warc_date": "2015-04-21T09:19:00Z", "warc_url": "http://www.trendhunter.com/trends/guinness-dead-sea-bar", "weborganizer": { "__label__adult_content": 0.0004405571380630135, "__label__art_and_design": 0.5698626637458801, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.01641303114593029, "__label__games": 0.0006562031921930611, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.0017107223393395543, "__label__software": 0.0007893660222180188, "__label__software_development": null, "__label__finance_and_business": 0.16027602553367615, "__label__health": null, "__label__politics": 0.0008140857680700719, "__label__social_life": null, "__label__entertainment": 0.014073628932237623, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": 0.0005803157691843808, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	937 clicks in 151 w Interest: 2.4 minutes Concept: Guinness Dead Sea Bar Related: 73 examples / 56 photos Segment: Neutral, 18-55 Comparison Set: 27 similar articles, including: futuristic party lounges, space-shifting sushi bars, and reflective marketing campaigns.
c6f95178-4b36-4ee9-94a9-50106967d950	{ "cc_dump": "CC-MAIN-2023-40", "dolma2_qc": { "0": 0.9999594688415528, "1": 0.00006057860082364641 }, "exact_duplicates": 0, "lang": { "en": 0.8329448103904724 }, "madlad": { "num_sentences": 29, "rule.2": [ 0 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 6638912144315, "cc_idx": 76, "cc_size": 121 }, "original_word_count": 625, "sa_remove_ranges": [ [ 232, 958 ], [ 1286, 1967 ], [ 2084, 2793 ] ], "text_hash": "173649673784695077173377128392852006193", "warc_content_type": "text/html", "warc_date": "2023-10-01T07:36:49.000Z", "warc_url": "https://art9000.com/english/fine-art/artist/image/paul-cezanne/39/271/652187/lunch-on-the-grass-1876-77/index.htm", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.9304682612419128, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.0004405571380630135, "__label__games": null, "__label__home_and_hobbies": 0.13297423720359802, "__label__science_math_and_technology": 0.000617075536865741, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.00001000000338535756, "__label__social_life": 0.00001000000338535756, "__label__entertainment": null, "__label__history_and_geography": 0.0018202114151790736, "__label__literature": null, "__label__sports_and_fitness": 0.00001000000338535756, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.0021257030311971903, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Lunch on the Grass, 1876-77 by Paul Cézanne This Picture is available as Fine Art Reproduction, Canvas on Stretcher, Framed Picture, Glass Print and Wall Paper. Order now at low prices! Paul Cézanne, Lunch on the Grass, 1876-7786135 Location: Musee de l'Orangerie, Paris, France Picture content: Landscapes Painting Technique: oil on canvas Search Words: Aix, Canvas, Church, Collection, Countryside, Female, French, Friend, friends, friendship, group, guillaume, jean, landscape, lunch, male, oil, outdoors, paul, picnic, steeple, tree, trees, walterunch on the Grass, 1876-77« itself. Canvas on Stretcher Our canvas prints of the motif »Lunch on the Grass, 1876-Lunch on the Grass, 1876-77« really comes into its own! Glass Pictures Our glass pictures from Paul Cézanne are printed directly on glass for you. This creates noble pictures in a high-quality appearance. Rounded edges and a hidden mounting on the back complete the product. Wall Papers »Lunch on the Grass, 1876-77« from artist Cézanne as space-filling art! Our wallpapers make it possible. Printed in latex printig technology on high-quality fleece material in cm-exact sizes ensure perfectly styled walls in your home. Alu Composite Pictures Aluminum composite panels consist of a sandwich construction of aluminum sheets (outside) and PVC material (inside). The picture »Lunch on the Grass, 1876-77« is printed with an UV printing process. Thanks to the floating suspension, you can create a modern ambience in every home. Especially offices and shops benefit from the futuristic design.
99719933-f578-4a07-90ee-8cac3b6f0138	{ "cc_dump": "CC-MAIN-2022-40", "dolma2_qc": { "0": 0.9999756813049316, "1": 0.0000443851386080496 }, "exact_duplicates": 0, "lang": { "en": 0.9521178603172302 }, "madlad": { "num_sentences": 245, "rule.2": [ 0 ], "rule.5": [ 38 ], "status": "survived" }, "minhash": { "cc_id": 8740308791005, "cc_idx": 1, "cc_size": 2 }, "original_word_count": 4218, "sa_remove_ranges": [], "text_hash": "134332390089306701392291935630614162164", "warc_content_type": "application/http; msgtype=response", "warc_date": "2022-09-25T00:53:26Z", "warc_url": "https://www.35mmc.com/15/06/2021/contax-iia-german-rangefinder-review/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.3923468291759491, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.1824355274438858, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.053413331508636475, "__label__science_math_and_technology": 0.0229873675853014, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.007825888693332672, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.014967083930969238, "__label__history_and_geography": null, "__label__literature": 0.006299902219325304, "__label__sports_and_fitness": 0.014513582922518252, "__label__travel_and_tourism": 0.010338151827454569, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": 0.006299902219325304, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Contax iia Rangefinders (Changeable Lens) Contax IIa review – Chasing that Classic Look with an Unaccountably Affordable Vintage German Rangefinder – By Phil Calvit June 15, 2021 Like most of you good 35mmc readers, I’d love to own a classic Leica. And like most of you (unless you’re a more posh lot than I’d assumed), I’ve been unwilling to make the life sacrifices (unheated house, unpaid cell phone bills, kids skipping college, etc.) necessary to actually buy one. But I have good news to share today in the form of my recently-acquired Contax IIa with a 50mm f/1.5 Sonnar, which may actually be the Leica’s equal as a picture-taker. I’m only a couple of rolls in, but I’m fairly ecstatic with the early results from this less-renowned, but certainly not lesser, 1950’s German rangefinder. To be clear, I’m not saying a Leica isn’t, and wasn’t, worth every penny: I’m just saying that I can’t afford one. I like eating too much. And remaining married. But man, you flip through books of the photos that constitute our collective visual history, and guess what cameras shot those pix? Rolleiflexes, certainly. Hasselblads. Various large-format boxes. Nikon F’s. And Leica after Leica after Leica. Cartier-Bresson? Duh: Leica. Robert Frank? Leica. Fred Herzog, Gary Winogrand, Bruce Davidson, Harry Gruyaert—Leica shooters all. William Eggleston? Literally 300 Leicas. Am I going to shoot like these folks? I’d never be so presumptuous. But might I dream of creating the occasional photograph that can at least evoke the vision of say, a Saul Leiter? I like to hope so. Over the past few years I’ve obtained a modest collection of classic film cameras, because I love the photos they make, and because I find them almost impossibly beautiful objects. The fact that an entirely mechanical camera from the 1950’s can yield more beautiful results (aesthetically, if not necessarily technically) than a modern example with its onboard supercomputer reassures and amuses me. I love the fact that my Rolleiflexes, my Olympus XA, Mamiya 645, Rollei 35S, etc., have their shutter buttons, aperture rings and film advances scattered all over the place. I like picking up a camera and having to remind myself where its various dials and widgets reside. I enjoy shooting without a meter, either by eye or with an iPhone meter app, and I also enjoy the ease provided by the linked meters on my 1970s SLR’s. But until a bag of money falls from the sky in front of me, no Leica M3 double-stroke for Phil. In the course of reading and learning about these wonderful photographers and cameras, however, another brand kept popping up: Contax. It was a Contax II that Robert Capa took ashore in Normandy. According to several web sources, the pre-war and just-post-war Contaxes were every bit the Leica’s equal. Some swear that the Zeiss lenses on the Contax even surpass Leitz glass of the same era. The very informative (and opinionated) Mark Hansen discourses on the subject in some detail, and maintains that the Contax IIa is the finest camera ever built, and he’s intimately familiar with the inner workings of pretty much all of them. And here’s the crucial bit: despite the fact that far fewer Contax rangefinders were produced than Leicas of the same era, and that a IIa at the time commanded about the same price as a Chevy sedan, these cameras today are waaaaaaaaay cheaper than a similar Leica—and I’m probably missing several a’s in “way.” A quick eBay scan will show you Contax IIa’s and IIIa’s (without meter and with meter, respectively) starting at $350—with lens!!! Now I was born many thousands of yesterdays ago, so I don’t believe any of the “EX++++!!” ratings on eBay. And with a good CLA going for $400-$700, I wasn’t going to take a chance on a camera I couldn’t easily return if it didn’t work as advertised. So, no, I wasn’t going to roll the dice on an eBay “deal.” I’ve had good luck with my local Facebook marketplace, though (a dinged but shootable Rolleiflex 3.5 MX-EVS for $150, a pristine Olympus OM2n for $25), so I kept an eye peeled on that. I kept tabs on KEH where I’d bought my Rollei 35S. And I kept checking in on my own marvelous local Minneapolis resource, National Camera Exchange. NatCam had a couple of IIIa’s available, but each had its various ailments. And besides, I preferred the Contax IIa, without the bulky—and almost certainly useless, after all this time—selenium meter on the IIIa. And then one day on the NatCam website appeared a Contax IIa, described as “average,” with the certifiably legendary Zeiss Opton Sonnar 50mm f1.5 lens, for $199. I immediately emailed. Is the shutter good? Is the glass clean? Any other nasty surprises? Yes, yes, and no, I was told. Hold it for me, I said. I’ll be right over. Contax iia back I wonder why they call them “Zeiss bumps”? Contax iia top The top plate, showing that I have the “black dial” version made from 1950-54. I frankly don’t know what my friends at National Camera were thinking with that price point: my new/ancient Contax IIa won’t shoot at 1 second or bulb (I was never going to shoot it at 1 second or bulb), and the 1/1250 is a little sketchy (my Nikon FE and Olympus OM2n are my only other cameras that even shoot at 1/1000, so no big loss there, either). It has the characteristic “Zeiss bumps” under the leather on the rear cover, but I consider that just additional character. Other than that…this thing’s a beauty! It’s the “black dial” version, which dates it to 1950-1954, a period during which Contax held a decided advantage over Leica in that the viewfinder and rangefinder were offered in a single window, as versus the Leica’s two side-by-side (this discrepancy was corrected with the M3, in 1954, which seems to have begun the Contax rangefinder’s slide into irrelevance. By 1962, Contax had discontinued their rangefinders, while Leica of course makes them to this day). Fit and finish on my Contax IIa are extraordinary. I’ll sit in a chair and just heft it in my hands and click things. Every knurl is knurled precisely as it should be knurled. The body feels as dense as a neutron star. Merely as a physical object, the Contax IIa is a piece of art. I was pleasantly surprised with the Contax IIa viewfinder. I was kind of expecting a fuzzy little hole. But this finder, if not quite brilliant, is far from dim, and the rangefinder patch is big and unmissable. Furthermore, the rangefinder base on the Contax is super-wide, making for super-accurate focusing. In fact, I have to say that nailing focus with the Contax is easier than with any of my other manual cameras. I usually focus with the lens ring on the Contax iia, rather than the little wheel in front of the shutter release, and once the finder patch and the subject snap into agreement, I’ve achieved superlative results. Contax IIa, Zeiss Opton Sonnar f1.5, FujiFilm C200. Bandwidth considerations make this considerably less sharp than the original scan. My oh my, this lens! It’s only been two rolls, and there are a lot of types of shots that I haven’t yet attempted, but this Zeiss Sonnar is absurdly sharp. Colors pop; there’s not a hint of vignetting. I can’t wait to run more rolls through this puppy and see what it can do. With the Contax IIa in hand, I had to decide what film to put in it. Most of the photographers that I hope to (however ham-handedly) emulate used long-discontinued Kodachrome, of course. But I wondered: shot through this gorgeous old glass, could a cheaper modern “consumer” film give me some of that saturated, wonderfully “vulgar” (Walker Evans’ word) quality of Kodachrome? Not the same, but in the same time zone? I picked two rolls to experiment with: Kodak Gold 200, and FujiColor C200. I shot both of them in pretty short order, because I wanted to confirm that the camera was a workable shooter, and because I was really anxious to see if I’d achieve the look I was after. Kodak Gold 200 For those shots that I properly exposed, I’m over the moon. Those shots I just missed exposure on, I’m still happy with (a lot of iconic photos have funky exposure and/or focus, after all). And those I completely missed, hey, it’s cheap film, and I’m on a learning curve. Focus was razor-sharp on everything; the rangefinder system on the Contax IIa is a marvel. And the Zeiss Opton Sonnar 50mm f1.5 justifies all the plaudits. Mine is one of the West German ones, I’ve learned: production and patents got complicated by the Iron Curtain. It’s already my second-favorite lens, behind only the otherworldly Xenotar on my Rolleiflex 2.8C. As I said, I raced through these two rolls of film, so I have a limited library from which to pull my highlights (I guess that’s my apology that the highlights aren’t higher). You’ll notice that I seem to be in a “storefront” phase, possibly because I’ve had a Fred Herzog book at the top of my coffee table stack for the past few weeks. He had the luxury of shooting in the impossibly-photogenic Vancouver of the ’60’s and ’70’s, of course, home to a fabulous jumble of signs, and men in hats, and, to modern eyes, gorgeous classic cars (he also had the advantage of being prodigiously talented and hard-working). My experiment was: could a similar camera and film lend a kind of timeless patina to observations of the role of color in our modern world? Would it be interesting to view 2021 through 1954 eyes? Rug store, hence the little camels. Kodak Gold 200. Based on this initial, humble exploration, I’d have to say, yes. I like a few of these images very much indeed, especially considering they’ve been culled from just two rolls of film shot over 8 days. There’s a sort of silken garishness (my runner-up description was “honeyed vulgarity”) to the colors that makes me smile, and this absolutely miraculous lens, with its easy-to-achieve tack-sharp focus, helps keep them out of the realm of throwaway “snapshots.” All from a $200 camera. With cheap film. I can’t wait for the next few dozen rolls from the Contax IIa. FujiFilm C200 I dropped the blacks a bit ’cause the exposure was off, but I like the results an awful lot. FujiFilm C200. Color rendition? Bam! FujiFilm C200. FujiFilm C200 Phil Calvit is an advertising writer and classic camera enthusiast in Minneapolis. See more of his work at instagram.com/philcalvit Contribute to 35mmc for an Ad-Free Experience There are two ways to experience 35mmc without the adverts: Paid Subscription - £2.99 per month and you’ll never see an advert again! (Free 3-day trial) Subscribe here Content contributor - become a part of the world’s biggest film and alternative photography community blog. All our Contributors have an ad-free experience for life. Sign up here. Phil Steelandt June 15, 2021 at 11:37 am Hi Phil, nice post ! I like your “love affair” with the Contax and the way you share it with us 😉 I have the same feeling with my 1937 ContaxII. Everything fits well on the Contax: 1 speed dial, 1 combined viewfinder, accurate focussing, easy film-loading…and a beautifull “Bauhaus-style” design. I have to confess that I prefer to shoot with my Contax than with my 1951 Leica IIIc (although this is a fine camera too) John Tarrant June 15, 2021 at 12:10 pm The Contax is aware thing o beauty and was widely used by many photographers in the “golden age” of street photography and amongst amateurs provoked strong “identity wars”. The Leica M3 of course stole much of the Contax’s thunder but the ultimate loss was the removal of production to the Ukraine so that the continuity of the brand was lost. Possibly the other problem was the over complicated shutter mechanism compared to the Leica. Nonetheless the Contax remains a jewel of a camera and the Zeiss lenses are wonderful. I remain in the Leica camp but use a Sonnar f1.5 on my M3 James T June 16, 2021 at 2:01 pm Indeed. While Ansel Adams is not exactly known for 35mm photography, when he did use small format I believe the Contax (and later Contaflex) was his camera of choice. Brian Nicholls June 15, 2021 at 12:33 pm Hello Phil, Great article and beautiful abstracts. I’m first and foremost a musician and second, a photographer who believes there is a tipping point whereby the cost/benefit analysis does not warrant the spending of a ‘surplus’ four figure sum on a camera. Instead, I would have no hesitation on splashing the cash on a new Fender or Martin guitar! MIchael Jardine June 15, 2021 at 1:06 pm Great purchase- and I’m glad of the disclosure that you’re an ad writer by day! The article and your pics are especially interesting as I’ve had a bit of a flirtation with the Kiev-4 of late. The Kiev is a very capable camera and I love the Jupiter-8 take on the Sonnar but the whole thing is a teeny bit agricultural and some days you don’t want to fight with your kit in the way it seems to require. I must redouble my efforts to find someone with the Contax to be able to make a rational comparison. Happy shooting. David H Thurman June 15, 2021 at 2:07 pm Loved this! Wonderful colors from the Kodak and the Fuji must have been the second roll because it all got even better! Awesome lens! Kurt Ingham June 15, 2021 at 3:13 pm There is a simple explanation for the lower costs of collector Contaxes: They are very complex and difficult to repair and service These days we use them far less and such issues don’t pop up as much, but not TOO long many of us used old cameras pretty regularly Whenever I feel the need for the Contax experience I grab a Russian copy – keeping the originals unstressed but for the occasional light exercise Bud Sisti June 15, 2021 at 7:26 pm Congratulations on the Contax, Phil! Anyone who has ever held one can appreciate your infatuation. They are exquisite! However, I take issues with your priorities. House too cold? Put on another sweater. Kids hungry? They can forage. And college educations are way overrated (I’m proof). Get your priorities straight and get the M3 DS. Phil Calvit June 16, 2021 at 3:50 am Bud, good points all, but you forgot the part about me wanting to remain married. My priorities could certain progress however. Clive Shepherd June 15, 2021 at 9:07 pm ” I enjoy shooting without a meter, either by eye or with an iPhone meter app, and I also enjoy the ease provided by the linked meters on my 1970s SLR’s.” Why? Film, unlike digital, costs money and you seem to be budget conscious. There are so many excellent used meters available for next to free. It will take no time for the unwasted shots to pay for the meter. It is a vital part of the kit for serious photography. Hamish Gill June 15, 2021 at 9:18 pm Why does photography need to be serious, and what does serious actually mean in this context? Photography can be just enjoyable where the fun is in not worrying about perfect exposure. Everyone’s process is different, as is everyone’s reason for partaking in photography. I understand the thoughts behind the question – but the answer to that “why” is simple: that’s just the way Phil enjoys working July 25, 2021 at 3:20 am Sunny 16 is easy and it works. And there’s no need to meter more than once when the lighting is constant. Adam Singer June 15, 2021 at 9:20 pm I Loved your Pro Contax article. Good to see Contaxs getting deserved attention. Pre war Contaxs were more expensive than Leica’s , a cost boosted by among other things a shutter made complex to circumnavigate the Leitz patents. Arguably Contax lenses were not equalled by Leica till well into the 60s. The Contax ll came out in 1936, and the Leica M3 came out in 1954. (Yes Pre and Post war Contax lls have different innards but in use are the same camera, its a complicated story but lets keep this short ) Thus I would say the real Leica comparators were the screw thread Leica llls not the M3. By 1954 Zeiss were developing their Contax “replacement” the Contarex SLR, that came out in 1958. Worth noting that the early Russian Kievs are Russian ‘Contaxs’ built on the same machines and plant taken from the Zeiss factory in Dresden which made the pre war Contax lls. So Kievs are not so much a copy but a ‘continuation’ of the pre war Zeiss Contax. if I had to choose M3 or Contax ll, tough call, I love both, and if I was restricted to just early M lenses would probably take the Contax, Those Zeiss lenses are wonderful. If allowed later M lenses would take the M3. If you would like to see shots taken on pre and post war Contaxs then go here … Post war Contax shots https://www.flickr.com/photos/[email protected]/albums/72157684208944435 Pre war Contax shots https://www.flickr.com/photos/[email protected]/albums/72157679468525336 June 15, 2021 at 9:25 pm While I have a vintage Leica IIIG, I also hankered for a Contax IIa or IIIA. I found a pristine IIIA (with meter) and it has no Zeiss bumps. Not only that, the meter works and is off only a little bit. The meter adjustment screw is tiny and easily overloked. My Contax is fitteed with the Sonnar f/2.0 rather than the f/1.5. The Contax IIA/ IIIA is a precision masterpiece. You wrote an excellent article. Charles Embrey June 15, 2021 at 9:59 pm Camera doesn’t matter. The film stock used does. The look of a photo is determined by the film used—I despise grain therefore I used Panatomic X instead of Tri X. My most liked modern film is Kodak BW400CN. BTW the original Nikon F used a copy of Barnack’s Leica shutter. BTW2 in the USA you can buy a Leica M3, with a warranty for less than $500 U S Dollars Phil Calvit July 27, 2021 at 5:47 pm The camera doesn’t matter? Seems you’re on the wrong website, Charles. Also, what a ludicrous assertion. You’re still using a pinhole, I assume? And if you can show me a $500 M3 from a reputable seller anywhere in the US I’ll walk from Minneapolis to buy it. Steve Macfarlane June 16, 2021 at 12:42 am Thanks for the post, Phil! I went down the Contax IIa path a several years ago, and greatly appreciate these cameras as things of beauty as well as good shooters. My IIa did suffer a broken shutter ribbon, which resulted in a stay at Henry Scherer’s spa. After an overhaul, the camera is working perfectly. As for lenses, the Zeiss Opton Sonnar 50/1.5 deserves its reputation as one of the best 50s ever made; the f2.0 version is very nearly as good. If and when you do get a Leica M, there are adapters out there that will allow you to mount your Zeiss Sonnar on a Leica M camera. When your budget allows, and assuming you want to stick with your Contax, you might try the Carl Zeiss Biogon 35/2.8. It’s a lens with stunning resolving power and, like the Opton Sonnars, is especially brilliant with color film. Enjoy!! Phil Calvit June 16, 2021 at 3:57 am Steve, yeah, I’ve scoped out the 35/2.8. I’ve already got a couple of lenses of that or a similar focal length that I like a great deal, and I’m trying to keep my outfits relatively simple, so for now, it’ll be on the “some day” list. jeremy north June 16, 2021 at 12:48 am Thank you Phil for a good read. I particularly enjoyed your subjective viewpoint which is entirely in keeping with the way Hamish approaches many of his experiences. I say that because I read your piece as your experience with this camera rather than a review of it. I like the iia too. It isn’t as easy to use as a Leica M but it is smaller and let’s face it Zeiss lenses are better than Leitz. The finish is not Leica quality but as you said it is a very solid and satisfying camera to use. I agree with you that the iia is preferable to the iiia as a selenium meter that old is more a hinderance than a help. I use a small Sekonic analogue meter with mine but guesswork is a fair approach if that floats your boat. Anyway keep up with enjoying your photography, keep feeding your family. Don’t force your kids to go to university but encourage them to follow a vocation.if that’s where their skills are better employed. Most Leica cameras are sitting in glass show cases but your Contax is being used ! Peter Grey June 16, 2021 at 2:40 am Okay, I want a Contax II2 now too. An interesting and funny write up. Cool pictures as well! June 17, 2021 at 8:39 pm Great review and some Interesting test exposures. Gorgeous camera, as well. As for maintenance, is Mr. Scherer the only alternative in USA now? Tom Redd November 21, 2021 at 4:09 pm I love the original Contax rangefinder cameras almost as much as my Exaktas, and that is saying a lot. First I would like to dispel some misinformation about the beautiful Contax IIIa. I personally have NEVER seen a Contax IIIa with a broken selenium meter. I own three and every single meter is dead on. Every time I see one at a photo show, the meter works great. After all, this is a Zeiss camera and they knew what they were doing. I once read that Zeiss somehow “cooked” the selenium cells to last longer (don’t know if that is true or not but it sounds good). Also, they added the cool door, to cover the selenium cell to preserve those electrons from constantly being pushed off by constant stray photons. The meter also has an excellent zero meter adjustment that you rarely see on other cameras. Furthermore, I think that the meter box adds to its aesthetic look. While, the Contax IIa is a lovely camera, to me it is “missing” a little bit. Functionally, of course the IIIa is a much easier camera to use because of the meter. If someone announces in an article that your desired Contax IIIa camera will have a non working meter because they are old and selenium cell never work, simply don’t believe them until you see for yourself. BTW, I own a 1936 Contax III. Its meter is still reading accurately. I also own a Contax IIa. I bought it at KEH for $57. It was advertised as Ugly non working. I said what the heck for that price, lets give it a try. It cleaned up not too bad at all (except for someone’s name engrave on the bottom). I went on line and found a website on getting the shutter working. A couple of hours work and some lighter fluid and it is still working these ten years later. Finally, I was able to find on Ebay a mint color dial Contax IIIa with the incredible 1.5 Sonnar lens. It went cheap because the guy listed it as a Contax “3” and not a IIIa. What a beautiful finish on that camera, It is, as another website said, “jewel” like. I don’t think any Leica compares at all in fit and finish! Have fun! May 19, 2022 at 9:07 am I have been using a Contax iia and a Leica M3 side by side for the last seven months. The M3 is a loan, and I’m a longtime Contax rangefinder user. While I appreciate the viewfinder in the M3 (who wouldn’t), I’m also really aware of the Contax’s marginally smaller size and significantly lighter weight. It remains my go to 35mm camera. Jan M Jasiewicz August 29, 2022 at 9:13 am FYI Robert Capa used a Contax – especially his D-day images Leave a Reply This site uses User Verification plugin to reduce spam. See how your comment data is processed. This site uses Akismet to reduce spam. Learn how your comment data is processed. Contribute to 35mmc for an Ad-Free Experience -Click here to find out more
ef011331-fc11-4cf8-a772-48839f4feb66	{ "cc_dump": "CC-MAIN-2014-42", "dolma2_qc": { "0": 0.9999493360519408, "1": 0.00007064836972858757 }, "exact_duplicates": 0, "lang": { "en": 0.9158890843391418 }, "madlad": { "num_sentences": 49, "rule.2": [ 1, 31, 35, 36, 37, 42, 43, 45 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 9481878505982, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 1058, "sa_remove_ranges": [ [ 0, 1070 ], [ 5505, 6576 ] ], "text_hash": "338274629584604514702155102957274549189", "warc_content_type": "application/http; msgtype=response", "warc_date": "2014-10-25T09:28:47Z", "warc_url": "http://www.historylink.org/index.cfm?DisplayPage=output.cfm&File_Id=139", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.7773098945617676, "__label__education_and_jobs": 0.0027249858248978853, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.001108730910345912, "__label__science_math_and_technology": 0.0016078451881185174, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.0008659008308313787, "__label__entertainment": null, "__label__history_and_geography": 0.4532718360424042, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0010749627836048603, "__label__crime_and_law": null, "__label__food_and_dining": 0.0008140857680700719, "__label__industrial": 0.0006363342981785536, "__label__transportation": null, "__label__religion": 0.0008140857680700719 }, "weborganizer_max": "__label__art_and_design" }	ai, Kichio Allen (1901-1966), Architect HistoryLink.org Essay 139 : Printer-Friendly Format Kichio Allen Arai was Seattle's first Asian American architect to design buildings under his own name. Arai's approach to design integrated Japanese aesthetics with American conventions. Arai's career was unfortunately brief, for the Great Depression and then his forced relocation and incarceration along with others of Japanese ancestry during World War II stymied his potentially fruitful professional life in architecture. He is best known for Buddhist temples in Seattle, Auburn, and Wapato, Washington. Born in Port Blakely, Washington, Arai moved to Seattle with his family in 1909. He enrolled in the University of Washington's architecture program in 1919 and graduated six years later with a bachelors degree. Upon graduating, he began his professional career within the firm of Schack, Young and Myers, one of Seattle's most prolific architectural and engineering firms operating in the early twentieth century. Arai soon left to pursue a graduate degree in architecture from Harvard. Such an achievement was unusual for Seattle architects practicing before World War II. He returned in the 1930s to an economic and political environment that negatively affected his success as a professional architect. The Great Depression afforded little work for established architects in Seattle. Relative newcomers and minorities faired even worse. A career in semiprofessional baseball offset Arai's spotty practice during the 1930s. The Yakima Buddhist Bussei Kaikan (1936-1941), on West 2nd Street in Wapato, Washington, was one of the few noteworthy buildings attributed to Arai at this time. It was built by members of the congregation, and was not completed until after World War II. The Japanese bombing of Pearl Harbor generated widespread anti-Asian sentiment in the United States. Interment camps drained the Pacific Coast's Japanese American community, including Arai and the congregation of the Yakima temple. In the spring of 1942, the United States Army removed more than 100,000 residents of Japanese ancestry from their homes in Washington, Oregon, California, Arizona and Alaska, and sent them to nearby temporary assembly centers. From there, trains took them to concentration camps in isolated parts of the country, many for the duration of the war. Arai may have been sent to Camp Harmony, an assembly center in Puyallup which shipped Japanese Americans to a remote camp in Idaho. The Army interned Arai and his family at a pivotal point in the young architect's career. In 1940, he received a commission for the new Seattle Buddhist Church, to be built at 1427 South Main Street in the International District. Construction began in late 1940; the building was dedicated on October 5, 1941. Arai was forced to leave Seattle only months later, unable to enjoy the positive momentum generated by this important work. He returned in February 1947 and found work within a few local firms, generally working as an associate. His life work consisted of few executed buildings. Arai's extant designs illustrate the architect's interest in traditional Japanese architecture. The Seattle Buddhist Church (1940-1941) illustrates the methods by which Arai combined traditional Japanese design with American building techniques and materials. The recognizably Asian upturned projecting eaves of the building's shingled roof contrast with the typically American brickwork on the building's facade. The latticework within the building's front gable, and the decorative designs accentuating its cornice, or gabled roofline, suggest Eastern precedent. Other works by Arai include: • Seattle's Nichiren Buddhist Church (1928-1929) and its garage (1933) • The Idaho-Oregon Buddhist Temple (1955-1958) of Ontario, Oregon • The White River Buddhist Temple (1963-1964; associate) in Auburn, Washington • The Shinran Shonin 700th Anniversary Memorial Hall addition to the Seattle Buddhist Church (1963-1964; associate). Each of these works describes Arai's distinctive Japanese American approach. Many of his designs remain within Seattle, testament to the strength and adaptability of the Asian community after World War II. David A. Rash, "Kichio Allen Arai," in Shaping Seattle Architecture: A Historical Guide to the Architects ed. by Jeffrey Karl Ochsner (Seattle: University of Washington Press, 1994) 240-245chio Allen (A.K.) Arai (1901-1966), n.d. Courtesy Gerald Y. Arai Collection Interior, Seattle Buddist Church, designed by architect Kichio Arai, 1999 Photo by Heather MacIntosh Home About Us Contact Us Education Bookstore Tourism Advanced Search HistoryLink.org is the first online encyclopedia of local and state history created expressly for the Internet. (SM) HistoryLink.org is a free public and educational resource produced by History Ink, a 501 (c) (3) tax-exempt corporation. Contact us by phone at 206.447.8140, by mail at Historylink, 1411 4th Ave. Suite 803, Seattle WA 98101 or email [email protected]
9b545b8f-3197-41d1-89d8-db9d5d17b5be	{ "cc_dump": "CC-MAIN-2018-09", "dolma2_qc": { "0": 0.9999526739120485, "1": 0.00006738011143170297 }, "exact_duplicates": 28, "lang": { "en": 0.9835333824157716 }, "madlad": { "num_sentences": 30, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 563, "sa_remove_ranges": [], "text_hash": "83942961511627689105678523689122939026", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-02-24T02:35:26Z", "warc_url": "http://sukanyarahman.com/tag/indrani/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.91965252161026, "__label__education_and_jobs": 0.01244165189564228, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.01591639406979084, "__label__science_math_and_technology": 0.006702851038426161, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.005921069998294115, "__label__health": null, "__label__politics": 0.010338151827454569, "__label__social_life": null, "__label__entertainment": 0.024433093145489693, "__label__history_and_geography": 0.14805719256401062, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.026769286021590233, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.042097724974155426, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Tashi Tobgyal photo Luc Durand, architect of many Delhi landmarks of the 1960s, returns to the capital after fifty years A brightly-coloured wall leads film buffs to India’s first cinema with a 70 mm screen, Sheila Theatre (Habib Rahman architect) in Paharganj. A bold yellow with abstract geometrical figures in red and blue, it was the handiwork of a young Canadian architect Luc Durand. Look closely, and you’ll see his signature on several buildings in the Capital. This week, Durand, now 82, returned to Delhi and revisited some of his early works. “I had come to Delhi at the invitation of architect Jack Vicajee Bertoli to work on a booking office of Air India in Connaught Place. The project took a few months, but my stay in India lasted three years,” recalls Durand. During those years, he worked on innumerable projects such as the master plan of the Capital for which he collaborated with Ford Foundation, drew plans for the Civic Center near Ram Lila Maidan, and the Pusa Road shopping center as well as a master plan for Calcutta. “All projects were not implemented but it was fun working on them as a youngster,” he recalls. It’s been 50 years since he was last in India. This time, a documentary by Canadian filmmaker Etienne Desrosiers has brought Durand to the Capital. “The city has grown more than what I had envisioned,” he says, looking around at the high-rises that emerge through the canopy of trees. Ironically, the city’s changing character has also spelled the end of some of Durand’s work — a cinema in Patel Nagar (possibly Vivek Cinema), for instance, has been demolished. The architect looks fondly at the mural at Sheila Theatre. “It took me three days to complete,” he says, “It was an impromptu design. I took the help of some workers to paint it.” After a while, he adds, “It’s a delight that the mural has been maintained.” Delhi-based architect Habib Rahman had recommended Durand for the Sheila Theatre project. “I remember my first night in the city. Habib took me for a cultural performance where his wife Indrani was performing a dance piece,” says Durand. His apartment in Defence Colony was shared by John Bissell, who established popular lifestyle brand Fabindia. “He was still planning Fabindia then,” says Durand. Durand had also designed numerous houses, including the second floor of author Patwant Singh’s home on Amrita Shergill Marg. In 1959 and 1961 he was commissioned to create pavilions for the Agricultural Fair and the Indian Industries Fair of New Delhi. Back in Montreal, he found that the Indian experience was giving his work a different dimension. “What I learned here enabled me to win a competition to design the Quebec Pavilion for Expo 67,” says Durand. (Expo 67 was the 1967 International and Universal Exposition in Montreal, considered the most successful World Fair of the 20th century). Several other projects followed, including the 1976 Olympics Village in Montreal and documentary films, Urbanose and Urba, which reflected on the urban fabric and social housing. He is now looking forward to covering a part of the Décarie expressway in Quebec. “I have been working on it for 15 years,” says the architect. He also has an observation about Delhi: “There are too many buildings. The cars also are very long”. Luc Durand Indian Express March 16 2012
33706d73-310e-45f8-a947-69a0c6a22ecf	{ "cc_dump": "CC-MAIN-2023-23", "dolma2_qc": { "0": 0.9999657869338988, "1": 0.00005425846029538661 }, "exact_duplicates": 1, "lang": { "en": 0.920089066028595 }, "madlad": { "num_sentences": 8, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 154, "sa_remove_ranges": [], "text_hash": "91451544438150228576390685755046035518", "warc_content_type": "text/html", "warc_date": "2023-05-28T05:13:21.000Z", "warc_url": "https://www.skippingsfinearts.com/en-GB/art-deco-and-20th-century-modern-paintings/humbert-abstracted-miniature-painting-1959-onion-kitchen-still-life/prod_10125", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9899964332580566, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.000617075536865741, "__label__games": 0.0007654056535102427, "__label__home_and_hobbies": 0.07370626926422119, "__label__science_math_and_technology": 0.0013770253863185644, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.002261847723275423, "__label__history_and_geography": 0.0021927168127149343, "__label__literature": 0.006498271133750677, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": 0.009718479588627815, "__label__industrial": 0.0007421813788823783, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Humbert: Abstracted Miniature Painting 1959 Onion Kitchen Still Life Code: 10125 H: 11cm (4.3")W: 13.5cm (5.3")D: 1cm (0.4") I am pleased to present here the first of a series of three abstracted works by French artist Pierre Humbert (b. 1929). Clearly inspired by a humble kitchen staple - onions - they are graceful and elegant and endlessly evocative . Humbert was part if the Les Mains Eblouies group of abstract artists, which counted Joan Miro, Alberto Giacometti, Alexander Calder, Antoni Tapies and Pierre Alchinsky among its members. Les Mains Eblouis exhibited notably at the famed Galerie Maeght founded 1936 in Cannes, which specialised in non figurative and avant garde works. The work presented here is a miniature, measuring just 9 x 12 cm. Painted on slate-like salvaged board, it is signed and dated 1959 on the verso. Presented in a very simple wooden frame, the overall size is 11 x 13.5 cm.
a068452e-3abf-4a95-8811-511193434c8c	{ "cc_dump": "CC-MAIN-2018-39", "dolma2_qc": { "0": 0.9999741315841676, "1": 0.00004591327888192609 }, "exact_duplicates": 0, "lang": { "en": 0.9644403457641602 }, "madlad": { "num_sentences": 49, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 669, "sa_remove_ranges": [], "text_hash": "89307957311060487578054661710047280085", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-09-21T18:23:58Z", "warc_url": "http://www.blog.royalfables.com/2018/09/11/artist-profile-amitabh-baghel/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.4765896201133728, "__label__education_and_jobs": 0.0008140857680700719, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.0071314298547804356, "__label__science_math_and_technology": 0.0012165895896032453, "__label__software": 0.0007893660222180188, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.002482622629031539, "__label__entertainment": 0.0020607432816177607, "__label__history_and_geography": 0.008071991614997387, "__label__literature": 0.16886694729328156, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.010996942408382893, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Social researcher, reader, photographer and an amateur poet, Amitabh Baghel has an interesting family history of attacks and war that perhaps defined for his ancestors, a story different from the expected. Originally from Rewa, an erstwhile princely state in today’s Madhya Pradesh. They moved north to the State of Majhauli Raj in 1704-1705. Constant attacks on Majhauli Raj from neighboring states caused the permanence of this move. Amitabh, however, is a romantic at heart, far from his warrior background! Passionately in love with the hills of Kumaun, he lives in Nainital and perhaps derives a natural inspiration from the beautiful Himalayas for his photography. His oft composed photographs feature birds, landscapes and monuments. For those who appreciate the allure of the natural world or the mysterious romance of historical ruins, his passionate photographs in aesthetically creative compositions are a treat. They show a rare & pleasing combination of art & science in photography that appeals to one’s mind while equally touching the soul. His sunsets create an intense longing while the birds and butterflies on his palms fill the heart with affection. His monuments have beautiful insights and perspectives that show off his technique along with the incurable romantic artist in him. With every frame, he truly captures the moment in time or history and freezes it for posterity. Urdu poetry has been a natural enhancer of the artist in him, and his love for Lucknow and the poetic mysteries of its monuments are very evident in his very musical captures. He is an ardent reader of poetry as well as prose, and has lately dabbled in writing poetry as well. In Conversation with Amitabh Baghel Q1. What appeals to you about photography? When did you realize that you are going to take it up as a profession? It all began with an appreciation of nature in its splendorous beauty . It created an urge within me to capture a moment forever. It follows that my first subjects were landscapes and thence the details that they offer. Every bit of nature is beautiful as is very monument that speaks silently of the very real history that it has witnessed. Q2. Do you have any formal training? No, the field has been my teacher. I have learnt through trial & error, and still am in the process of perfecting my art. However I enjoy it immensely and positive appreciation of my pictures has given me endless joy. It is an opportunity to spread the happiness of the moment beyond myself. Q3. What kind of equipment do you enjoy/prefer using? I use Canon bodies. Lenses: 100-400mm L (for birds and wildlife), 10-22mm (for landscapes and monuments), 50mm (for portraits &street photos). Q4. Is there a specific favorite place that you love capturing? There is a place in Nainital from where one can experience the most amazing sunsets. It’s more by default really, as this place lures me. But I’ve just begun my journey and I hope I have many special places to capture in the future with some luck and encouragement. If I had to rank subjects, they would be in this order: Birds, Butterflies, Monuments & Landscapes. Q5. How did poetry come about? Poetry is inherent to life itself; its about how one realises it! My appreciation of poetry came from my readings and musings. My own poetry is amateur yet, and mostly extempore. It is an expression of a moment or a feeling that fills my heart or creates a yearning, or empathizes with an issue. Like, for example, last November I was in a conference at IHC, New Delhi where I had to present a paper on Women & Cinema. I penned these lines as I was waiting for my turn: ताउम्र ढूँढती रही वो मंज़िलों को अभी और गुज़रना है गर्द-ए-राह से उसको Q6. Do you have any favorite poets? If yes, does it influence your way of writing? Ghalib and Sahir Ludhianvi are my favorites. I relate to their poetry very naturally.
ae455f82-4d0b-4437-a6f8-46c1923dd3d5	{ "cc_dump": "CC-MAIN-2016-22", "dolma2_qc": { "0": 0.9999611377716064, "1": 0.0000589301525906194 }, "exact_duplicates": 0, "lang": { "en": 0.9411147236824036 }, "madlad": { "num_sentences": 88, "rule.2": [ 0, 47, 52, 79, 85, 86 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 1851, "sa_remove_ranges": [ [ 6505, 8149 ], [ 8495, 11334 ] ], "text_hash": "289277524766589452840056946842036468318", "warc_content_type": "application/http; msgtype=response", "warc_date": "2016-05-28T13:37:58Z", "warc_url": "https://charlottemoss.com/tete-a-tete/washington-monticello-and-new-york/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.2689514458179474, "__label__education_and_jobs": 0.007825888693332672, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.04604391008615494, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.010662510991096497, "__label__health": null, "__label__politics": null, "__label__social_life": 0.018556566908955578, "__label__entertainment": 0.007355827372521162, "__label__history_and_geography": 0.027595279738307, "__label__literature": 0.01206377986818552, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.11597072333097458, "__label__crime_and_law": null, "__label__food_and_dining": 0.008071991614997387, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Follow-sprites Share-sprites Flair-for-living May 23, 2016 Travel Scrapbook Washington, Monticello and New York What-a-Week1 What-a-Week4 The weekend was one of celebration. The restoration of the wine cellar at Monticello has been completed and to commemorate the occasion patrons, trustees, vintners etc were entertained at the French Embassy in Washington on Friday evening. Ambassador Vimont our gracious host of the evening welcomed all in his engaging and humorous style about the history of the embassy residence, and French American relations before we sat down do a beautiful meal accompanied by some extraordinary wines. I had two marvelous dinner partners that evening, one the owner of a vineyard in Bordeaux, and the other a young wine enthusiast. I say enthusiast because critic sounds so negative to me and as wines are meant to be savored and enjoyed, commenting on wines, rendering an opinion sounds infinitely more palatable, if you will. The running commentary all evening was about the wines and all things related to wines and discussions about adjectives describing wines, like leather, smoke, graphite, etc. It was a delicious, enjoyable, funny and informative evening. What-a-Week3 Before checking into Keswick - to get ready for the party there were still a few daylight hours left to......shop, of course, so off to Kenny Ball, for antiques; to And George, where I picked up some, porcelain, a mirrored tray, candles, a fab bamboo and silver candle snuffer. Then ordered six more (the cat’s out of the bag now…somebody's getting those for Christmas), I always find things there. I love their mix of old and new, their displays, all very enticing. To Joseph, Joseph, and Joseph...a great mix of antiques. I had my eyes on the stone columns in the back room…but for where? And to Mirabelle Antiques a new shop since my last visit. Add that one to your list. Great mix of furniture all beautifully upholstered, accessories well chosen and good value...a must do for my next trip. And yours too. For other shopping ideas in Charlottesville see my previous post about shopping in Charlottesville or see www.thescoutguide.com. Dinner at Monticello that evening can be described in a word…SUBLIME… What-a-Week2 And prepared by Daniel Boloud.....who had flown in for the evening from Miami where he is opening a new restaurant. Let's just say we honored Mr. Jefferson in an appropriate and elegant manner. The next morning we went back up to the mountain with a group who were visiting Monticello for the first time. Susan Stein, head curator, met the group for a special tour. From there we took them to UVA to the Rotunda and the Lawn for another history lesson. What-a-Week5 A dash back to the hotel to grab bags, to the plane and back to New York. Tuesday-Night What-a-Week8 Tuesday night was a presentation by Michael Bruno, founder of 1st Dibs, for patrons of the Costume Institute of the Met Museum. Michael is a walking talking case study…if you do not know the story of his company, take another look at 1stDibs.com, or go hear him speak, next chance. In today's Wall Street Journal there is a great article on Michael and his latest venture into the fine art world. Pick up a copy and head for the 'Off Duty' section. (Nearby to my article on Cecil Beaton's scrapbooks.) While I know Michael well, and know his story it always reinforces some of the golden rules of success in business. • You must be willing to take risks. • Understand that the contrarian view is not a negative view, but it could be the most profitable. • Timing is everything...seize the moment. • Believe…believe in yourself…believe in your idea…believe in your dream. • You are IT kid. Nobody can make it happen but you. Wednesday-MorningWhat-a-Week6 I had been to see the Chaos and Classicism exhibition at the Guggenheim on a Sunday morning, but when the opportunity came up through the Couture Council at FIT to have a private tour with Ken Silver the curator of the show- I jumped at the chance. It is only on the rare occasion that I am in the museum on a week day, and I must say I was thrilled to see the crowds of people and lines to buy tickets. There was quite a buzz in the air. We had a small group of six, and each of us hung on Ken's words as we worked our way up the ramp. Ken is a like a human catalog, with an animated and humorous delivery. He filled in the gaps, connected the dots between all the pieces in the exhibition. What I also enjoyed was seeing the banter between Ken and Valerie Steele, Director of the Museum at FIT. When the two of them talked you could see sparks of enthusiasm fly. The Chaos and Classicism exhibition explores the classicizing aesthetic that followed the immense destruction of World War I. It examines the interwar period in its key artistic manifestations: the poetic dream of antiquity in the Parisian avant-garde of Pablo Picasso; the politicized revival of the Roman Empire by artists such as Giorgio de Chirico and Mario Sironi; and the functionalist utopianism at the Bauhaus. Chaos and Classicism runs until January 9, 2011. For more information please visit The Guggenheim's website. Wednesday-Evening I attended a lecture at the New York School of Interior Design by Edwin Schlossberg of ESI Design. ESI Design is one of the world's foremost design firms, bringing the missions of world-class institutions to life by inspiring people to discover, engage, participate and learn. What-a-Week7 In 2010, the city of Shanghai hosted the World Expo, a major exposition of culture and innovation from around the world. ESI Design collaborated with the Shanghai Corporate Community and a group of world-renown architects and artists to design the World Expo's "Dream Cube," a 40,000 square foot pavilion that encourages visitors to participate in an impressive multimedia experience comprised of cutting-edge technology, dreamlike environments, collaborative social spaces and sustainably designed materials. Visit the Dream Cube Website. Thursday-Evening Gloria-Vanderbilt I hosted a dinner Party at home for Wendy Goodman and Gloria Vanderbilt to celebrate Wendy's latest book, The World of Gloria Vanderbilt (published by Abrams). Copies are available through Archivia Books. A good time was had by all, and some photos were featured on the New York Social Diary. Friday-Evening Back to Virginia for board meetings at Monticello...The Nancy Lancaster Vase Based on the three tiered balustraded vase in Nancy Lancaster’s writing room at Ditchley Park. A limited number are now available for purchase. 16″w x 10″d x 18″h. Includes the vase, glass tubes and two spare tubes. $2,700.00 (includes S/H) Buy a personalized signed book here: Featured-in-Flower-Nancy-Plant
a4956254-7729-49d1-9a05-491824b8f018	{ "cc_dump": "CC-MAIN-2019-51", "dolma2_qc": { "0": 0.9999741315841676, "1": 0.00004585114584187977 }, "exact_duplicates": 21, "lang": { "en": 0.9696239829063416 }, "madlad": { "num_sentences": 11, "rule.2": [ 0 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 207, "sa_remove_ranges": [], "text_hash": "283433990967513189569380743833971238988", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-12-08T10:25:48Z", "warc_url": "https://arcturus.ca/artist_gallery.php?id=123", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9241518378257751, "__label__education_and_jobs": 0.00574024673551321, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.004915405530482531, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.0071314298547804356, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": 0.0026416745968163013, "__label__politics": null, "__label__social_life": 0.004765199031680822, "__label__entertainment": 0.04743587225675583, "__label__history_and_geography": 0.0229873675853014, "__label__literature": 0.00942259095609188, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.003386611817404628, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Born in the Czech Republic, Lenka Holubec studied at the Film and Video Department of York University in Toronto. She worked as an independent filmmaker developing feature and documentary projects. Still photography always held a strong appeal to her as a tool of powerful visual expression so she has increasingly devoted herself to this field. A strong bond with nature inspires and nourishes her photography work to a great extent. This relationship has become even stronger after her arrival to Canada, thirty years ago, when she traveled along the Great Lakes for the first time. The lakes’ powerful magic touched her deeply. It was a feeling of being at home at the place where she has never been before. Photographing the various elements of nature remains a very intense and revealing experience to her as it involves a process of achieving a unity and harmony between the surrounding environment and oneself. The images then echo her pursuit to capture and preserve the meaning of what she sees and experiences. Perhaps traces of this meaning can be found embedded in the details of rocks, the world of reflections, water images, landscapes or still life. http://photosharedvisions.com/ Contributing Artist in These Exhibits close map view full screen
bd73b20a-9209-448b-bbfc-76c11472ac22	{ "cc_dump": "CC-MAIN-2022-49", "dolma2_qc": { "0": 0.9999724626541138, "1": 0.00004755848567583598 }, "exact_duplicates": 5, "lang": { "en": 0.944543719291687 }, "madlad": { "num_sentences": 11, "rule.2": [ 0, 9 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 208, "sa_remove_ranges": [], "text_hash": "313294503230909469178967600992223082810", "warc_content_type": "application/http; msgtype=response", "warc_date": "2022-12-08T20:52:05Z", "warc_url": "https://www.betterblock.org/post/meet-fd19-s-bus-stop-builders-harkensback", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.16027602553367615, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.00574024673551321, "__label__fashion_and_beauty": 0.01641303114593029, "__label__games": null, "__label__home_and_hobbies": 0.01972912810742855, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.007825888693332672, "__label__health": null, "__label__politics": 0.00574024673551321, "__label__social_life": 0.003386611817404628, "__label__entertainment": 0.002810927340760827, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.01206377986818552, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": 0.002261847723275423, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	• Sarah Gifford Meet FD19’s Bus Stop Builders: Harkensback Harkensback, winner of FD18, has returned for another year. Julie McCollough and Mike Arreaga are business partners and locals of the Bishop Arts District who greatly value their community and sustainability. They own a lifestyle and clothing store, Harkensback, that reflects voyage, cool ‘70s, and urban noir. Mike Arreaga also works with digital fabrication on the side, giving the duo a leg up in the competition. To Team Harkensback, the ideal bus stop not only meets the requirements of the city but also addresses community needs in a way that is sustainable and easily implementable in any city’s landscape. The team is prioritizing lighting and accessibility to help define the area. Their bus stop was also designed to shade and protect passengers from the elements. The stylists are eager to explain their inspiration and design basis in person at the May 4 event. Join us from 6-9 pm in front of the Better Block’s Dallas office (700 West Davis) to enjoy music and vendors while watching the designers’ ideas come to life. FD19 is made possible by the following sponsors: Nunzio Marc DeSantis Architects, Downwinders at Risk, OmniPlan, Craig Schenkel Properties, 3Headed Monster, and Oddfellows. #FD19 #Harkensback #MeettheBusStopBuilders
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For busy entrepreneurs, progress is essential; so how can progress sometimes still feel so frustrating? A major reason for still feeling overwhelmed or as though you are not getting anywhere, can be triggered when your progress is predominantly behind the scenes. This is especially true when a lot of progress has been made over a period of time without any visual cues as to your achievements. Even though progress is still being made, the lack of visual improvement or change can be frustrating or disheartening to both yourself and to others. Working away in the background achieving unseen success is important, but just as important is the achievement of visual progress. Here are three keys to understanding visual progress in the workplace. 1) Visual Progress Equates To Value The major point here is, we see real value in visual progress. Relating value to visual progress manifests itself in many, and even small, ways – a new certificate on the wall, a stack of new business cards, a new office sign or equipment. For some of us, even a tidy desk. So how can you give a visual presence to your behind-the-scenes accomplishments? Visual progress can be achieved in many ways, from a billboard advertising the accomplished goal to a simple checklist on your desk. Some people even like to add things that they have just completed to their ‘To Do’ list - just so they can tick them off. If your business has achieved many things behind the scenes, consider having a meeting with a visual presentation to show, through graphics or images, what the team has achieved. If a particular member of your team has done well, consider awarding them with a small trophy or a bunch of flowers for their desk. If you have achieved a significant amount behind the scenes for a client, consider creating a report or spreadsheet for them that visually represents the achievements and progress that has been made. 2) Visual Progress Creates Satisfaction Visual progress and visual reminders of goals reached and other achievements can work very effectively in both your professional and personal life. People achieve psychological satisfaction from visual progress charts, graphs, and diagrams. This is why both parents and teachers use this strategy with children. In business, the charts or diagrams may not display any extra information about a project, but yourself, your team or your client can get a better ‘feel’ for how things are progressing and the current situation. Computer programmers have cottoned on to this, and use visual progress bars (visual illusions) to speed up the perception of time by ten percent, while the user is waiting for something, e.g. to load or download. “It is not uncommon for [such] illusions to have a measured magnitude of around ten percent,” said George Mather, a psychologist at the University of Sussex, United Kingdom. 3) Visual Progress Stimulates Motivation There is a sense of pride and accomplishment in completing tasks and making progress. Being able to see these in a physical form reinforces that achievement, and it affects our emotions when we see it – anywhere from feeling calm or confident to excited. Progress can also be a great source of motivation. Having visual cues can help stimulate drive and action, resulting in even more progress and increasing both motivation and results. Consider introducing a source of visual progress for yourself or your team to help increase clarity, motivation, dedication and responsibility for achieving the end result. About Us Contact Us From 1994 through to 2019, we have been helping clients for over 25 Years! Phone +64 3 980-3992 Email [email protected] PO Box 7203 Sydenham, Christchurch, New Zealand 25 Years In Business © Traction Business Acceleration Limited, 2020. All rights reserved worldwide.
9a85d95d-33ef-435a-aa87-fa5802eac2fe	{ "cc_dump": "CC-MAIN-2014-10", "dolma2_qc": { "0": 0.9999451637268066, "1": 0.00007489545532735065 }, "exact_duplicates": 0, "lang": { "en": 0.912316083908081 }, "madlad": { "num_sentences": 12, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 262, "sa_remove_ranges": [ [ 1078, 1663 ] ], "text_hash": "260471332331977542436081570948277506728", "warc_content_type": "application/http; msgtype=response", "warc_date": "2014-03-12T04:15:34Z", "warc_url": "http://www.yoox.com/us/56000871WN/item?dept=women", "weborganizer": { "__label__adult_content": 0.00048285454977303743, "__label__art_and_design": 0.9942797422409058, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.00001000000338535756, "__label__games": null, "__label__home_and_hobbies": 0.13297423720359802, "__label__science_math_and_technology": 0.0006562031921930611, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.00001000000338535756, "__label__social_life": 0.00001000000338535756, "__label__entertainment": null, "__label__history_and_geography": 0.0011795104946941135, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.0006363342981785536, "__label__transportation": 0.0011795104946941135, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	return to search results PHAIDON - Design Sold Out • Composition: Paper I mobili di Carlo Mollino Fulvio Ferrari Influenced by the Second Futurism movement and the Surrealist avant-gardes, Carlo Mollino was active in an impressive number of fields, including aeronautics, automobile design, art, photography, set design, town planning, furniture, interior decoration and architecture. His furniture was based on organic shapes, such as tree branches, animal horns and the human body. These pieces evolved from the appreciation of the shapes of Art Nouveau and the architect Antoni Gaudi. He developed a complex construction technique whereby the structure seemed liberated by the weight of the material. The Furniture of Carlo Mollino presents for the first time Mollino's complete furniture and interior design. Including drawings and archival photographs, it represents the most comprehensive record of this part of Mollino's production. 240 pages • Measurements: Depth: 0.86 inches Height: 11.31 inches Width: 9.83 inches • Product code:5600087
39ba396b-2a3f-46ef-9cb0-f51a931e94b9	{ "cc_dump": "CC-MAIN-2021-39", "dolma2_qc": { "0": 0.9999810457229614, "1": 0.000038989885069895536 }, "exact_duplicates": 0, "lang": { "en": 0.9416983127593994 }, "madlad": { "num_sentences": 13, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 433, "sa_remove_ranges": [], "text_hash": "129964600719851312821550087552265407997", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-09-28T15:01:49Z", "warc_url": "https://www.telegraph.co.uk/culture/art/art-reviews/11131067/Ai-Weiwei-Blenheim-Palace-review-what-fun.html", "weborganizer": { "__label__adult_content": 0.0009797518141567707, "__label__art_and_design": 0.8634016513824463, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": 0.0009797518141567707, "__label__home_and_hobbies": 0.003085370408371091, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.001108730910345912, "__label__social_life": 0.0012943083420395851, "__label__entertainment": 0.024433093145489693, "__label__history_and_geography": 0.008071991614997387, "__label__literature": 0.008071991614997387, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.061885979026556015, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Ai Weiwei, Blenheim Palace, review: 'what fun' The first contemporary art exhibition in the rooms and gardens of Blenheim Palace impresses Florence Waters Ai Weiwei Ai Weiwei's art has been exhibited around Blenheim Palace Yesterday morning in the Churchill Rooms of Blenheim Palace, I watched a group of Chinese tourists stop in horror and balk, not at the wall-to-wall display of intimate photographs of Winston Churchill, but at the defaced Qing dynasty table in the centre of the room. Ai Weiwei’s Slanted Table (1997) is one of the first objects you come across in this clever exhibition of the artist’s work, in which old combines with new, East with West, and good taste with bling, in such a subtle way that it is almost seamless. The curators of the first contemporary art exhibition in the rooms and gardens of the Duke of Marlborough’s Oxfordshire palace have bravely hidden 50 works of art by the rebellious Chinese artist still forbidden to leave China after his imprisonment in 2011. Nothing in the show is labelled, so it’s up to the viewer to search out the Weiweis among the palace’s impressive collection of Chinese porcelain and antique furniture. This is less obvious than it sounds, given his works include a 17ft chandelier of glass crystals dripping extravagantly and unapologetically down from James Thornhill’s Baroque ceiling. Weiwei is the perfect choice to show at an intimidating venue such as Blenheim because he’s never been afraid of taking on the powerful. In the library, for example, is Weiwei’s extensive series “Study of Perspective”, dating back to the Nineties – blown up snapshots of the artist sticking his middle finger up at symbols of influence, from Big Ben to St Paul’s, the Tate Modern to a super-yacht. Then there’s the five Han dynasty (202 BC to 220 AD) vases that he’s covered in car paint, or the Bowl of Pearls (2006), 250kg of freshwater pearls in a giant rice bowl, sitting in the centre of the Boulle Room opposite a gold-crested casket by Louis XIV’s cabinetmaker. The show also features recent work that alludes to Weiwei’s time in prison, including his 2012 sculpture Handcuffs, made of valuable huali wood, placed suggestively on Churchill’s bed. Although he’s never been to the Palace, it's hard to believe Weiwei didn’t come up with that himself. And if that wasn’t enough, Weiwei’s porcelain pair of giant juicy watermelons, with all their Freudian breast associations, serve to undermine Churchill’s sentimentality, placed as they are beneath a showcase of fluffy greetings cards that he himself made. What fun. Until April 26; blenheimpalace.com
ef4c2a30-d394-448c-a462-ff1725473686	{ "cc_dump": "CC-MAIN-2017-43", "dolma2_qc": { "0": 0.999980092048645, "1": 0.00003993201607954688 }, "exact_duplicates": 2, "lang": { "en": 0.9401045441627502 }, "madlad": { "num_sentences": 14, "rule.2": [], "rule.5": [ 11 ], "status": "survived" }, "minhash": null, "original_word_count": 240, "sa_remove_ranges": [ [ 679, 1395 ] ], "text_hash": "7480710155747237879657135972592122216", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-10-19T12:56:39Z", "warc_url": "https://ullahennig.wordpress.com/2012/01/04/wetcanvas/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.997120440006256, "__label__education_and_jobs": 0.004619571380317211, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.0004405571380630135, "__label__science_math_and_technology": null, "__label__software": 0.014967083930969238, "__label__software_development": 0.005394937004894018, "__label__finance_and_business": 0.0008930459152907133, "__label__health": null, "__label__politics": null, "__label__social_life": 0.0015587612288072703, "__label__entertainment": 0.0006562031921930611, "__label__history_and_geography": 0.0005627787322737277, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0006562031921930611, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Today I discovered WetCanvas. According to their webpage, “WetCanvas! was recognized by a large community tracking and advocacy group as one of the top 100 largest bulletin boards on the Internet, and the single largest with a focus on the visual artist.” I spent some time exploring their website, and I was deeply impressed. The forums cover such fields as A= abstract and contemporary art, C= colour theory and mixing, D=Drawing and Sketching and W= watercolour painting, only to name a few of them. It is a very lively community of artists, and I am looking forward to explore the site in the coming days and weeks. It is free, and registration is done in a few seconds
34335468-bf5f-4de3-ba38-74708cfc1ef8	{ "cc_dump": "CC-MAIN-2019-13", "dolma2_qc": { "0": 0.99992573261261, "1": 0.00009428406337974592 }, "exact_duplicates": 0, "lang": { "en": 0.8860421776771545 }, "madlad": { "num_sentences": 26, "rule.2": [ 19 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 545, "sa_remove_ranges": [ [ 243, 3388 ] ], "text_hash": "22823060488791568097087791056884567397", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-03-25T11:13:11Z", "warc_url": "https://store.steampowered.com/app/425670", "weborganizer": { "__label__adult_content": 0.006107562687247992, "__label__art_and_design": 0.6513648629188538, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.006913838442414999, "__label__games": 0.6150978803634644, "__label__home_and_hobbies": 0.0006767021841369569, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.4378334879875183, "__label__history_and_geography": null, "__label__literature": 0.006913838442414999, "__label__sports_and_fitness": 0.001335022272542119, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": 0.0007893660222180188, "__label__religion": 0.0005293049616739154 }, "weborganizer_max": "__label__art_and_design" }	Seraph is a skill-based, acrobatic shooter... without aiming! Take the role of an angel who's mastered the art of 'Gun Fu' as she blasts and cartwheels her way through hordes of twisted demons. All Reviews: Very Positive (316) - 84% of the 316
416963dd-e8ed-4b95-a965-fe2cd16d0834	{ "cc_dump": "CC-MAIN-2019-04", "dolma2_qc": { "0": 0.9999451637268066, "1": 0.0000747965241316706 }, "exact_duplicates": 0, "lang": { "en": 0.8416545391082764 }, "madlad": { "num_sentences": 67, "rule.2": [], "rule.5": [ 49 ], "status": "survived" }, "minhash": null, "original_word_count": 616, "sa_remove_ranges": [ [ 1922, 3782 ] ], "text_hash": "130704047419408726165127240654728368830", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-01-19T18:21:06Z", "warc_url": "https://suejudd.com/2015/10/08/intense/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9637899398803712, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.005230126902461052, "__label__games": null, "__label__home_and_hobbies": 0.005921069998294115, "__label__science_math_and_technology": 0.005230126902461052, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.01591639406979084, "__label__entertainment": 0.010023568756878376, "__label__history_and_geography": 0.004208795726299286, "__label__literature": 0.022296184673905373, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.12253321707248688, "__label__crime_and_law": null, "__label__food_and_dining": 0.004765199031680822, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	In the nick of time, I’m squeezing in an entry for Ailsa’s Travel Theme this week – Intense. One evening, sitting eating outside a restaurant in Playa Honda, Lanzarote, we saw this amazing, intense sunset. I left my friends eating, and dashed to get a good shot before it disappeared (very quickly, as it happens)! Only when I got home did I notice the sky reflected in the puddle…. The limited colour palette in this image appeals to me. Intense sunset Intense sunset See more examples of Intense at Ailsa’s blog here. 1. Wonderful balance and curve. The buildings almost the colour of the sea, and the wonderfully placed puddle of sunset. You’re back with bells on. 2. Gorgeous sunset Sue and very intense! 3. Great image for the theme, Sue. Love that small, intense sunset reflection in the puddle. 4. Amazing photo, Sue! The colors are gorgeous and the puddle…fantastic. 5. Very nice, fits “intense” very well. 6. This looks almost like a large fire in the distance. Very unusual, and well-captured, Sue! Best wishes, Pete. 7. I can see what Pete means, that does almost look like the bush fires on the Cape peninsula last summer – the sky reflecting the fire. Great capture for spur of the moment! 8. wonderful photograph Sue, love the design and colour placements!! 🙂 9. The reflection in the puddle is like a hidden bonus! 10. Really intense, so inspiring – very well captured… 🙂 11. Stunning orange light Sue and the glowing puddle is the finishing touch. 12. a fiery return Sue!! Beautiful!!- and yes that little pool of light!! 13. LOVE the intensity! And the puddle 🙂 14. Very dramatic shot and a great composition. 15. Amazing end of day photo; I love the splash of sun left behind in one of the puddles. 16. Like the sky is on fire, Susan, beautiful. Are your friends used to your photographic dashes by now? 😉
ecbe3bae-460f-46cd-9626-b5c4b560478d	{ "cc_dump": "CC-MAIN-2018-09", "dolma2_qc": { "0": 0.9999737739562988, "1": 0.00004619824539986439 }, "exact_duplicates": 0, "lang": { "en": 0.884627103805542 }, "madlad": { "num_sentences": 38, "rule.2": [ 27 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 828, "sa_remove_ranges": [ [ 3642, 4219 ] ], "text_hash": "81391947630357597590544374807008406466", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-02-20T03:41:34Z", "warc_url": "https://www.glassonweb.com/news/expo-milano-2015-agc-glass-embodies-themes-sustainability-and-innovation-belgian-pavilion", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.4532718360424042, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.007355827372521162, "__label__fashion_and_beauty": 0.0017107223393395543, "__label__games": null, "__label__home_and_hobbies": 0.03515484184026718, "__label__science_math_and_technology": 0.1824355274438858, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.0019367348868399856, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.01323282066732645, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.03733688220381737, "__label__crime_and_law": null, "__label__food_and_dining": 0.004765199031680822, "__label__industrial": 0.287777841091156, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Expo Milano 2015: AGC glass embodies the themes of sustainability and innovation for the Belgian pavilion As a partner in the Belgian participation at the Universal Exhibition in Milan (1), AGC Glass Europe is supplying high-performance glass for the Belgian pavillion (2) with improved thermal insulation, solar protection and energy generation, not to mention decoration, security and hygiene. As well as marking the Belgian identity of the pavilion, the AGC glass embodies the themes of environmental sustainability and technological innovation that underlie its design.Belgian Pavilion @ Expo Milano 2015 - www.expomilano2015.beGlass for energy controlIn response to the general theme of the Expo, namely food (1) , the first part of the pavilion symbolically represents the very elongated shape of the traditional Belgian farm.The cladding consists of coated glass(3) (Stopray Smart) which provides not only solar protection but also higher thermal insulation(4). The roof is covered with BIPV(5) laminated photovoltaic glass which filters the light while supplying electricity for the pavilion. This glass incorporates either crystalline photovoltaic cells (SunEwat XL glazing) or an organic film which produces electricity. The latter product, currently under development, is a joint project by AGC Glass Europe and Heliatek. Belgian Pavilion @ Expo Milano 2015 - www.expomilano2015.be Glass for decoration and health Inside the farm, the path of the future with its moving light display plunges us into an underground space which opens onto the food supply of tomorrow. Visitors go back up via a majestic staircase flooded with overhead light. The staircase is bordered by a balustrade of extra-clear laminated glass (Planibel Clearvision) offering excellent light transmission and colour rendering. The same laminated extra-clear glass is used for the steps, but with an opaque white film. The visitor then enters the second part of the pavilion, symbolising the urban layout of the future on a reduced scale, made up of a city centre and surrounding neighbourhoods separated by green re-entrants that act as the lungs of the city. At last the visitor arrives at the centre of this city, filled with Belgian flavours, with an atrium roofed by a geodesic dome covered in equal amounts by SunEwat XL and Stopray Smart glass. The latter type of glass is also used for the roofs and facades of the small wooden pavilions representing the neighbourhoods. Finally, the atrium has an open space for culinary experiences with anti-bacterial partitions in clear Planibel AB glass or white Lacobel AB painted glass capable of eliminating 99.9% of all bacteria on the glass surface. In this way AGC Glass Europe demonstrates that its range of advanced glass solutions lies at the heart of a sustainable, innovative architectural solution. (1) Expo Milano 2015 is being held from 1 May to 31 October 2015 on the theme of “Feeding the Planet, Energy for Life”: www.expo2015.org. (2) Winning design by Patrick Genard & Asociados/Marc Belderbos for the Besix/Vanhout consortium: www.expomilano2015.be. (3) Thin layers of metal oxides deposited on the glass, invisible to the naked eye, give improved thermal insulation and/or solar protection. (4) Glazing with a thermal insulation coefficient of 1.1 W/(m².K). It is also highly selective, letting through 51% of visible light but only 33% of the sun’s heat radiation. (5) Building Integrated Photovoltaics: photovoltaic system that forms part of the building itself, generating electricity while also playing a structural role. AGC Glass Europe, a European leader in flat glassExpo Milano 2015: AGC glass embodies the themes of sustainability and innovation for the Belgian pavilion glassonweb.com Others also read The Glass Machinery Company recently took delivery of a Fratelli Pezza easymarker UP. Join industry leaders from Sept. 5-7, 2018 to help drive innovation in glass technology! Eastman Performance Films, LLC, will return to the 2018 International Window Film Conference and Tint-Off™ (WFCT) this fall in San Antonio, Texas, as a Diamond-Plus sponsor. The company will once again feature both the LLumar® and SunTek® brands. Mappi always minimizes the impact on the customer’s production during the tempering furnace installation. Roto will welcome visitors to “Fensterbau Frontale” as the newly crowned “2018 global market leader”. WTS Paradigm and 360 Innovations (now a division of WTS Paradigm) will be returning as a FenCon18 sponsor and presenter! From industry Is Kuleleri, Kule: 2, Kat: 22, 4. Levent 34330 Levent-Istanbul/İstanbul Adelio Lattuada S.r.l. Officina Meccanica Schiatti Angelo S.r.l. Adelio Lattuada S.r.l. Adelio Lattuada S.r.l. Fratelli Pezza Srl Fratelli Pezza Srl Add new comment
c0a59d22-c43b-400a-a254-2030dbdbff88	{ "cc_dump": "CC-MAIN-2023-23", "dolma2_qc": { "0": 0.9999285936355592, "1": 0.00009145717922365292 }, "exact_duplicates": 0, "lang": { "en": 0.9558420181274414 }, "madlad": { "num_sentences": 11, "rule.2": [], "rule.5": [ 10 ], "status": "survived" }, "minhash": null, "original_word_count": 108, "sa_remove_ranges": [], "text_hash": "130842338061156309592404262292066582647", "warc_content_type": "text/html", "warc_date": "2023-05-30T09:56:45.000Z", "warc_url": "https://en.rti.org.tw/radio/programMessageView/programId/1434/id/108028", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9946250915527344, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.003386611817404628, "__label__games": 0.0027249858248978853, "__label__home_and_hobbies": 0.01283121295273304, "__label__science_math_and_technology": null, "__label__software": 0.014073628932237623, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.010338151827454569, "__label__social_life": null, "__label__entertainment": 0.02844603545963764, "__label__history_and_geography": 0.0026416745968163013, "__label__literature": 0.0029910325538367033, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": 0.007825888693332672, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Artist Tom Rook and his fascinating drawings of Taiwan (Part 2) • 27 March, 2023 Tom brought a large canvas of one of his drawings! (Photo: Sharon Lin) Hey you, Sharon here. Today, we’re continuing our chat with artist Tom Rook. What inspires him in his creation process? Which cities does he hope to draw next? What is home to him? We will find out more today! Take notes, local governments, cool arts organization people, if you’d like to collaborate with Tom, take this as a sign. Wait no more. Reach out to Tom! You can find Tom Rook on Instagram @tomrookart and Facebook https://www.facebook.com/TomRookArt/
a7df0188-80db-448c-99cb-fc8151b08ae4	{ "cc_dump": "CC-MAIN-2017-30", "dolma2_qc": { "0": 0.9999731779098512, "1": 0.00004686994361691177 }, "exact_duplicates": 0, "lang": { "en": 0.9292089939117432 }, "madlad": { "num_sentences": 71, "rule.2": [ 67, 68 ], "rule.5": [ 13 ], "status": "survived" }, "minhash": null, "original_word_count": 1591, "sa_remove_ranges": [], "text_hash": "33266979904740988684057264558585403688", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-07-22T18:47:17Z", "warc_url": "https://www.udemy.com/how-to-paint-with-acrylics-for-the-absolute-beginner/", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.9732507467269896, "__label__education_and_jobs": 0.003717252518981695, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.004765199031680822, "__label__games": 0.0005293049616739154, "__label__home_and_hobbies": 0.053413331508636475, "__label__science_math_and_technology": 0.0018202114151790736, "__label__software": 0.0019367348868399856, "__label__software_development": 0.0021927168127149343, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.00038998457603156567, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	How to Paint with Acrylics for the Absolute Beginner 4.3 (735 ratings) Instead of using a simple lifetime average, Udemy calculates a course's star rating by considering a number of different factors such as the number of ratings, the age of ratings, and the likelihood of fraudulent ratings. 21,688 students enrolled Wishlisted Wishlist Please confirm that you want to add How to Paint with Acrylics for the Absolute Beginner to your Wishlist. Add to Wishlist How to Paint with Acrylics for the Absolute Beginner Discover simple, step-by-step, Acrylic Painting techniques with professional artist Will Kemp 4.3 (735 ratings) Instead of using a simple lifetime average, Udemy calculates a course's star rating by considering a number of different factors such as the number of ratings, the age of ratings, and the likelihood of fraudulent ratings. 21,688 students enrolled Created by Will Kemp Last updated 10/2013 Price: Free • 39 mins on-demand video • Full lifetime access • Access on mobile and TV • Certificate of Completion What Will I Learn? • By the end of the course you'll be able to start understanding colour mixing, have a knowledge of paint application and gain an understanding of how to create a realistic 3D form with acrylic paint. • Have a painting to hang on the wall at home! View Curriculum • 24 cm x 18 cm pre-primed canvas. Size 6 Isabey Isacryl acrylic brush – filbert Size 5, small round brush • Paints - Artist quality Titanium White (Invest in this white even if you use student quality paint for the rest of the colours). Burnt umber, Raw umber, Cadmium red light, Cadmium red medium, Cadmium yellow light, Permanent Alizarin crimson – Winsor & Newton • Extra colours (but not essential) - Green gold, Phthalo blue (red shade) • 3B pencil, Kitchen roll (paper towel) Jam jar for cleaning brush. Small dipper for diluting paint How to create a stunning Still Life acrylic painting in under an hour This painting course is about what can be achieved with acrylic painting when you apply my 7 painting principles to your painting. The course is a 35 minute video with supporting step-by-step explanations. You'll need a couple of brushes, a small canvas and a few paints. I list the materials that I use as a guide in the course requirements but any materials you have that are similar, will be fine. (You'll be able to download the cherry photograph I work from on Lecture 1 of this course.) Take this course if you think you'd never be able to learn to paint. In under an hour you'll be amazed at your results. Here are some of my previous students success with this tutorial. Many of the paintings are their first ever painting with acrylics. Below are some comments from previous students: "Hi Will, Thanks for this tutorial, was very very informative. I thoroughly enjoyed painting it. Your step-by-step guide was detailed and very easy to follow. Thanks for guiding beginners like myself." "Hi Will, Thank you so much for the tutorial. I’ve never painted anything before, and wanted to give it a shot. I’m only 2 hours home from the art supply store and I’ve followed your videos as best as possible. I made a few mistakes here and there, but I’m still very proud of the work I made, entirely thanks to you!" "I followed this tutorial and though not exactly like yours I think it came out very well. Will be posting a photo on the blog soon. I am a person of a certain age and never thought I could paint and draw, but it seems I can. Thanks for making these vids and helping those like myself who never did art at school or have trouble finding teachers locally to learn from. You are a star! Bless you." "Dear Will, Thank you for this video. You are an engaging and enlightening instructor. I learned a lot, had great fun, and was reasonably pleased with my attempt." "Hi Will, Just started watching your videos and have been learning and re-learning so much! I haven’t painted anything (been busy with graphic design) for the joy of it in about 30 years so I feel like I’m just getting started. Thank you thank you thank you for your site and your amazing style of teaching!" Who is the target audience? • Absolute beginner to acrylic painting • Students who feel they 'have no talent' for painting Students Who Viewed This Course Also Viewed Curriculum For This Course Establishing the Darks & Lights 4 Lectures 13:38 Introduction & overview of the course 00:31 In this video I demonstrate how to select the right colour for your 'coloured ground.' Different colours using a burnt umber & titanium white, or raw umber & titanium white will change the mood of a piece before you even start the main painting. For this painting I wanted to have a subtle play between the two complementary colours, red and green. Because red is the main colour of the cherry I wanted to put it on a cooler base, so using raw umber and white achieves this effect. Here's a demonstration of applying a coloured ground Choosing a coloured ground & Reference photo 01:12 1. Draw out an outline from the reference photograph onto your canvas that has been coloured with a raw umber & titanium white mix. 2. Using Burnt Umber establish the darkest area of the picture. You can squint your eyes at the image to help to distinguish each area, rather than getting hung up on the details. 3. Try to focus on the subject as a whole, and the shadows as an important area of the painting. Painting the Darkest Darks 06:23 The added white can add texture, movement and a ‘painterly’ quality to your still life’s – very simply and very easily. Using a mix of Titanium white & Burnt Umber, wash in the background colour. Don't paint too thickly as we want parts of the tonal ground to show through. I use water & Acrylic glazing liquid (Gloss) to dilute the paint. Once the white has been painted in we have a 3 tone structure The Darkest Darks from the Burnt umber The mid-tone from the coloured ground The lights from the titanium white Introducing white 05:32 Introducing Colour 2 Lectures 16:30 The local colour of a subject is just the colour of an object in it’s simplest terms. If you could only choose one colour to paint the whole object that is usually your local colour, not too dark and not too light just like Goldilocks likes her porridge… just right. The Permanent Alizarin crimson has a translucent quality which makes it perfect for glazing techniques. A glaze is simply a thin layer of paint that alters and enhances the colours underneath. In this example it helps to unify the shadow tone with the main colour of the cherry and give it a good base to work the next layer, the more vibrant highlights on top of. Introducing Red 08:59 I then glaze over parts of the cherry with the alizarin crimson & burnt umber mix. As both of these paints have a transparent nature – they are perfect for adjusting hues using thin layers of acrylics. I then begin painting in the reflective light. This is the light that has bounced off the white of the table and is adding a subtle glow to the bottom edge of the Cherry. I add white to the Alizarin crimson, this always brings out the purples/ blues so is perfect as a cool/warm contrast to the warmer main body of the cherry. I paint a thicker layer of paint using a filbert brush and then use a blush of the previous darker red to blend the acrylics using Acrylic Glazing liquid (gloss) Adding form to the Cherry 07:31 Finishing touches 3 Lectures 08:49 I then add a base of cadmiun yellow light to the stalk. Once this is dry I can glaze over the Green gold, this is a translucent pigment so will allow the yellow to shine through and create a really lovely glow. Adding Green 03:26 To add more detail to the stalk I mix a darker green using Phthalo blue (red shade) and the yellow. I then mix a thin glaze using the same green to add a green hue to the shadow of the cherry. Finally I look over the whole picture and check the drawing and make any adjustments. Woohoo!! great work! you've finished your first Acrylic masterpiece! All that is left to do is to sign your work, hang on the wall and wait for the praise! If you'd like to show me your results from the course, drop me a line here. Finishing touches 03:05 Course review - Steps of the painting 02:18 About the Instructor Will Kemp 4.3 Average rating 732 Reviews 21,688 Students 1 Course Professional Artist & Author I'm Will Kemp, an Award-winning Professional Artist and teacher. I've worked with the National Gallery & Tate Gallery, London, studied at the Angel Academy of Art in Florence, Italy. Run my own successful art gallery, taught in museums and schools and have my paintings published and sold Internationally and I'm going to share my professional art secrets with you. I write about classical painting techniques at www.willkempartschool.com and share methods and tutorials on my Youtube channel (with over 1.5 million views) I love painting, ice-cream and teaching people how to draw & paint.
b31394c8-eb3d-4bba-b9b3-4b71abf4f30c	{ "cc_dump": "CC-MAIN-2019-26", "dolma2_qc": { "0": 0.999970316886902, "1": 0.00004971373709850013 }, "exact_duplicates": 0, "lang": { "en": 0.8363898396492004 }, "madlad": { "num_sentences": 15, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 374, "sa_remove_ranges": [], "text_hash": "297500429601891812211958288272784011947", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-06-26T04:13:37Z", "warc_url": "https://contemporarylynx.co.uk/calendarevent/bielbienne-michal-knychaus-urszula-lucinska?ical=1", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9715740084648132, "__label__education_and_jobs": 0.0191340371966362, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.008587487041950226, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.01169725600630045, "__label__social_life": 0.01543455570936203, "__label__entertainment": 0.008587487041950226, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": 0.006498271133750677, "__label__travel_and_tourism": 0.01591639406979084, "__label__crime_and_law": 0.008587487041950226, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.0071314298547804356 }, "weborganizer_max": "__label__art_and_design" }	BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Contemporary Lynx - print and online magazine on art & visual culture - ECPv4.8.2//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Contemporary Lynx - print and online magazine on art & visual culture X-ORIGINAL-URL:https://contemporarylynx.co.uk X-WR-CALDESC:Events for Contemporary Lynx - print and online magazine on art & visual culture BEGIN:VEVENT DTSTART;VALUE=DATE:20181001 DTEND;VALUE=DATE:20190302 DTSTAMP:20190626T041337 CREATED:20181120T144006Z LAST-MODIFIED:20181121T084755Z UID:[email protected] SUMMARY:Biel/Bienne: Michał Knychaus\, Urszula Lucińska DESCRIPTION:GURZELEN RESIDENCES\nMICHAŁ KNYCHAUS\, URSZULA LUCIŃSKA\nThe Residency program is about the provision of stay of 3 artist-residents during the year. Their stay is planned to last from 3 to 6 months. Each artist-resident performs a separate program\, previously agreed and prepared in cooperation with Terrain-Gurzelen. \nIt takes into account the activities organized by the stadium committee\, too. The artist is in constant communication with the collective who is in charge of the Terrain-Gurzelen activities. The collective takes into account the diversity of the artist’s work and freedom in working on individual projects. The artist\, as part of the residence\, is active in several fields\, such as intervention and physical impact on the existing stadium space\, involvement in spatial adjustment in the stadium and organizing publicly available exhibitions. \nMichal Knychaus & Urszula Lucinska \nMichal Knychaus and Urszula Lucinska work as a duo. The main attribute of their acti-ons is temporariness. Without “domesticated” contexts\, on the “unknown” territories and between foreign languages they work with the whole variety of contemporary mediums. \nThe aesthetic side of their practice is based on the subversive incorporation of fashion and subcultural elements that form our hypernormal reality. They strongly believe in art as a platform for communication between people living in this hybrid\, digitized world. \nDuring their stay in Biel/Bienne\, they will interact between the stadium\, the district and the city to develop one or more exhibitions/interventions on site and in the appropriate areas corresponding to their observations. These interventions will establish a link with the identity of the district based on the re-appropriation of the former Gurzelen stadium. \n URL:https://contemporarylynx.co.uk/calendarevent/bielbienne-michal-knychaus-urszula-lucinska LOCATION:Biel/Bienne CATEGORIES:Residency ATTACH;FMTTYPE=image/jpeg:https://contemporarylynx.co.uk/wp-content/uploads/2018/11/Gurzelen-Residences.jpg END:VEVENT END:VCALENDAR
5e604a97-8765-4311-a24d-26c04cfceab4	{ "cc_dump": "CC-MAIN-2019-13", "dolma2_qc": { "0": 0.9999583959579468, "1": 0.00006156309973448515 }, "exact_duplicates": 0, "lang": { "en": 0.9046773314476012 }, "madlad": { "num_sentences": 16, "rule.2": [ 0, 14, 15 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 434, "sa_remove_ranges": [], "text_hash": "139725389234758744395103469775404527012", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-03-20T15:52:18Z", "warc_url": "https://www.booktopia.com.au/landscape-and-western-art-malcolm-andrews/prod9780192842336.html", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9859463572502136, "__label__education_and_jobs": 0.004478383809328079, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.008857354521751404, "__label__science_math_and_technology": 0.0018775658681988716, "__label__software": 0.0008140857680700719, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.0018775658681988716, "__label__social_life": 0.0011795104946941135, "__label__entertainment": null, "__label__history_and_geography": 0.042097724974155426, "__label__literature": 0.0566624328494072, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0012165895896032453, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	+612 9045 4394 Landscape and Western Art : Oxford History of Art - Malcolm Andrews Landscape and Western Art Oxford History of Art Paperback Published: 3rd February 2000 ISBN: 9780192842336 Number Of Pages: 256 Share This Book: RRP $55.95 Ships in 7 to 10 business days What is landscape? How does it differ from "land?" Does landscape always imply something to be pictured, a scene? When and why did we begin to cherish images of nature? What is "nature?" Is it everything that isn't art, or artifact? By addressing these and many other questions, Landscape and Western Art explores the myriad ideas and images of the natural world in Western art since the Renaissance. Implying that land is the raw material, and that art is created by turning land into landscape, which then becomes art, author Malcolm Andrews takes the reader on a thematic tour of the fascinating and challenging issues of landscape as art. The books broad sweep covers the full, rich spectrum of landscape art, including painting, gardening, panorama, poetry, photography, and art. Artistic issues are investigated in connection with Western cultural movements, and within a full international and historical context. Clear explanations and beautiful illustrations convey to the reader the idea of landscape as an experience in which everyone is creatively involved. Landscape and Western Art provides an enlightening and comprehensive critical overview of landscape art. Industry Reviews "A splendid text ... with images both celebrated and startling, he shows landscape as a contruction, a theatre in which humans act and enjoy seeing themselves act."--Professor Richard Thomson, Edinburgh University "A very accomplished surveyof a notoriously complex and elusive subject ... nothing--not even words like 'environment' and 'art' is left unquestioned."--Andrew Wilton, Keeper and Senior Research Fellow, Tate Gallery "Highly intelligent ... it insists that hte making of landscape is inseperable from the history of the moment of its production, but also recognizes the intense personal experiences that motivate it."--Professor John House, Courtauld Institute of Art 1: Introduction.: Land into Landscape 2: Subject or Setting? Landscape and Renaissance Painting 3: Landscape as Amenity 4: Topography and the Beau Ideal 5: Framing the View 6: 'Astonished beyond Expression':Landscape, the Sublime, and the Unrepresentable 7: Landscape and Politics 8: Nature as Picture or Process? 9: Landscape into Land: Earth Works, Art, and Environment Notes; List of Illustrations; Bibliographic Essay; Timeline; Index ISBN: 9780192842336 ISBN-10: 0192842331 Series: Oxford History of Art Audience: General Format: Paperback Language: English Number Of Pages: 256 Published: 3rd February 2000 Country of Publication: GB Dimensions (cm): 24.13 x 16.51 x 1.91 Weight (kg): 0.6
384f08f6-d23a-4d2a-85ec-6377183bc5ab	{ "cc_dump": "CC-MAIN-2017-09", "dolma2_qc": { "0": 0.999971866607666, "1": 0.00004816738874069415 }, "exact_duplicates": 1, "lang": { "en": 0.8884024024009705 }, "madlad": { "num_sentences": 12, "rule.2": [ 2 ], "rule.5": [ 10 ], "status": "survived" }, "minhash": null, "original_word_count": 241, "sa_remove_ranges": [], "text_hash": "5574147109896914991357390623266675355", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-02-24T15:25:28Z", "warc_url": "http://avaxbooks.me/christoph-wolff-markus-zepf-lynn-edwards-butler-the-organs-of-j-s-bach-a-handbook-1st-edition-english-pdf.html", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6370407938957214, "__label__education_and_jobs": 0.008325778879225254, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.006107562687247992, "__label__science_math_and_technology": 0.05185545980930328, "__label__software": 0.01799621433019638, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": 0.04469086229801178, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.08510905504226685, "__label__history_and_geography": 0.30736804008483887, "__label__literature": 0.08757384121417999, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.004208795726299286, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	The Organs of J.S. Bach A Handbook Cover The Organs of J.S. Bach: A Handbook ISBN/ASIN: 0252036840,9780252036842 \| 2012 \| English \| pdf \| 242/242 pages \| 10.1 Mb Publisher: University of Illinois Press \| Author: Christoph Wolff, Markus Zepf, Lynn Edwards Butler \| Edition: 1st Edition The Organs of J. S. Bach is a comprehensive and fascinating guide to the organs encountered by Bach throughout Germany in his roles as organist, concert artist, examiner, teacher, and visitor. Newly revised and updated, the book's entries are listed alphabetically by geographical location, from Arnstadt to Zschortau, providing an easy-to-reference overview. Includes detailed organ-specific information:high-quality color photographseach instrument's history, its connection to Bach, and its disposition as Bach would have known itarchitectural histories of the churches housing the instrumentsidentification of church organists Lynn Edwards Butler's graceful translation of Christoph Wolff and Markus Zepf's volume incorporates new research and many corrections and updates to the original German edition. Bibliographical references are updated to include English-language sources, and the translation includes an expanded essay by Christoph Wolff on Bach as organist, organ composer, and organ expert. The volume includes maps, a timeline of organ-related events, transcriptions of Bach's organ reports, a guide to examining organs attributed to Saxony's most famous organ builder Gottfried Silbermann, and biographical information on organ builders. Publication of this volume is supported by the American Bach Society. Download The Organs of J.S. Bach A Handbook Category: Music money back guarantee
cee94d9a-d98a-4646-b981-1232a930472b	{ "cc_dump": "CC-MAIN-2017-17", "dolma2_qc": { "0": 0.999968647956848, "1": 0.000051366863772273064 }, "exact_duplicates": 0, "lang": { "en": 0.9538429379463196 }, "madlad": { "num_sentences": 183, "rule.2": [ 131 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 3276, "sa_remove_ranges": [ [ 8937, 12588 ], [ 12590, 19512 ] ], "text_hash": "88762032365320315170271585673537548959", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-04-27T10:49:32Z", "warc_url": "http://danielhudon.com/news/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.44553956389427185, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.0071314298547804356, "__label__science_math_and_technology": 0.22816647589206696, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": 0.0018775658681988716, "__label__politics": 0.006702851038426161, "__label__social_life": 0.0019367348868399856, "__label__entertainment": 0.00318268220871687, "__label__history_and_geography": 0.04604391008615494, "__label__literature": 0.02162533439695835, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.0021927168127149343 }, "weborganizer_max": "__label__art_and_design" }	News/Blog The Maple Tree on My Block 2013_trees_sue_patti 092 The maple tree in the fall of 2014. Every autumn, the maple tree on my block put on a terrific show of color. These displays lasted for several weeks. It was a beautiful tree and through the summer, I would look forward to the brilliance coming in the fall. But at the end of the summer of 2015, my anticipation turned to sadness when the tree’s leaves suddenly turned yellow and dropped. I waited anxiously all winter to see if it would bud again in the spring, but it did not. It has been standing barren since then and today I made a short video about the tree that I loved so much. This week it is being taken down. https://youtu.be/g6wZk7yRSM0 It’s not everyday that one loses a favorite tree so I’ve written a fair bit about it. These writings will be published soon and with accompanying photos and video. Artists and Extinction V: Brandon Ballengee How can artists convey the idea of disappearance and extinction of species? This has long been a question for Brandon Ballengee, a visual artist, biologist and environmental educator based in Louisiana, whose many art installations have been inspired by his ecological field and laboratory work. Initially, Ballengee wanted to use silhouettes to show something as there but disappearing. But while experimenting with blacking out extinct animals in old nature magazines, he recalled that Robert Rauschenberg once created a work that was an erased de Kooning drawing. So, rather than erase extinct animals from books, he began to cut them out with an Exacto knife (as long as there were multiple copies of the book). This led to the creation of his installation, “Framework of Absence.” Ballengee created the works from real historic artifacts that were around while the animal was fading into extinction. After the animal was excised from its source, the depiction was burned and the ashes were placed into black glass funerary urns etched with the names of the lost species. At installations, viewers were asked to scatter the ashes, an act that Ballengee hoped would connect participants to the lost species and help prevent further extinctions. A few examples show the power of the exhibit. Here is the Great Auk, missing from the North Atlantic: 2008Ð9. Extinct by the late 19th Century. Artist-cut print from the Bowen Editions Royal Octavo Birds (1840Ð71). Eighth edition printed and hand-colored in 1871 (just prior to plates being burned in warehouse fire). 6 3/4 x 10 3/8 inches. Photography by David W. Coulter. Extinct by the late 19th Century. Artist-cut print from the Bowen Editions Royal Octavo Birds (1840Ð71). Eighth edition printed and hand-colored in 1871 (just prior to plates being burned in warehouse fire). 6 3/4 x 10 3/8 inches. Photography by David W. Coulter. Here is the Spectacled Cormorant, missing from the Kamchatka Peninsula: 1869/2014. Artist cut and burnt hand-colored stone lithograph, etched glass urn, and ashes. 30 5/8 x 74 5/8 inches. Species last observed 1850s. Photo by Casey Dorobek. 1869/2014. Artist cut and burnt hand-colored stone lithograph, etched glass urn, and ashes. 30 5/8 x 74 5/8 inches. Species last observed 1850s. Photo by Casey Dorobek. Here is the Guadalupe Caracara, missing from Guadalupe Island: 1860/2014. Artist cut and burnt wood engraving, etched glass urn, and ashes. 9 1/8 x 11 1/8 inches. Species last observed 1860s. Photo by Casey Dorobek. 1860/2014. Artist cut and burnt wood engraving, etched glass urn, and ashes. 9 1/8 x 11 1/8 inches. Species last observed 1860s. Photo by Casey Dorobek. And here is the Sea Mink, missing from the rocky coasts of New England and Atlantic Canada. 1849/2014. Artist cut and burnt print hand-colored stone lithograph, etched glass urn, and ashes. 13 5/8 x 16 inches. Species last observed 1870s. Photo by Casey Dorobek. 1849/2014. Artist cut and burnt print hand-colored stone lithograph, etched glass urn, and ashes. 13 5/8 x 16 inches. Species last observed 1870s. Photo by Casey Dorobek. More of Brandon Bellengee’s work can be found at his website. Previous entries for my series on artists and extinction can be found starting here. Remembrance Day for Lost Species Heath Hen sculpture Todd McGrain’s Heath Hen memorial on Martha’s Vineyard, MA “Forgetting is another kind of extinction,” artist Todd McGrain said to me when I interviewed him for my blog, Eco-Now, in 2012. For ten years he had been creating larger-than-life sculptures of birds formerly common in North America, such as the passenger pigeon, to memorialize them. “These birds are not commonly known,” he has written elsewhere, “and they ought to be… It’s such a thorough erasing.” Since the year 1500, nine hundred species have become extinct, yet their stories are not being told. This loss is a crisis in human values, as our relatives on the tree of life are disappearing under our watch and because of our actions. Aside from a few high profile extinctions, like the passenger pigeon and the dodo, most lost species are unknown to the general public, and the danger of forgetting part of our biological heritage is great. There are no historical parallels here. Aldo Leopold said, “For one species to mourn another is a new thing under the sun.” The recent animal extinctions include twenty-eight reptiles, thirty-four amphibians, sixty-three fish, sixty-three insects, ninety-two mammals, one hundred and sixty-six birds and more than three hundred mollusks. Who are these animals? Where did they live? What do we know of their biology and natural history? Each animal had its own evolutionary history, ecological niche and characteristics that made it a unique form of life. In the long history of life, they were survivors, winners. But they have disappeared from the Earth due to our actions and without proper recognizance. A marsupial is over-hunted in Australia. A tree frog disappears in Panama. An ibex vanishes from the Pyrenees, a river dolphin from the Yangtze, a pigeon from the skies of North America. The wildness of the Earth, its beauty and bounty, is diminishing. Because our present attitude is still to dominate nature and extract its resources for our personal welfare — we tend to ignore what we’re losing in favor of jobs and economic gain — these lost species become sacrifices for so-called progress. Seeing ourselves as apart from nature, rather than a part of nature, leaves us ill-equipped to see an extinction as an impoverishment of our world, a lost opportunity for us to wonder at something unique and beautiful. This makes November 30: Remembrance Day for Lost Species all the more important. In her essay, “Working Through Environmental Despair,” Joanna Macy argues for the importance of expressing grief in the face of environmental degradation and loss. Because the changes we observe are subtle and we don’t see how they are related, we may deny their importance and live as if nothing has changed. This denial is a strategy that we employ to allay our various fears, such as fear of pain, fear of appearing morbid (we don’t want to be seen as doom and gloom), fear of appearing stupid (we want to express concerns but don’t have an immediate solution), fear of guilt (can we say anything about it without being implicated), fear of causing distress (we don’t want to be a killjoy), fear of appearing unpatriotic (aren’t our concerns contrary to our country’s dominant paradigm), fear of appearing too emotional (rationality is favored over display of feelings), and fear of feeling powerless (we shrink our sphere of attention to areas where we can be in charge). The result of all this is to narrow our awareness and consequently dull our response to the world. Until we acknowledge the environmental loss and the pain we feel for the world through grief, Macy contends, our creative response will be crippled. Experiencing the pain is a measure of our care for the world, and expressing and sharing it opens the way to knowing our belonging and to our power. Grief is one of our most private actions. And one of our most vital. Though I’ve been thinking about recently extinct species for several years now, I don’t yet have a ritual for their remembrance. Perhaps I will listen to a recording of the song of the o’o, or search the Internet for other recordings of endlings, like Toughie, or Benjamin, or peruse the incredible archive of sounds collected by Bernie Krause. Maybe I’ll try my hand at sketching once again, and sketch a few extinct animals. And perhaps I’ll listen to Mussorgsky’s Pictures at an Exhibition, written as a memorial for a friend. I want to hear the bells at the Great Gate of Kiev ring loud, loud. (Parts of this were adapted from an unpublished essay and the introduction to my book, Brief Eulogies for Lost Animals, published in 2017 by Pen and Anvil.)
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From Trash To Chihuly: Building 21st Century Skills Through Art In The Classroom Sunday, November 22, 2015 It all started with a field trip to the local trash dump and recycling center. The kids saw so much trash and recyclables in the dumping area. The workers were letting us know that we needed to help by reducing, reusing and recycling. They let us know that we were the solution the our worlds trash problem! When we got back to school, we discussed how we could help here in our classroom. We recycle paper and decided we needed to be diligent in continuing that. They became very intrigued by the thought of reusing or repurposing "clean" trash such as boxes and bottles, etc. I asked them what they thought they could make out of trash. They thought art and instruments would be fun! That didn't surprise me as I have a large group that is very much into abstract art. We started out by using paper tubes to create individual art pieces. They created art by dipping the tubes in white paint and then coloring them in with pastels. I layed out a provocation of paper tubes, glue and scissors to see what art they could create collaboratively out of this trash! They built up fine motor muscles by cutting the thick cardboard! After they filled it up we spray painted it together. Of coarse, they asked if they could add glitter since glitter makes everything more beautiful! They truly did create beauty out of trash! What a beautiful piece of collaborative art! At one point, one of my little friends asked about an art piece created by a past class of mine that is hanging in our room. He asked if that was made out of trash. I told him it was made out of plastic cups and was inspired by an artist named Chihuly. I asked if he wanted to see a picture of the inspiration. Here it is. Of course, other kids started coming to look at it so I put it on the promethium board. They saw other pictures of his art on google images and soon one yelled out, "We could make those! Could we make those out of trash?" Absolutely we can...and our Chihuly Inquiry was born. That very first experience already started inspiring some of my little friends to create! First we had to learn about Chihuly and how he creates his art. To investigate and dig deeper, we watched some videos to learn more about Chihuly. They were so fascinated they would not let me fast forward through any parts! They learned that he melts sand into a thick liquid and picks it up with a metal pipe, blows into it and spins it to create beautiful glass sculptures. Some are individuals such these macchias, and some he connects together to create larger sculptures like these. We collected trash to create with since that was our initial focus. We needed water bottles since we couldn't safely blow glass (though they wanted to try) and something for the macchias. I had some filters that had water color spilled on part of them so they had a pink blob on the side. We had read a story earlier called "Beautiful Oops." We felt that instead of throwing them away we could use the blob as a "beautiful oops" and work around it to create something beautiful such as Chihuly inspired macchias! The kids were able to be creative as they created designs on the filters with water based crayola markers. We layed them over a cup and sprayed them with starch. These macchias turned out so beautiful! I don't know if I will ever be able to send them home! The kids were also painting water bottles with acrylic paint to create our large scale collaborative art project. We needed a lot of bottles so this took a lot of time and patience on all of our parts! I cut the spirals in the bottles for them and they wired the bottles to embroidery hoops. We used a very strong floral wire so they had a really good workout to help develop their fine motor muscles. After attaching the hoops together it started to grow... and grow... and grow! Here is our finished Chihuly inspired chandelier. This was inspired by his Fireworks Chandelier hanging at the Indianappolis Children's Museum. I recommend going to see it! It is his largest chandelier sculpture with over 3000 glass pieces. They also have a glass Macchia ceiling the kids (and you) would love to see! Some kids brought in some bottles that were too stiff to cut so I showed them this sculpture and asked it they wanted to create something similar. The balls are made out of crumpled up old scholastic order forms wrapped in masking tape to keep with our "Creating Beauty Out Of Trash" theme. The bowl was getting ready to go to Good Will but we thought it would work well for this sculpture. Can you see the similarities? Mrs. Garrabrant had a beautiful book all about Chihuly and his art. After reading it, we found out that after he injured his eye, he started painting! This was a whole new inspiration for them! His art was very abstract and process oriented. He threw and squirted paint, he experienced all mediums such as pencil, charcoal, oil pastel and then fell in love with liquid acrylics. The kids were fascinated and it made me realize they really have a love for abstract art! Here are some of Chihulies paintings. We couldn't throw paint or squirt it in our room like Chihuly so I gave them dish brushes and crumpled paper so that they had new ways to enjoy the process of creating and make some textured background for their paintings. I have some photos of their finished paintings hanging in our hallway below. Many of the kids also started creating coffee table books of Chihuly's Art after looking at the one Mrs. Garrabrant let us borrow. Here is an example of one book showing the cover and pictures on each page. The kids also wrote about Chiluly. The one below is showing Chihuly holding the blowing pipe with melted glass at the end of it. It looks like he is making a Macchia! I loved the pictures of Chihuly they drew with this writing assignment. They even brought Chihuly into their play! The kids used the computer to pick their favorite piece of art created by Chihuly. They wrote their opinion on why they felt the art piece they chose was the most beautiful piece he created. They were not allowed to just say "because it's pretty." They had to think deeper and use their critical thinking skills and write WHY they thought it was pretty. We displayed documentation of our inquiry, showing our journey and the projects we created. This was such a fun inquiry! I had never done such an in depth artist study with Kindergartners before! I loved listening to the vocabulary they developed and used as they discussed Chihuly and his art with each other! I loved listening as they grabbed kids from other classes as they walked by and showed them our cChihuly gallery and told them about it. I loved when one grabbed a teacher and showed her their opinion pieces and then asked her, "So what is your favorite Chihuly piece?" It's hard to believe all of this beauty, vocabulary, and creativity all began with a trip to the dump... Most Reading
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Tattoo Nachrichten 2020 Dundee tattoo parlour raises money for bushfire victims A Dundee based tattoo artist has been tattooing small koalas bear in aid of the bushfire victims in Australia. The recent bushfire in Australia has destroyed large amounts of land. The scale of the fire is near to the size of England, leaving Australia without wildlife or 19th Dezember Tattoo Nachrichten Tattoo Nachrichten 19. Dezember Wales Calls For Stricter Tattoo Licence Regulations In the past few years, the tattoo industry has boomed on the high street. So getting a tattoo is easier than ever before. Not to mention how far technology has come! The ink we have today is far superior and tattoo artists can create longer-lasting detail in the Tattoo Nachrichten 12. Dezember Erste tätowiert Starstruck Angelina Fan Angelina Jolie was recently introduced to one of her fans recently at a west end show, Alex Thomas-Smith, who was a stand-in for Dear Evan Hansen at the west end. Thomas-Smith was able to show Jolie his tattoo of her. The performer has Angelina’s face tattooed on his arm. The incase you Tattoo Nachrichten 5. Dezember 2019 Malaysian Tattoo Convention Mayhem Malaysia’s recent tattoo convention has left Malaysian officials have been outraged over the convention. Ethnic Malay Muslims make up around 62% of the countries population. Malaysian authorities have said that they had not granted permission for “half naked parades”. This came to light as many of the attendees at the tattoo Tattoos Nachrichten 28. November Tattoo Nachrichten 28. November The meaning of Selena’s new tattoo Selena Gomez has recently debuted a new thigh tattoo of a pair of praying hands. This piece is nicely detailed and has rosary beads hanging off the wrists. The tattoo was spotted in an Instagram post. Which features a collection of polaroid photos, where Selena is celebrating her day Tattoo Nachrichten 14. November 2019 A royally good tattoo! A new exhibition to take place at Buckingham Palace in 2020, reveals diaries that King George V actually had a tattoo of a dragon and tiger on his arms. King George V was king of the United Kingdom and the Dominican Republic. Alongside becoming emperor of India. The actual photographs of Tattoo Nachrichten 7. November Tattoo News der Woche The world of tattoos is never a boring one. With new celebrity tattoos, drama and some truly amazing artists out there. No wonder there is news to report. We are happy to present this weeks tattoo news with you. Kat Von D shocks again You're more than likely aware of Kat Von D if you watched Halloween Tattoo Nachrichten \| 31. Oktober Ausgabe Halloween Tattoo Nachrichten Happy Halloween tattoo news fans! Here’s the latest and greatest tattoo news from the last 7 (ish) Tage. Amsterdam hosts it’s 15th international tattoo convention Recently, thousands of people attended Amsterdam’s 15th International Tattoo Convention. Many people attended to get new ink from their favourite artists, found a chance to meet their favourite artist and Tattoo Nachrichten 23. Oktober Tattoo News Oktober 2019 Mixing things up in the world of Tattoos. A fan of the pop music group ‘Little Mix’ has recently gotten member Perrie Edwards tattooed on his upper arm. Which Perrie herself saw the tattoo and reacted to it. The tattoo is highly detailed, the image tattooed onto the fan’s arm is one of Perrie’s modelling
de4fcdc2-2f08-46fe-b43d-eff8ce2f49bd	{ "cc_dump": "CC-MAIN-2017-26", "dolma2_qc": { "0": 0.9999310970306396, "1": 0.0000889296134118922 }, "exact_duplicates": 0, "lang": { "en": 0.9675576686859132 }, "madlad": { "num_sentences": 5, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 100, "sa_remove_ranges": [], "text_hash": "209795758920529809421259464212256121766", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-06-24T15:03:27Z", "warc_url": "http://www.bbc.com/news/av/uk-england-cambridgeshire-40277153/raf-duxford-celebrated-with-art-installation", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.9996640086174012, "__label__education_and_jobs": 0.0004020417982246727, "__label__electronics_and_hardare": 0.001335022272542119, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.00001000000338535756, "__label__software": 0.0032830648124217987, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.00001000000338535756, "__label__entertainment": null, "__label__history_and_geography": 0.0004542184469755739, "__label__literature": null, "__label__sports_and_fitness": 0.00001000000338535756, "__label__travel_and_tourism": 0.004478383809328079, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Futuristic sculpture tells Duxford story Media playback is unsupported on your device RAF Duxford celebrated with art installation An art installation has been created to celebrate 100 years since work started on RAF Duxford. Bafta award-winning artist Nick Ryan has developed a futuristic sculpture inspired by flight and innovation. Roughly the same size as a Spitfire, each of its 100 lights includes a sound memory, including voices, signals, archive recordings and stories. On display until September 2017, visitors can tune in to different parts of the sculpture as they explore. Go to next video: Exhibition tells Duxford's story
50c2ce9b-1414-439f-8c0b-e5052592eb41	{ "cc_dump": "CC-MAIN-2016-44", "dolma2_qc": { "0": 0.9999605417251588, "1": 0.00005944289296166971 }, "exact_duplicates": 19, "lang": { "en": 0.9639673233032228 }, "madlad": { "num_sentences": 15, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 428, "sa_remove_ranges": [], "text_hash": "95912790002122534098464150182010104507", "warc_content_type": "application/http; msgtype=response", "warc_date": "2016-10-24T06:53:05Z", "warc_url": "http://www.timporter.com/seconddraft/?tag=nadia-boulanger", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.8670457601547241, "__label__education_and_jobs": 0.02518884465098381, "__label__electronics_and_hardare": 0.03022458776831627, "__label__fashion_and_beauty": 0.010338151827454569, "__label__games": null, "__label__home_and_hobbies": 0.03964884206652641, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.009135636501014233, "__label__entertainment": 0.02844603545963764, "__label__history_and_geography": null, "__label__literature": 0.02369946800172329, "__label__sports_and_fitness": 0.03623005375266075, "__label__travel_and_tourism": 0.010023568756878376, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Tag Archives: nadia boulanger On the Job: College Catalog Cover Lenore Alford for the College of Marin Even after putting 30 years in at the media factory, I still like getting the cover. It must be an ego thing, because it certainly isn’t the money. This is Lenore Alford, an organist, conductor and generally all-around smart woman. I photographed her for the College of Marin, where is she teaching a class on Nadia Boulanger and the American School of musical composition in Paris — heady stuff, indeed. The college needed a a tall vertical for its community education catalog cover and Alford was the perfect subject. The picture was made in the Mill Valley living room of one of Alford’s friends. The piano, a baby grand, was crammed into the corner and up against a set of large, bright windows that flooded the room with morning sunlight. I didn’t want to shoot into the windows, fearing the backlight, so at first I tried shooting away from them and toward the wall behind the piano, lighting Alford with a ProFoto D4 head into a small box. The background, though was too messy to put type into and I couldn’t blur it because I couldn’t get her far enough away from the wall. So, I embraced the windows, deciding to blow them out and use their avalanche of light for the background. I changed Alford’s position, took down the ProFoto, and set up a Nikon SB800 on a boom, attached a small softbox, turned the power way down (about 1/16th) and inched the light to within two feet of her head. The sunlight provided fill and tossed in some rim light as a bonus. There is nothing technically complicated about this picture or, dare I say, artistically unique, but it is something that’s part of my daily life in my third or fourth or fight career (who’s counting, anyhow?) and might be interesting to those of you who wonder what photographers who aren’t Annie Leibowitz or Chase Jarvis do all day. The hardest part of the shot was deciding on the lighting, not once but twice, and making those changes while Alford, the art director and the homeowners looked on — and making everyone feel not only like I knew what I was doing but that were being included in something fun. The whole thing, from walking in the door with the gear to schlepping it back down the drive to my car took less than an hour, a normal shoot here in the shallow end of the photography pool.

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