#Stephens street gallery

[traceyannr]

Bluethumb’s Blue Friday Sale is on NOW.

Don’t miss rare savings on original art for your home.

Sale ends 27 NOV on bluethumb.com.au

Please go to the link below, like some paintings and follow me on Bluethumb!💕

https://bluethumb.com.au/tracey-ann-reynolds

#artists on tumblr #art #painting #natural environment #botanical #illustration #queensland artists #travel #acrylic painting #australia #artists #artistsoninstagram #Queensland art gallery #noosaregionalartgallery #Stephens street gallery #australian artist #biosphere #neridahansenfabrics #interior design #interior designers #aesthetic

[sheltiechicago]

Detail of “Blue Dive” (2021), sodalite, 70 x 30 x 30 centimeters.

Polished Feet and Ears Emerge from Rugged Hunks of Marble in Dorothy Cross’s Sculptures

In Dorothy Cross’s “Blue Dive,” a pair of feet with curled, spread toes breach a rugged fragment of vibrant stone streaked with white veins. The sculpture casts the Connemara-based Cork-born artist’s own extremities into a block of rare Brazilian sodalite, a nod to the fleeting nature of human time in comparison to the longevity and enduring qualities of Earth’s resources.

The rich, stone carving is just one anatomical piece in Cross’s solo exhibition titled Damascus Rose, which is open through April 14 at London’s Frith Street Gallery. From a sleek, tiled walkway to a pillow bearing a single ear, many of the sculptures on view are chiseled into the red-hued titular stone and were born out of the artist’s experience in Carrara, Italy, a region known for its marble.

Photo by Stephen White & Co.

“Red Baby” (2021), Damascus Rose, 40 x 40 x 10 centimeters.

“ROOM” (2019), Carrara marble.

“Red Road” (2021). Photo by Ben Westoby

“Listen Listen” (2019), Greek marble.

#dorothy cross #polished feet and ears #carrara marble #marble #italy #carrara #sculptures #sculptor #artist #stone carving #damascus rose #london #frith street gallery #brazilian sodalite #stephen white & co. #art #ben westoby #photographer

[karingottschalk]

Stephen Leslie: Show & Tell - Episode 8: William Klein Special with exclusive photos you won't see anywhere else! – Commentary

Stephen Leslie: Show & Tell – Episode 8: William Klein Special with exclusive photos you won’t see anywhere else! – Commentary

Episode 8 of SHOW & TELL is a huge, epic special about the late, great William Klein. It’s very long BUT you have to watch it all if you want to see some photos you can’t really see anywhere else and hear some stories you definitely won’t hear anywhere else. William Klein was one of the greatest street photographers that ever lived but he was also way more than that. Join Stephen as he attempts…

View On WordPress

#Hamiltons Gallery #not only Black+White #Stephen Leslie #Stephen Leslie Show & Tell #street photographers #street photography #urban documentary photographers #urban documentary photography #William Klein #YouTube

[newyorkthegoldenage]

Summer dresses on Broad Street, 1956.

Photo: Marvin E. Newman via the Stephen Daiter Gallery

#vintage New York #1950s #Marvin E. Newman #Wall St. #Broad St. #1950s fashion #street photography #street scene #vintage NYC #NY Financial District

[brokehorrorfan]

Artwork from Gallery 1988's horror-inspired "Cover Your Eyes" exhibit is available online. I've highlighted some of my favorite pieces:

A Dead-cade Under the Influence by Kevin Tiernan

Wanna See Something Scary? by Austin Gilmore

Horror Icons by Amanda Conrad

What We Do in the Shadows by Shane Houston

The Ring by Zita Walker

Killer Klowns from Outer Space by Vanessa Seixas

A Nightmare on Elm Street by Billy Daggers

Barbarian by Adam Michaels

In the Mouth of Madness by Stephen Andrade

Halloween / The Texas Chain Saw Massacre / Friday the 13th / A Nightmare on Elm Street by Carles Ganya

Get Out / Us / Nope by Superday

Psycho / The Shining / Get Out by Josh Seth Blake

Aliens / Predator / Little Shop of Horrors / It by Chet Phillips

#horror #freddy krueger #the shining #what we do in the shadows #barbarian #80s horror #gallery 1988 #art #gift #kevin tiernan #austin gilmore #chet phillips #adam michaels #stephen adrade #shane houston

[yr-obedt-cicero]

The fascination with busts of Hamilton

After @essentialaegis pointed this out in the notes of this post, I started to look back and realize there were quite a few times people had some alluring interest or comments towards busts of Hamilton. These particular recollections being from Elizabeth Hamilton, Thomas Jefferson, and none other than Aaron Burr.

I remember nothing more distinctly than a sofa and chairs with spindle tracting legs, upholstered in black broadcloth, embroidered in flowery wreaths by Mrs. [Elizabeth] Hamilton herself, and a marble bust of [Alexander] Hamilton standing on its pedestal in a draped corner. That bust I can never forget, for centuries the old lady always paused before it in her tour of the rooms, and, leaning on her cane, gazed and gazed, as if she could never be satisfied.

The Atlantic Monthly. United States, Atlantic Monthly Company, 1896.

After gazing a moment at these objects, the eye settled with a deeper interest on busts of [Thomas] Jefferson and [Alexander] Hamilton, by Ceracchi, placed on massive pedestals on each side of the main entrance—“opposed in death as in life,” as the surviving original sometimes remarked, with a pensive smile, as he observed the notice they attracted.

Randall, Henry Stephens. The Life of Thomas Jefferson. United States, Derby & Jackson, 1858.

Soon after his return Burr visited Boston. Phillips called on him at the Tremont Hotel, and offered to act the part of a cicerone. Among other places they went to the Athenæum, then on Pearl Street, to see the pictures and look at the library. As they walked down the hall, between the alcoves, Phillips caught sight of a bust of Hamilton, one of the ornaments of the library, which he had forgotten was there. He tried on some pretext to draw Burr in another direction; but he, too, had seen the bust and marched straight up to it. He stood facing it for a moment, then turned and said: “A remarkable man—a very remarkable man.” Upon this he wheeled on both heels in military style and moved on again with great composure.

Martyn, William Carlos. Wendell Phillips: the Agitator: With an Appendix Containing Three of the Orator's Masterpieces, Never Before Published in Book Form, Viz.: "The Lost Arts", "Daniel O'Connell", "The Scholar in a Republic".. United Kingdom, Funk & Wagnalls, 1890.

[Original source Recollections of Wendell Phillips, by F. B. Sanborn]

Take an anecdote in point. Mr. John Ant—n, a brother lawyer, had a bust of Hamilton in his office, and, from a trick or habit, A., when in earnest thought or talk, would fix his eye upon the bust. Burr had a consultation with him; and A., unconsciously, fixed his eye upon the pale Hamilton; but, instantly remembering, withdrew his sight from it, still not before Burr divined his thoughts. The Colonel quietly, slowly poked out his long fingers, pointed to the bust very deliberately, and said: “He may thank me—I made him a great man.”

PARTON, James. The Life and Times of Aaron Burr ... Vice-President of the United States, Etc. Fourteenth Edition. United States, n.p, 1864.

He had occasion to pay some attentions to Aaron Burr during a visit Burr made to Boston after the death of Hamilton. He took him to the Athenæum, and while walking through the sculpture gallery, seeing the bust of Hamilton near him, turned off, naturally thinking it would be disagreeable to Burr to be brought before it. But Burr went directly up to it and said in a very loud tone, ‘Ah! Here is Hamilton.’ And, pressing his finger along certain lines of his face said, ‘There was the poetry!’

Adams, Charles Francis. Richard Henry Dana: A Biography. United States, Houghton, Mifflin, 1891.

Arguably the most beloved busts of Hamilton has been coined as Giuseppe Ceracchi's iconic one. When Ceracchi took a trip to the US in 1791-92, he proposed a monument in honor of the Revolution and appealed to Congress to finance the project. Ceracchi had attempted to raise the funds for the memorial, and Jefferson endorsed him and told Robert Livingston that he was; “a very celebrated sculptor from Rome.” [x] He began sculpting models of the founding fathers, including others like Washington and Jefferson. In July 1792, Ceracchi wrote to Hamilton that he was; “impatient to receive the clay that I had the satisfaction of forming from your witty and significant physiognomy”. [x] When Ceracchi heard the memorial proposal was rejected by Congress on May 7th, 1792, he sent the completed busts to each of his models in 1794. Hilariously, he also sent them each a bill for the work which they didn't ask for. Though while Washington tried to return the bust rather than pay that outrageously for a marbel copy of his face, Hamilton shamelessly paid $620; “for this sum through delicacy paid upon cherachi's draft for making my bust on his own importunity & as a favour to him.” [x]

The Roman stylized bust paints Hamilton like an ancient senator, with a slash of the Order of Cincinnatus over his bare chest—Likely referring to the Society of the Cincinnati, which you can read more about here and here. The original is inscribed on the back in Latin; “DE FACIE PHILADELPHIAE EX ECTIPO FLORENCIAE FACIEBAT JOS. CERACCHI CIDDCCLXXXXIV” Which translates; “Executed in Philadelphia and copied in Florence, Executed by Joseph Ceracchi, 1794.” [x]

The Hamilton family kept the bust until 1896 when they donated it to the New York Public Library, there is also a copy on display at the Grange. This bust would be utilized as a common reference for Hamilton's appearance posthumously, as Trumbull used the bust as model for a series of 1804-1808 portraits of Hamilton, that would later be used for reference on the ten dollar bill. [x] And the first US Postal Service stamp to honor Hamilton was an 1870 30-cent stamp using this bust as a model. [x] Also in 1880 while the bust was owned by Hamilton's son, John Church Hamilton, he lended it so it could be used as a model for the head of the granite statue of Hamilton by Carl Conrads. [x]

#amrev #american history #alexander hamilton #historical alexander hamilton #elizabeth hamilton #elizabeth schuyler #thomas jefferson #aaron burr #history #cicero's history lessons #founding fathers

[mabelpodcast]

hi guys! figured i'd drop in here last minute. i'm going to be visiting dublin in two weeks. do you have any recommendations for things to do or see? it seems like we have similar interests (or at least i share interests with your respective public personas) so i'd love your input. thank u <3

Maybe a little bit late - but here are some fun things:

- Glasnevin Cemetery. Pay your respects to our revolutionaries and freedom fighters (the big fellow, Michael Collins, is buried here, as is Daniel O’Connell)

- the National History Museum. Go on a pilgrimage to see the bog bodies. While you’re there, check out some 10,000 year old gold and ancient hazelnuts that I was personally desperate to eat

- take the DART along the coastline just for the fun of it. End up in Malahide (northside) or Killiney (southside); Malahide for snobby rich people shops and hill walks and a castle you can visit, Killiney for the best beach in Dublin. People will argue with me when I say this but they will be wrong.

- go to a trad night. Most pubs will have them some night of the week. There are excellent ones in town, the Library Bar’s is famous. Irish trad music is magic.

- the National Library has an excellent Yeats exhibition. Yeats: a real dickhead, but the bitch could turn a phrase. (By the way, the National Library and the National History Museum are within very easy walking distance of each other in Dublin City centre; as are the National Gallery and Trinity College, where you can visit the Long Library and the Book of Kells)

- if it’s sunny, grab a sandwich and go sit on the grass in Stephen’s Green with the rest of Dublin. Feed the ducks. Make a day of it.

- touristy things that are surprisingly fun: the Guinness Brewery, the aforementioned Book of Kells, Christchurch Cathedral (Strongbow’s bones are here)

- go on a 1916 tour of Dublin. Visit the shopfronts and monuments where physical evidence of the Easter Rising still exists. For one: the bullet hole in the breast of the winged virtue flanking Daniel O’Connell on what is now O’Connell Street. Is this fun for anyone else? I am obsessed with the Easter Rising and the way it shaped contemporary Ireland. At very least, read up on it if you aren’t familiar.

Let me know what you end up doing! And have a wonderful trip.

#b post

[byneddiedingo]

Rosemary Leach, Daniel Day-Lewis, Simon Callow, Helena Bonham Carter, Rupert Graves in A Room With a View (James Ivory, 1985) Cast: Helena Bonham Carter, Maggie Smith, Julian Sands, Denholm Elliott, Simon Callow, Judi Dench, Daniel Day-Lewis, Rosemary Leach, Rupert Graves. Screenplay: Ruth Prawer Jhabvala, based on a novel by E.M. Forster. Cinematography: Tony Pierce-Roberts. Production design: Brian Ackland Snow, Gianni Quaranta. Film editing: Humphrey Dixon. Music: Richard Robbins. 

James Ivory and producer Ismail Merchant had a collaboration that began with the formation of Merchant Ivory Productions in 1961 and lasted until Merchant's death in 2005. It usually included the screenwriter Ruth Prawer Jhabvala. The trio developed a reputation for literary adaptations that were beautifully filmed with opulent sets and costumes and a gallery of celebrated stars -- most of them British. But the trouble with developing a distinctive style is that you can become a cliché: "Merchant Ivory" eventually became a label for a film that was tastefully middlebrow -- well-done and entertaining but just a tad safe. It's a pity, because their best films -- Howards End (1992), The Remains of the Day (1993), and this one -- set a high standard, despite their "safeness." Few films have a better sense of place and time than A Room With a View in its depiction of Florence at the start of the 20th century. Granted, it leans a bit too heavily on the cliché about stuffy Brits losing their cool in the warmer climate of Tuscany, but that's the fault of E.M. Forster's novel -- not one of his major works -- and not of Jhabvala's Oscar-winning screenplay. Oscars also went to the art direction team and to costumers Jenny Beavan and John Bright, and it was nominated for best picture, for the supporting performances of Denholm Elliott and Maggie Smith, for Ivory's direction, and for Tony Pierce-Roberts's cinematography. The cast includes Helena Bonham Carter (in her "corset-roles" period) and Julian Sands, along with a then little-known Daniel Day-Lewis. Proof that Day-Lewis is one of the greatest actors of all time is no longer needed, but it's worth contemplating that he created the character of the prissy Cecil Vyse in this film within a year of appearing as the gay street punk Johnny in My Beautiful Laundrette (Stephen Frears), and that he would follow with the sexy Tomas in The Unbearable Lightness of Being (Philip Kaufman, 1988), the paralyzed Christy Brown in My Left Foot (Jim Sheridan, 1989), and the dashing Hawkeye in The Last of the Mohicans (Michael Mann, 1992). Day-Lewis's Cecil Vyse verges on a caricature of the sexually repressed Brit, but he has an affecting moment near the end when, after Lucy (Bonham Carter) breaks off their engagement, he emerges as a vulnerable, three-dimensional character. Richard Robbins's fine score is memorably supplemented by Kiri Te Kanawa's recordings of two Puccini arias: "O mio babbino caro" from Gianni Schicchi and "Chi il bel sogno di Doretta" from La Rondine.

#A Room With a View #James Ivory #Rosemary Leach #Daniel Day-Lewis #Helena Bonham Carter #Simon Callow #Rupert Graves

[brooklynmuseum]

During the golden age of downtown performance art in the 1970s, Jimmy DeSana documented the work of  numerous artists, sometimes for income. 

In 1975, he photographed public interventions by Stephen Varble, an artist who performed his “Gutter Art” in the streets of Soho and Midtown, while wearing his signature gender-bending ensembles. As the critic Gregory Battcock put it, Varble came to be “considered by some the embarrassment of SoHo, and by others the only touch of real genius south of Houston Street.” DeSana’s photographs of Varble appeared in publications during this time, including General Idea’s FILE Megazine. 

DeSana’s photographs are invaluable records of an ephemeral practice, which has only recently been given its proper due thanks in part to the work of art historian David Getsy. #JimmyDeSanaBkM

📷 Jimmy DeSana (American, 1949–1990). Stephen Varble, 1975. Gelatin silver print. Courtesy of the Jimmy DeSana Trust and P·P·O·W Gallery, New York. © Estate of Jimmy DeSana. (Photo: Allen Phillips)

#Brooklyn Museum #brooklyn #museum #art #Jimmy DeSana #JimmyDeSanaBkM #exhibition #photography #nyc #New York City #Stephen Varble #SoHo #nyc history

[marmiteprinter]

It's high time for an updated view of the neighbourhood as I've added a few lots since the last time a few rounds ago.

There will still be a bit more expansion in Round 11, as I have plans to build a cemetery (now that we have need of one 😢) on the road leading off to the left as well as another town-owned rental lot - provided there are sufficient town funds available - and I will of course be adding a University.

Anyway, let's have a round summary (under the cut)!

🌷Round 10 - Spring 3 - Summary🌷

🌷Families Hansen-Wiggins Hudson O'Donnell O' Donnell II Turner Rossellini Rossellini II Rossellini-Turner Barnes Neetor-Blondeau Neetor Phillips Grimsbane Reid Phillips II Phillips-Saunders Volden Lopez Matthews Matthews II Sanderson Basic Training 🌷Population 832 (Multiplier x 13) 🌷Unlocked Military Career University Private School (provided Sims give a $1000 donation and successfully complete the Headmaster scenario) 1 Position in Paranormal 12 2 5 CAS Sims + 5 YA CAS Sims 🌷Relationship Changes Elliott Hansen-Wiggins x Estelle Blondeau (Going Steady) Gracie O'Donnell x Jonty Sawyer (Engaged) Evan O'Donnell x Kenya Bryant (Married) Talia Rossellini x Freddie Reeves (Broke Up) Stephen Neetor x Charlie O'Donnell (Married) Nimue Grimsbane x Thomas Reid (Married) Conrad Phillips x Felicity Saunders (Divorced) Oliver Matthews x Freddie Reeves (Dated but Stayed Friends) Daisy Hudson x Marco Colasanto (Married) Vance Bridger x Oliver Matthews (Dating) 🌷Nooboos Born Rigel Rossellini Flynn Rossellini Cecilia Neetor Isadora Grimsbane Natalie Reid Sierra Lopez Gunner Sanderson 🌷Deaths Ramona O'Donnell Thomas Reid 🌷Community Lots: 18 Birch Alley Playground Kyle's Craftables (Owned by Kyle O'Donnell) Rank 7 Rossellini's Robotics (Owned by Pietro Rossellini) Rank 7 PlantSim Produce (Owned by Ash Hudson) Rank 8 Witchy Wearables (Owned by Iris Grimsbane) Rank 5 Monique's Miniatures (Owned by Monique Wiggins) Rank 5 Conrad's Curios (Owned by Conrad Phillips) Rank 6 Grilled Cheese Diner (Owned by Talia Rossellini) Rank 6 Wildflats Peninsula School (Part-Owned by Beth Neetor) Rank 6 Wildflats Peninsula Fire Station Main Street Park Wildflats Peninsula Town Hall Tiki Bar (Owned by Evan O'Donnell) Rank 4 Wildflats Peninsula Police Department Art Gallery (Owned by Charlie O'Donnell) Rank 1 Wildflats Peninsula Lido Market Stall - Appliances (Owned by Octavia Neetor) Rank 0 Market Stall - Cars (Owned by Horacio Lopez) Rank 0 [Main Street Apartments]* *Not really a community lot, but owned by the town and rent goes into the tax pot.

#sims 2 #the sims 2 #sims 2 bacc #the sims 2 bacc #bacc #wildflats bacc #sims 2 storytelling #sims 2 stories #wildflats round 10 summary #wildflats round summary

[i-am-the-entertainer]

Tick, Tick... Boom! Filming Locations

Some people have too much time on their hands. I am one of those people.

One of the things I love about Tick, Tick... Boom is the obvious affection the filmmakers have for the NYC theater scene, an affection shared with the film's subject Jonathan Larson. To that end, I recently decided to try to identify some of the filming locations in the film.

One thing that was extremely helpful in this process was the "special thanks" list in the film's credits, which names a lot of the orgs that were used in location shooting and from which I was able to make some really good guesswork.

Note that this is mainly for location shoots. Things like the recreated Moondance Diner, which was done on a set, are not included in this.

508 Greenwich Street - Jonathan's apartment

(from MWhiteShelley on Twitter/X) This is probably the most obvious location: Jonathan Larson's actual address. While interiors of the apartment itself were filmed on a set in a soundstage, it is obvious on viewing the film that there was some location shooting at the building, most prominently in "No More" when Jonathan and Michael enter and climb the stairs.

The Underground Theater at Abrons Arts Center - The musical theater workshop scene

(from their website) You'll probably recognize this brutalist theater from the Stephen Sondheim workshop scene (which, according to this video, was one of the last scenes shot) – it also briefly appears a few shots earlier in the scene where Ira Weitzman is observing Jonathan rehearsing. The Abrons Arts Center is located in the Lower East Side and is part of the Henry Street Settlement.

The Strand Bookstore - "30/90" and Sextet

(From an article by The Guardian, photo by Bruce yuanye Bi/Alamy) The Strand is instantly recognizable to New Yorkers, maybe less-so for others unless you've visited as a tourist. It's a giant independent bookstore located two blocks from Union Square. Prominently featured in "30/90" and visited by Jonathan during the "Sextet Montage" where he tries to sell some of his records.

Teatro LATEA at the Clemente - Susan's dance recital

(from their Instagram) This one was a little harder, because obviously it's just a black box theater and how many of those are there in NYC? What clued me in was 1) the Clemente Soto Velez Cultural and Educational Center, where Teatro LATEA is located, is thanked in the credits and 2) those chairs (a little bit more obvious in this photo). I've seen and worked a fair number of shows in that theater, and as soon as I noticed the very distinctive chairs for Susan's dance recital I was able to look more closely at the scene and immediately could map out the layout of Teatro Latea.

The Delacorte Theater - "Why"

Another easily recognizable location for locals, the Delacorte is the amphitheater where Jonathan sneaks in and sings "Why". It doesn't get named in the film but it does in the stage version.

Hunter College's Thomas Hunter Hall Sixth Floor North Dance Studio - The Superbia workshop

(from Facebook) This was, without question, the hardest location to find. In the film it's identified as being in the Theater District, specifically at Playwrights Horizons (an Untapped Cities article about filming locations even claims this, and uh, basically gets everything wrong). However, if you've ever been to the modern Playwrights Horizons, it looks very different, both on the inside and the outside, and while they do have rehearsal spaces in a slightly less-remodeled building on Lafayette Street, none of the spaces there look like that. The reference to Hunter College in the credits narrowed it down, and then it was just a matter of finding photos of the studios (this gallery of recent restoration work shows the different angles that you will recognize from the movie), discovering an architectural plan of some planned renovations in the building, and then looking out the windows of the building and comparing it to Google Maps street view to figure out which side of the building it was on.

...I have waaaaay too much time on my hands.

I do want to point out, Thomas Hunter Hall is actually located on Lexington Avenue between 68th and 69th, quite a few blocks northeast from the Theater District depicted in the film.

New York Theatre Workshop - The framing scenes

(from a New York Theatre Guide article) The real Jonathan Larson's artistic home, where he performed both Rent and the original version of tick, tick... BOOM! thirty years ago. Both the theater's exterior (at the start of "Louder Than Words") and interior (the tick, tick... BOOM! performance scenes) feature prominently in the movie.

Fun fact: when they were shooting the film in March, they originally planned to film the NYTW scenes inside a recreated set because there was a show playing at the theater at the time (though not referenced in the linked video, I happen to know that the show was Endlings by Celine Song, the writer/director of the recent Oscar contender Past Lives) but when filming restarted the theater was available again because of the shutdown.

Any other locations you recognized that I didn't include? Let me know! Currently trying to figure out where Michael's apartment building (Victory Towers) was located – the scene in the car leading to the arrival at teh building makes me think it's somewhere near Central Park, but that footage could also have been filmed separately.

#tick tick boom #broadway #jonathan larson #rent #film

[jonthegiraffe]

Virtual sketchbook 1 assignment

1. WRITING AND RESEARCH

1. One little-known fact about me is I love to work out and do art in my free time though I am in no way talented or have done art for very long. 

2. 

A) The artist's name is Kehinde Wiley and focuses on detailed portraits with usually floral backgrounds of black men and women.

B) He was commissioned to make a portrait of former President Barack Obama. 

C) I could not find out why the Portrait of Tyesha Flemons was made or who she is but I did find out that it is an oil painting and is at the Stephen Friedman Gallery.

D) Kehinde Wiley was put into after-school art classes when he was a child. This is because his mom wanted him to stay off the streets. 

E) In his artwork, he tries to replicate the old masters which were European artists before the 1800s.

3. It has changed the way I look at it since I now know some background information. The first time I looked at it I thought it was just some random portrait of a famous black woman. Turns out his art is more about colored people as a whole. I think since he gives a piece of extraordinary art by someone who is not famous it gives more of a look at more common people who are not celebrities with some exceptions like former president Barack Obama.

(My sources)

https://kehindewiley.com/Links to an external site. 

https://en.wikipedia.org/wiki/Kehinde_WileyLinks to an external site.

2. ART AND WRITING

This is a variation of The Great Wave off Kanagawa. the medium that was used was ink. In the original, there is an array of colors so some of it must be colored ink as well instead of just black. It serves the purpose of giving my room more personality. I do think it is very beautiful due to the colors, the detail, and the composition itself.

3. WRITING A SELF-PORTRAIT

I am a 22-year-old white man and I work out, play video games, and do art for fun. I do not currently work anywhere as of the moment because I just got laid off. What makes me uniquely me is that I really care for wildlife and love to do art mostly because of the process and feeling of doing it, and I have a deep sense of dedication to the people I care about. When I look at art, I think I can sense the detail, For example, When I look at The Great Wave of Kanagawa, If you look closely, you can tell the men are about to brace for impact.

4. ART PROJECT (SELF-PORTRAIT)

[breitzbachbea]

tell me what have you seen in ireland? uwu

Oh my god. Oh myyy god. I'LL GLADLY TELL.

So, I did just stay in Dublin bc I like to really get to know one place on my own terms instead of hopping from place to place and only see a bit. I did spend one day in Derry, though.

In Dublin, I went to:

- Dublinia, a museum about medieval and viking Dublin. One of the students working there talked his whole shift away with me and became a friend.

- Christchurch Cathedral, where Strongbow is buried

- St. Patrick's Cathedral (even found two of the mismatched tiles, bc 'only God is perfect'!)

- Dublin Castle (Saw the River Puddle! Or is it Poddle? I'm so bad with Irish river names)

- Strolled through St. Stephen's once, but didn't explore much.

- Went to the see the Book of Kells and the Long Hall in Trinity College (their Cicero bust is so funny)

- Went to the Cobblestones pub with a tumblr mutual and it was a lovely evening

- Visited Henrietta Street 14, one of the old Georgian townhouses that tells the stories from the British High Life to Irish squalor in Dublin

- Just walked around in Grangegorman and Phibsboro, bc that is where Harry, Soph and Paddy live (DESPAIR. still have no clue where I want Charlie to reside.)

- Went to the 'Dead Zoo', the national natural science museum.

- Went to the national archaeological museum and saw a cool sword. And got more extra viking info, bc it was with my Dublinia friend.

- Went to the museum of Modern Irish Literature, which was 80% James Joyce. (One room encourages you to write down the beginning of a book and I just left the beginning of a Harry and Charlie One-Shot at the wall).

- Went to the National Gallery and saw some John Keats and Renaissance Era stuff

- Went to the General Post Office Museum with their great contextualization of the Easter Rising with what came before and after. (Love the poster walls that really embed you in the Zeitgeist).

- Went to EPIC The Museum of Irish Emigration. That one was fun, I think.

- What's it called, Merrion Square? Wherever the Oscar Wilde statue is. I went there.

- In Derry, I went to the Guildhall to see their exhibition on the Ulster Plantation. That was cool!

- I also went to the Free Derry Museum, which does such a good job of contextualizing the beginning of the Troubles.

- And I walked the entirety of Derry's walls once!!! And bc the busride didn't go through Belfast, I saw a lot of the countryside in Derry, Tyrone and Armagh.

- Went to St. Michan's to see the Crypt YEHAAAAW. (The bodies are mummified bc of the temperature staying the same, the limestone walls and the methane gas that comes up through the ground).

I honestly may have forgotten something, I'm not sure. It was all in all a great trip and I already ache to return, the same way I ache to return to Sicily. I know it's Scottish and there is no Ocean in sight but ... my bonnie lies over the ocean ...

#beareplies #mary-eve #I also spent too much time and money in Hodges and Figgs. God. I have barely a cent to my name now.

[diceriadelluntore]

Storia Di Musica #271 - New Order, Power, Corruption & Lies, 1983

4 ragazzi di Manchester fecero una promessa, una volta creata la loro band: se uno di noi fosse andato via, la band sarebbe finita. Probabilmente non pensavamo che l’abbandono di uno dei componenti fosse definitivo. L’infausto 18 Maggio 1980, Ian Curtis, cantante dei Joy Division, viene trovato morto nella sua casa al numero 77 di Barton Street a Macclesfield: suicidio. La band si scioglie in quell’esatto momento, mentre l’album testamento, finito da poco, Closer, regala al mondo l’ultima perla oscura di quella band formidabile. Bernard “Albrecht” Dicken, nome d’arte Bernard Sumner (voce e chitarra), Stephen Morris (basso e voce) e Peter Hook (batteria) cambiano subito nome, e diventano New Order. Sono passati pochi mesi, siamo nel settembre del 1980, quando esce con questa sigla Ceremony \ In A Lovely Place, scritte in precedenza come Joy Division. Ancora confusi, scelgono una tastierista, Gillian Gilbert, e registrano un nuovo singolo, Everything’s Gone Green, che anticipa il primo disco, Movement. Legati a doppio filo all’esperienza precedente, con Sumner che cerca invano di somigliare a Curtis nel canto, idee lasciate allora e riprese con confusione, l’ancora irrisolto problema della presenza-assenza del cantante, decisamente imponente. Eppure il seme viene già gettato: seguendo i nuovi ritmi elettronici, diffusi anche dalla loro leggendaria etichetta, la Factory, che non era solo una casa editrice musicale, ma una comune artistica che segnerà l’estetica britannica e non solo, decidono di virare sui suoni dance, e Dreams Never End, Truth e Denial segnano la strada. Visto l’insperato interesse, dovuto anche all’emozione dei reduci, la Factory piazza subito una antologia di singoli, e c’è più tempo e idee da sviluppare per il secondo disco. Che arriva nel 1983, fresco e originale, spazzando via l’idea che i New Order fossero i fratelli poveri dei Joy Division. È un disco dove il basso di Hook è il gancio (proprio il caso di dirlo) con la ritmica meccanica e oscura dei Joy Division, profetizzata dal loro produttore Martin Hannet, che però si apre a riff ariosi, al canto “naturale” e non più scimmiottato di Sumner, alla batteria che si divide con la drum machine, al tappeto delle tastiere della Gilbert. Nasce un suono che farà scuola, e che segnerà la new wave. Power, Corruption & Lies sono tre parole che Gerhard Richter, un artista tedesco, scrive a bomboletta fuori da una mostra a Colonia nel 1981 come atto di vandalismo. Inizia con l’aria scanzonata e fresca di Age Of Consent, primo grande brano del gruppo, una cavalcata leggera di chitarra e voce, sorprendente. La canzone finisce così: Do you find this happens all the time\Crucial point one day becomes a crime\And I'm not the kind that likes to tell you\Just what I want to do\I'm not the kind that needs to tell you\I've lost you, I've lost you, I've lost you, I've lost you. Il gruppo sperimenta la disco (The Village), le lunghe introduzioni (We All Stand), sperimenta anche nella lunga 5 8 6, intricata e manifesto del synth pop. Altre canzoni meravigliano: Your Silent Face, con arrangiamento orchestrale, verrà citata persino da Bret Easton Ellis nel suo famoso romanzo Le Regole Dell’Attrazione (che è del 1987). Ecstasy è il lato chimico della Manchester del periodo, capitale indiretta della diffusione dell’Mdma come droga delle discoteche. Ultraviolence e soprattutto Leave Me Alone, magnifico strumentale, senza macchina ma fatta solo “dagli uomini”, sono il sigillo di un disco che attraversa il dolore con la passione dei Kraftwerk innestata sull’oscura magia del suono Joy Division, che rimarrà sempre nel loro animo. Il disco passa alla storia anche per la leggendaria copertina, opera di un grande artista e animatore della Factory, Peter Saville (che è l’autore dei quelle eccezionali dei Joy Division). Saville trova per caso una cartolina della National Gallery, che rappresenta una natura morta floreale, A Basket of Roses, opera del pittore francese Henri Fantin-Latour del 1890. Di lui, in un passaggio de Alla Ricerca Del Tempo Perduto, dirà Marcel Proust: “‘Molte mani di giovani donne sarebbero incapaci di fare ciò che ho visto là’ disse il principe indicando gli acquerelli iniziati da Madame de Villeparisis. E le chiese se aveva visto il quadro di fiori di Fantin-Latour esposto alla recente mostra”. Saville dirà sempre che “I fiori suggerivano come potere, corruzione e menzogne si infiltrano nelle nostre vite. Sono seducenti” e sceglie il quadro per la copertina. Ci aggiunge un tocco dadaista: nell’angolo in alto a destra ci sono una serie di quadratini colorati, sequenza che si può decifrare grazie a una ruota cromatica messa sul retro della copertina. Una volta risolto, il codice cromatico restituisce la scritta “FACT 75”, cioè la 75esima release di Factory Records. I New Order continueranno a suonare, e Low-Life del 1985 saluta il post punk e con Subculture e The Perfect Kiss aprono la strada al technopop. Rimangono una band che ha saputo saltare l’ostacolo, un ostacolo gigantesco, sulla cui lapide c’è scritto il suo verso più famoso: L’amore ci farà pezzi.

#new order #power corruption & lies #1983 #recensione

[newyorkthegoldenage]

Street scene in Harlem, 1937.

Photo: Jack Manning via the Stephen Daiter Gallery

#New York #NYC #vintage New York #1930s #Jack Manning #Harlem #street photography #street scene #vintage Harlem #window cleaning #stoop

[pequifics]

The unsellable frame

[Soundtrack: Stephen Sanchez - Until I Found You]

A ficlet about Zhongli being a stubborn art curator unwilling to sell the painting of a deceased red-haired war hero, guess who he was?

___

“As I already told you, madam, this painting is not for sale.”

“I thought after a few months you would change your mind", replied the woman with a disappointed smile, still looking at the painting hanging on the wall.

“Do you know if the stories about him are true, Mr. Zhongli?", she asked, now turning her face to look at the man by her side, the art gallery curator — he wore a semi-formal outfit, a white shirt with a brownish vest, on top, which was a shade lighter than the pants, his hair was short, somehow it didn't seem to fit him.

"Some are… Others do not quite follow the truth of the facts.", he answered, without taking his eyes off the painting.

“I know of his historical deeds, that he was a knight of the ancient kingdom of Snezhnaya and that he fought alongside the queen against Celestia's domination.", she said admiring the face of the red-haired figure engraved between a white snowed forest. "However, I wonder if he really was what he was as a person, you know?”

"He was friendly… Perhaps a bit childish - hence his code name. Nevertheless, he genuinely cared for those he loved, especially his family and his partner," the man replied with a sad smile on his face.

"So you would also know, Mr. Zhongli, that his real name was Ajax?", she said looking to the man at her side, who finally turned his face from the painting.

“I know indeed.", he smiled, closing his eyes.

“You never fail to amaze me with how much you know about Tartaglia, Mr. Zhongli. Sometimes I wonder if your family tree is linked to his, for you to have an obsessive interest in a young captain.", she looked at him arching an eyebrow, intrigued.

“I'm just a rich man with a lot of free time to collect art and study history, that's all.", he lightly shrugged, giving the woman a half smile.

She laughed and shook her head.

“Well, next month I'll be back to appreciate your new acquisitions and buy this masterpiece if you change your mind about selling it", she said, teasing. ”I won't.”

The woman smiled back, in sympathy with the suffering that was beginning to appear on the curator's face, and walked away with slow steps.

The man was still there, alone, standing in front of a huge painting that took up the entire wall. He already knew every brushstroke, after all, he had ordered the painting from a photo he took of Ajax-Tartaglia-Childe himself, while they were on their honeymoon, in Snezhnaya. Hundreds of years had passed, Ajax was long gone and as the photo's material aged, he asked a famous chick to reproduce the photo on canvas.

"I could never sell the only thing I have left of you...", he said, moving closer to touch the painting.

Lost in his thoughts, he didn't notice when someone entered the gallery, though hearing a crying sniff, the man turned around sharply. Behind him was a teenager, close to 17 years old, with freckles and messy red hair, he wore wrinkled formal clothes as if he was just coming out of his first job interview.

"I'm so-sorry, I-I don't even know why I'm crying...", said the boy using his shirt sleeve to wipe away the tears. “I didn't mean to barge…"

“Are you all right, young man?", asked the man taking an unsure step closer.

“I saw this guy from the street", the boy continued talking and pointed to the painting, "and I felt like I should go in. As I approached, tears started to flow... I'm sorry, I…", he shook his head., enable to keep the thoughts in order.

"Very well, Ajax, congratulations on the embarrassment. Look, sir, I'm sorry...", he said, finally, walking backward, keeping his head down. When he reached the door, the boy ran.

The art gallery's owner and curator, the immortal lover of the deceased hero portrayed in the painting, stood still, absorbing the scene he had just witnessed.

As tears streamed down his face, he said at last: "I found you."

___

Thank you for reading, I hope you all enjoy it! ~

#ficlet #tartali #tartali fic #childe x zhongli #childe tartaglia ajax #light angst #happy ending #reincarnation #reincarnated au #my writing #genshin impact #genshin fanfic #pequifics