Cour
1 member found
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Marcelle La Cour
United States
29 creative works found
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Whimbrel, one of the most wide-ranging shorebirds in the world. It uses its long, down-curved bill to probe deep in the sand of beaches for invertebrates, but also feeds on berries and insects. Stretching its leg backwards, this Whimbrel presented me with a very comic point of view. / East Beach, Santa Barbara, CA 18-200mm vr @200mm / 1/100 f11 With Flash / 200 ISO / / - / —-—-—-—-—-—-—-—-—-—-—-—--* I will donate 50% of all proceeds from the sale of this image and the ones below to the American Bird Conservancy And the T-Shirt below
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I found this old barn traveling along the Cour d’alene lake. As I walked up to the entrance of the barn, I heard what I thought was sprinklers turning on. I looked down and there it was a HUGE rattlesnake. So this barn was nicknamed The Rattlesnake Barn. All images© Copyright by Carolyn Sue Farmer / They may not be used in any way without written consent.
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View of Sacre Cour taken from the Clock Window in Musee D’Orsay, Paris
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Soooo we are allowed to wish and dream…right? I love this home in Cour D’Lene, Idaho.
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In an old house, Amsterdam
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Every child loves a rhyme, and everyone knows “Jack and Jill went up the hill to fetch a pale of water”...but does anyone know why ” Jack fell down and broke his crown and Jill came tumbling after” ...???...because I think, they were surprised to see a goat standing up on top of the Well…!!! What do you think? A happy bright little ‘Get WELL’ card…story and Rhyme
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a view of the Eiffel Tower from Sacre Coure in Paris, France
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Despite their bickering the brother could only lift the wood together.
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The work shown here are taken from the exhibition ‘Travaux d’artistes au cours du jour’, held at Galllery La Tête d’Obsidienne, La Seyne sur Mer’ in 1985. Five artists in total presented works made during a period of seven days- seven days working and filling the gallery space. As part of this group, rather than produce an individual work to display, Pascale Baud decided to document and then re-contextualise this documentation, of the artists at work, filling the space of the gallery. “I wanted to be a witness to the ‘filling up’ of the gallery I chose Polaroid to grasp the transformation. Each day at the same moment in the same place I took seven Polaroids. From these images I made photocopies, re-working these by drawing over them with pastel. These I called ‘faux-Polaroid’. ” Both originals and copies were then collated into a diary, pages from which are shown on the right. by Sean Cousin * / - Featured in the group Object Studies & Concepts
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The work shown here are taken from the exhibition ‘Travaux d’artistes au cours du jour’, held at Galllery La Tête d’Obsidienne, La Seyne sur Mer’ in 1985. Five artists in total presented works made during a period of seven days- seven days working and filling the gallery space. As part of this group, rather than produce an individual work to display, Pascale Baud decided to document and then re-contextualise this documentation, of the artists at work, filling the space of the gallery. “I wanted to be a witness to the ‘filling up’ of the gallery I chose Polaroid to grasp the transformation. Each day at the same moment in the same place I took seven Polaroids. From these images I made photocopies, re-working these by drawing over them with pastel. These I called ‘faux-Polaroid’. ” Both originals and copies were then collated into a diary, pages from which are shown on the right. by Sean Cousin
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The work shown here are taken from the exhibition ‘Travaux d’artistes au cours du jour’, held at Galllery La Tête d’Obsidienne, La Seyne sur Mer’ in 1985. Five artists in total presented works made during a period of seven days- seven days working and filling the gallery space. As part of this group, rather than produce an individual work to display, Pascale Baud decided to document and then re-contextualise this documentation, of the artists at work, filling the space of the gallery. “I wanted to be a witness to the ‘filling up’ of the gallery I chose Polaroid to grasp the transformation. Each day at the same moment in the same place I took seven Polaroids. From these images I made photocopies, re-working these by drawing over them with pastel. These I called ‘faux-Polaroid’. ” Both originals and copies were then collated into a diary, pages from which are shown on the right. by Sean Cousin
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Paris, France
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The work shown here are taken from the exhibition ‘Travaux d’artistes au cours du jour’, held at Galllery La Tête d’Obsidienne, La Seyne sur Mer’ in 1985. Five artists in total presented works made during a period of seven days- seven days working and filling the gallery space. As part of this group, rather than produce an individual work to display, Pascale Baud decided to document and then re-contextualise this documentation, of the artists at work, filling the space of the gallery. “I wanted to be a witness to the ‘filling up’ of the gallery I chose Polaroid to grasp the transformation. Each day at the same moment in the same place I took seven Polaroids. From these images I made photocopies, re-working these by drawing over them with pastel. These I called ‘faux-Polaroid’. ” Both originals and copies were then collated into a diary, pages from which are shown on the right. by Sean Cousin * / - Featured in the group Object Studies & Concepts
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The work shown here are taken from the exhibition ‘Travaux d’artistes au cours du jour’, held at Galllery La Tête d’Obsidienne, La Seyne sur Mer’ in 1985. Five artists in total presented works made during a period of seven days- seven days working and filling the gallery space. As part of this group, rather than produce an individual work to display, Pascale Baud decided to document and then re-contextualise this documentation, of the artists at work, filling the space of the gallery. “I wanted to be a witness to the ‘filling up’ of the gallery I chose Polaroid to grasp the transformation. Each day at the same moment in the same place I took seven Polaroids. From these images I made photocopies, re-working these by drawing over them with pastel. These I called ‘faux-Polaroid’. ” Both originals and copies were then collated into a diary, pages from which are shown on the right. by Sean Cousin * / - Featured in the group Object Studies & Concepts
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