Status
114 creative works found
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Birrarung Marr, Melbourne CBD Melbourne is such a photogenic place … hmmm … :)
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The iconic sketch of the stages of evolution is changed to humorously represent the new status of women. There is no attempt to indicate which one should adapt :)
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Its an attempt to portray Britney Spears recent experience as if she were telling it. Beyond the shadows of the paparazzi is a trail of blurred images representing the consuming of her soul. The globe above her head is a symbol of her connection with the world as a celebrity and the burden she carries as it turns. She is portrayed dull and lifeless as lightening green strings attached to her and the paparazzi lead to her ex husband Kevin. He is the pupeteer in her life. The flames represent his anger and the green mist his jealousy of her status. Above his shoulders are their children locked away from Britney.
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I have sharpened the car and the road, as I was in a moving car when I saw this and there is a lot of movement! Anyway Peter, this is just for you. To me cars are part of mankind’s fantasy and a status symbol. I only used the clarify tool in paintshop once! So, this is more or less as is.
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Pastel on colored paper, 9” x 12” / Copyright © LiorG 2008 Add Lior Goldenberg to your watchlist
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Traveling by rail has always seemed antiquated to most Americans. Which is what makes it even more savvy, and cool. Sort of. Trains that take you to “suburbia” are tantamount to a Cruise Ship, going to the Cote d’Azur. (Spot on, what’s the point?) Trains that get you under, above and around Chicago, thats how you roll. Elevated.
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This room must have been for someone pretty important, it was one of the few rooms that didn’t just have drab military grey and muted colours but rather had this quite nice fireplace.
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We CAN’T Afford It Anymore. . / .. / ... The Status Quo is DECLINING, even when We’re ALL TRYING to Maintain IT so HARD! ... / .. / . / MCN: C2WUX-48RND-AN8SU
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. / .. / ... “do you seriously think that I love to see some arts being censored for the sake of Status Quo?” / That the original design. / NOW, look what CENSORSHIP can DO and will ALWAYS DO! ... / .. / .
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Melbourne Mural / The store was built in 1853 and named Dimelow and Gaylard before the colloquial name was adopted in 1904. That building was destroyed by fire in 1907 and the existing structure was designed by Melbourne architects H. W. & F. B. Tompkins. The clock tower was erected in 1910 and the building’s name changed again to Dimmeys Model Stores to reflect its high fashion status in working-class Richmond. In 2004, artist Hayden Dewar was commissioned to paint a series of murals representing the history of the store and Victoria along the Green Street facade.
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The Beach Stone-curlew is a large, thick-set wader, reaching 56 cm in length, with a wingspan of up to 1 m. Adults have a large head, massive uptilted bill, hunched profile, stout legs and thick ‘knees’. The upper body is predominantly grey-brown, with distinctive black and white patterning on the face and shoulder. The throat and breast are a paler grey and the belly white. The wings are mostly white with black tips. During the night, breeding birds give a harsh, wailing territorial call, which is higher pitched, harsher and less fluty than that of the Bush Stone-curlew Burhinus grallarius. The Beach Stone-curlew has been recorded around the north coast of Australia, mainly between mid-north Western Australia and north-east NSW. The species has largely disappeared from the south-east of its former range and is now rarely recorded on ocean beaches in NSW. This photo was taken on an Ocean Beach near Coffs Harbour NSW on 7Sp Feb 2009
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The Bush Stone-curlew stands about 55 cm tall. It has a grey to light brown back, marked with black blotches, and a streaked rump. It has buff and white underparts with dark streaks, and a black band that runs from near its eye down its neck. This species has large, bright yellow eyes and a hunch-shouldered stance on long spindly legs. When disturbed it lies flat on the ground, with its head and neck outstretched. Its call is a loud eerie wailing “wee-loo”, mostly heard at night. The Bush Stone-curlew is found throughout Australia except for the central southern coast and inland, the far south-east corner, and Tasmania. Only in northern Australia is it still common however and in the south-east it is either rare or extinct throughout its former range.
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I’ve decided to put a second photo of this bird up mainly to bring attention to it’s plight. These birds are are very subsecpable to disturbance. The NSW Depatment of Environment has listed this bird as an Endangered Species on Schedule 1 of the New South Wales Threatened Species / Conservation Act, 1995 (TSC Act). It had been estimated that in 1990 the Australian population may not exceed “15 breeding pairs” (J. Martindale pers.comm.). The range and distribution of this species, within NSW, is thought to have contracted as a result of urban and / industrial development and recreational activities in coastal areas. This individual sighting is now registered on the NSW Govt Agency BioNet Data base (Australian Museum, NSW Fisheries, NSW State Forests, National Parks & Wildlife Service).
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The Church of the Holy Sepulchre Status quo / Since the renovation of 1555, control of the church oscillated between the Franciscans and the Orthodox, depending on which community could obtain a favorable firman from the Sublime Porte at a particular time, often through outright bribery, and violent clashes were not uncommon. In 1767, weary of the squabbling, the Porte issued a firman that divided the church among the claimants. This was confirmed in 1852 with another firman that made the arrangement permanent, establishing a status quo of territorial division among the communities. The primary custodians are the Eastern Orthodox, Armenian Apostolic, and Roman Catholic Churches, with the Greek Orthodox Church having the lion’s share. In the 19th century, the Coptic Orthodox, the Ethiopian Orthodox and the Syriac Orthodox acquired lesser responsibilities, which include shrines and other structures within and around the building. Times and places of worship for each community are strictly regulated in common areas. Establishment of the status quo did not halt the violence, which continues to break out every so often even in modern times. On a hot summer day in 2002, the Coptic monk who is stationed on the roof to express Coptic claims to the Ethiopian territory there moved his chair from its agreed spot into the shade. This was interpreted as a hostile move by the Ethiopians, and eleven were hospitalized after the resulting fracas.[20] In another incident in 2004 during Orthodox celebrations of the Exaltation of the Holy Cross, a door to the Franciscan chapel was left open. This was taken as a sign of disrespect by the Orthodox and a fistfight broke out. Some people were arrested, but no one was seriously injured.[21] On Palm Sunday, in April 2008, a brawl broke out due to a Greek monk being ejected from the building by a rival faction. Police were called to the scene but were also attacked by the enraged brawlers.[22] A clash erupted between Armenian and Greek monks on Sunday 9 November 2008, during celebrations for the Feast of the Holy Cross.23 Under the status quo, no part of what is designated as common territory may be so much as rearranged without consent from all communities. This often leads to the neglect of badly needed repairs when the communities cannot come to an agreement among themselves about the final shape of a project. Just such a disagreement has delayed the renovation of the edicule, where the need is now dire, but also where any change in the structure might result in a change to the status quo disagreeable to one or more of the communities. A less grave sign of this state of affairs is located on a window ledge over the church’s entrance. Someone placed a wooden ladder there sometime before 1852, when the status quo defined both the doors and the window ledges as common ground. The ladder remains there to this day, in almost exactly the same position. It can be seen to occupy the ledge in century-old photographs and engravings. None of the communities controls the main entrance. In 1192, Saladin assigned responsibility for it to two neighboring Muslim families. The Joudeh were entrusted with the key, and the Nusseibeh, who had been the custodians of the church since the days of Caliph Omar in 637, retained the position of keeping the door. This arrangement has persisted into modern times. Twice each day, a Joudeh family member brings the key to the door, which is locked and unlocked by a Nusseibeh. Wikipedia Model : NIKON D80 / ExposureTime : 1/1250Sec / FNumber : F5.6 / ExposureProgram : Aperture Priority / ISOSpeedRatings : 400 / ExposureBiasValue : EV0.0 / MeteringMode : CenterWeightedAverage / FocalLength : 70.00(mm) / AF-S DX Zoom-Nikkor 18-135mm f/3.5-5.6G IF-ED
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Mary & Jesus by David Petranker
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A small section of the Cavern wall of fame. This was taken at the Cavern pub in Mathew street, Liverpool. The exterior wall has the names of some of the acts that have appeared over the years at the Cavern club.
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Eclipse of the Sunrise / / Early morning started in darkness on the way from Delhi to Agra and Taj Mahal I’ve seen pulchritudinous sunrise. In a trice that visional eclipse was over…
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OIL PAINTING INVERSION / Image Copyright © 2008 JANE À PARIS / Original Work Titled: WINDMILL OF POLITICAL HATE Many of my paintings are about the psychological torture I have had to endure for years because of politics… The original title was: / BLACK LADY CHAIN SMOKING, DRINKING, AND WEARING A GLOW IN THE DARK SPARKLE RING I had to shorten the title for the print, so I changed the title to: / WINDMILL OF POLITICAL HATE This is about being forced to go in endless vicious circles in regard to your sexuality, your relationships, your jobs, your health, and everything else in your life pretty much. The cigarettes and alcohol represent sexual relationships, which you can’t do without very well because of your political status and the fact that you are not allowed to move forward on your own. The black lady represents slavery, for she being kept powerless in the system. And the glow in the dark sparkle ring represents the infection in your body, (ovary), which has been intentionally left there to fester and torment you, as a means of torture. And the only relief you are offered from this is through sexual relationships with men, because they refuse to give you health care on your own. THEIR WINDMILL their windmill… I am not healthy / I am not wealthy / I am not in control / I am not reaching any goal / I try and try and try in vain / But all I’m left with is never-ending pain / I go in circles that are drawn for me / With no ability to break the cycle / Their windmill that tortures me endlessly, see / All the disrespect, referring to my attempts as ‘riding a bicycle’ / I hope they are happy that I am crying / This is of their making, that I am dying JANE À PARIS Copyright ©2008 JANE À PARIS Description – / This is about being made to go in circles, and about words of hate and disrespect that spur a vicious cycle like a huge hateful windmill that is spinning out of control. Their windmill leaves its victim in a sad, dead neverending spin that is spiraling out of control to nowhere. It is actually a very famous and well known windmill, it is the windmill of political hate.
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OIL PAINTING / Image Copyright © 2008 JANE À PARIS / Professionally photographed by Citizens Photo THE DIVINITY OF THE TRINITY Matthew 5:10 / 10 “Blessed are those who have been persecuted for the sake of righteousness, for theirs is the kingdom of heaven. / —-—-—-—-—-—-—-—-—-—-—-—-—-—-—— DESCRIPTION OF RED MOTHER MARRY – THE PAINTING She is very trapped in all of her red/pain, and it burns from her eyes in intense sadness. She is surrounded by red/pain, (violation), and she is always in the red. A debt that can never be repayed or righted. She has a debt to God that she can never right, lost souls, and she has a debt to society that she can never pay because her burden is too heavy, and society/the State never releases her from it. All she can do is pray and hope that God hears her…hears her lost soul and the chant of pain that never-endingly ebbs through her mind and body. Her eyes will always be and see in intense bloody red. Speaking of the unnecessary violence of life…loss, hatred, betrayal, religion, politics, deep sadness, and lost souls… because this is the nature of the beast…this is the nature of humanity…it is very unforgivable, destructive, and leaves deep scars on her soul and body…and all she can do is pray…pray for a better day…pray for the darkness to lift one day…This painting is about being trapped/caged…NEVER-ENDINGLY…This painting is about being violated, and about the violence and sadness of life…and about how sometimes all that a person has the power to do…is pray to God and hope that God hears…hears the pain, sadness, and hope for a better tomorrow. This painting is about faith and hope through all of the redness/pain. The kind of painting I do is called EXPRESSIONISM. I try to convey an idea or concept in emotional and colorful terms, so that when you look at the canvas, you feel what the painting is trying to say. Usually the colors in Expressionistic art are bright and vivid as well, and I think this painting are very bright and vivid, VERY PAINFUL RED.
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The motifs of SYNTHESIZED FASHION take up standardised, life- and speechless storefront mannequins as protagonists and imbue them with idiosyncratic personalities and a language all their own. Transposed into a novel visual context and given their own stage setting, as it were, they are plunged at the deep end into a realm of captivatingly mysterious beauty and for one timeless moment, vouchsafed a depth beyond all standardisation and conformity.
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The motifs of SYNTHESIZED FASHION take up standardised, life- and speechless storefront mannequins as protagonists and imbue them with idiosyncratic personalities and a language all their own. Transposed into a novel visual context and given their own stage setting, as it were, they are plunged at the deep end into a realm of captivatingly mysterious beauty and for one timeless moment, vouchsafed a depth beyond all standardisation and conformity.
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