360Photography

A few nice visual art images I found:

Ethan•Allen•Engine•Co•No•4 (1889)

Image by origamidon
Church Street, Burlington, Vermont USA • Seen from the Marketplace. ? "Designed by A. B. Fisher, a prolific 19th century Burlington architect, this firehouse ranks as one of the most attractive buildings in downtown Burlington. Built in the heyday of volunteer fire companies, it was completed in the spring of 1889." *

Now operating as The Firehouse Center for the Visual Arts , The FCVA provides visitors with a fully-integrated arts experience through contemporary exhibitions and educational programming informed by the work in the Firehouse Gallery. The FCVA includes a community darkroom and photography studio; artist-in-residence studio; multimedia conference facility for lectures, film series, and panel discussions; and Resource Room and Library with public meeting space and Internet access. Burlington City Arts (BCA) opened all five floors of the building in 2004 after an extensive historic renovation, and has yet to complete the .5 million capital campaign. ? The Firehouse Center for the Visual Arts is programmed and managed by Burlington City Arts.

? * For some dates & historical details, I am indebted to the Chittenden County Historical Society, and their fine, three volume set: Historic Guide to Burlington Neighborhoods: Vol. I, 1991; Vol. II, 1997;Vol. III, 2003. David J. Blow, author; Lillian Baker Carlisle, Editor; Sarah L. Dopp, photographs.

? Part of a series of photos documenting my new home & neighborhood, in the heart of Vermont’s largest town: Burlington 05401. • After almost a dozen years in rural Cornwall, 40 miles to the south, I have moved to one of the true outposts of optimism, on the eastern shore of Lake Champlain (the 6th Great Lake).

Long Long Time

Image by Stanley_Wong
View Large On Black

ladymoriendi-stock.deviantart.com

Long Long Time By Linda Ronstadt

Love will abide, take things in stride
Sounds like good advice but there’s no one at my side
And time washes clean love’s wounds unseen
That’s what someone told me but I don’t know what it means.

Cause I’ve done everything I know to try and make you mine
And I think I’m gonna love you for a long long time

Caught in my fears
Blinking back the tears
I can’t say you hurt me when you never let me near
And I never drew one response from you
All the while you fell all over girls you never knew
Cause I’ve done everything I know to try and make you mine
And I think it’s gonna hurt me for a long long time

Wait for the day
You’ll go away
Knowing that you warned me of the price I’d have to pay
And life’s full of flaws
Who knows the cause?
Living in the memory of a love that never was
Cause I’ve done everything I know to try and change your mind
and I think I’m gonna miss you for a long long time
Cause I’ve done everything I know to try and make you mine
And I think I’m gonna love you for a long long time.

Check out these visual art images:

Flood at Port-Marly

Image by cliff1066™
Flood at Port-Marly, 1872, oil on canvas by Alfred Sisley

In December 1872, the Seine overflowed its banks at the small village of Port-Marly. The opportunity to paint the watery reflections of a rain-heavy sky lured both Alfred Sisley and Claude Monet. Sisley painted several flood views in 1872, and others a few years later.

Traditionally, artists depicted flood scenes to communicate the drama and destructive power of nature. Sisley, however, who has been called the "purest" of the impressionists, was interested in visual effects only. He painted this picture on the spot, probably in a single session. The colors are the muted and nuanced tones Sisley preferred, and the shapes of his brushstrokes change in response to the different textures of light and the landscape: gliding ripples in the watery reflections, broad square blocks of pigment in the window panes. Sisley chose his vantage points carefully, to frame and compose his views. Notice how he uses the trees and pylon at the right to balance the tall mass of the restaurant on the left and how the dark figures who pole small boats help our eye mark the distance into the background.

www.nga.gov/collection/gallery/gg87/gg87-66436.html

Glenn Brown – Declining Nude (After Pissaro’s Self-Portrait) (2006)

Image by Cea.
oil on panel 140 by 99cm

"Brown’s artistic process today involves scouring the internet for source images. Taking his cue from the founders of Appropriation Art, his quintessentially post-modern approach to painting borrows images from two extremes of visual culture: masters of painting canonised by art history and low-brow, sci-fi illustration which in Brown’s
pantheon is awarded equal status. Unlike the dispassionately cool re-presentation of appropriated images in, say, a Richard Prince photograph, however, Brown’s subjects are filtered through the very personal lens of the artist, any idiosyncrasy amplified by
the long periods of solitary studio time required by Brown’s labour-intensive technique."

Source

Worlds apart

Image by t_a_i_s
www.moma.org –

I recently found this text on the cover of a book called "Museum Watching" by Elliott Erwitt, which I loved and thought I’d share with you:

"I am a dedicated people watcher who loves to see art and art watchers watching. Museums provide irrisistible visual feasts of science, history, art on canvas, in sculpture, in buildings that are themselves art. Blending with displays, spectators provide the human scale, thinking, judging, having fun, feeding sensibilities. It all makes fine hunting for a furtive photographer on the prowl."