These are a few from a collection sent to me by Cynthia Gomez. (Captions from yours truly)
Left hand not knowing right hand comes to mind.
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It’s a fair question!
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Ouch, a bit close to home!!
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Next two photographs from a weblink that Dan Gomez sent me.
Shelf clouds over Timisoara
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A world of green.
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Now a few from yours truly, all taken from here at home.
Autumn hues.
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Dhalia enjoying the Fall scents.
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Misty October morning.
The final item is a YouTube video that Dan Gomez pointed out to me. Enthralled is an understatement! Do Watch It In Fullscreen!
Oh, don’t watch it if you don’t have a head for heights!!
NOTE: When running this video at this end, it has been starting with the volume muted. The volume setting is bottom left so check before the video gets under way for you.
Really tight on time at this moment (Sunday afternoon) so all I want to do is to lightly introduce this great thinker to those that haven’t come across him before.
Joseph Campbell died in 1987 but his influence continues to be strong and powerful, positively increasing year by year.
His works, his life and his messages are wonderfully promulgated by the Joseph Campbell Foundation. Becoming a JCF Associate is free!
Due to my work I am one of the lucky people who has the opportunity to stay for short periods in various cities around the globe, and mostly the Hotels we stay in are the best around, and depending where we are, the flavour is often special.
I remember a stay in the Hilton Amsterdam where John Lennon had stayed, and had a week in bed to “Give Peace a Chance”, but a recent stay in the Marriott Eastside Hotel, New York caught my eye.
Georgia O'Keefe, 1918 photograph by Alfred Stieglitz
Georgia O`Keeffe lived here for 10 years!
I remember, she was the lady who painted the large scale flowers, and in particular “The Petunia”, and when she painted that particular piece, she was living in a suite on the 32nd floor of the very hotel I was staying in.
Georgia O`Keeffe was born in 1887 in Sun Prairie, Wisconsin. She studied art in Chicago, and New York, and became an Art Teacher at Columbia College, South Carolina.
One of her friends had shown some of her works to Alfred Stieglitz the photographer. She came to New York, and there the two eventually married, and moved later into the Shelton Hotel, Lexington Avenue, which is now called the Marriott Hotel, Eastside.
The Petunia picture was painted in 1924, and was one of a large number of her works that were exhibited in 1925.
Her husband Alfred Steiglitz died in 1946, after which she moved to an isolated ranch in New Mexico, but she continued to produce great works. Paintings of Desert Cliffs, Animal Bones, and Flowers are among the worlds most admired works of art, and she continued to draw, paint and sculpt until her death in 1986, aged 98.
Petunia - 1925
I rather liked a comment she made at the age of 90.
“Success takes more than talent. It takes a kind of nerve.”
Creativity, Integrity and commercialism – are there conflicts?
This is guest post from Magnus Dennison. Magnus is a Cinematographer who, together with his wife, Katja Roberts, runs a film production company in Newcastle-upon-Tyne in the North-East of England. Their company is called Meerkat Films. Magnus writes about integrity in film making.
I am going to write about film producers who have made creative choices to ensure their films are commercial successes. My question is whether these films lose their integrity when the motivation for making them becomes financial.
A little about my background. I am an independent film producer working in the UK and don’t profess to be an expert on these matters; the views expressed here are simply my opinion.
I will start by presenting one of my favourite films: ‘The Lives of Others’ (2006) directed by Florian Henckel von Donnersmarck. The team has, in my opinion, made one of the most powerful films of the decade. But more interestingly, they have made many choices that have preserved the integrity of the story at the risk of reducing commercial viability.
It is obvious why they have done this; they are passionate about the artistry and the integrity of the film, more than the financial gain. The film is very slow paced and the tension builds so gradually you’re almost unaware of it until you are completely engrossed.
Donnersmarck. The team has, in my opinion, made one of the most powerful films of the decade. But more interestingly, they have made many choices that have preserved the integrity of the story at the risk of reducing commercial viability.
Learning from Dogs 