#2016.10

[jonghyunjjong]

His eye smile OMG 😳🥰😍

('1 of 1' fansign 2016.10.09)

2017.04.08 - Japan - SHINee World 2017 ~ Five ~

[q-posts]

mercredi

Treasure each moment in time. Life is a continuation of “now”. Treasure each and every moment as it comes, so that you can live your life as fully as possible without regrets. Perfect Liberty 2016.10 PL Precept #15 All is a mirror Oyashikiri Photo.Rev.Goto

[nitsubonome]

https://social.vivaldi.net/@nitsubonome/110891221661320256

[chibiutsubo]

#日常

ここ数年、本屋に行くと、「どこどこ(地名が入る)の昔」とか「どこそこの昭和」のような、昔のその地域の写真を集めた写真集が置いてあることがあります。

他の地域の本屋で見たことがあったのですが、とうとう地元版も発行されるらしく、新聞に折り込み広告が入っていました。

昔はこんな風だったねぇ、懐かしいねぇと当時を知る人が懐かしんだり、逆に若い人たちが地元の昔の姿を知ったりと、そういう写真集なのでしょう。

しかし。ほぼ昭和のまま町が時を止めている我が地元。サンプルで載っている写真を見て――驚きました。

今もそのままこの風景残っとるやんけ。

昔はこんなだったんだね懐かしい～じゃなく。現在進行形。現在進行形で同じ街並みが広がっている。令和3年の今、私はこの風景をよく知っているぞ。

昭和40年代の駅前だという白黒写真でしたが、この駅舎、現役だよね？

大学入学と同時に一旦地元を離れ、そして卒業してから戻ってきて「数年経過してもここは何も変わらんなぁ」とは思っていたんですが、まさか昭和40年から変わっていなかったとはね。

軽い絶望を覚えつつ、写っている人の服装は確かに今とは違っていて、これは現在なのか過去なのか、合成写真のような違和感も覚えるのでした。

画像は地元とは何ら関係ない写真です。2016年の愛知トリエンナーレの時のものかな。

[odilecheng]

Colin Morgan with Gemma Chan at Times Square in October,2016 in New York. https://www.instagram.com/p/BSVt_ABA5zc/

https://www.instagram.com/p/BSXM54RA5AA/

[gabriellademonaco]

Crown Princess Mary’s recycling of the brick red lace dress from Dolce & Gabbana:

2016.10: Reception for Olympic and Paralympic Athletes

2017.01: State Visit from Iceland

2021.09: Dinner for Mary Foundation’s Presidium

[ceintureverte]

美術手帖 翻訳論考 (2015-現在)

・アーティ・ヴィアカント「インターネットのアートへの影響を考察する ポスト・インターネットにおけるイメージ・オブジェクト」、中野勉訳、美術手帖、2015.6、特集=ポスト・インターネット、pp.102-113.

・ティム・グリフィン「コンプレッション(圧縮)」、大森俊克訳、美術手帖、2016.2、特集=浦沢直樹、pp.124-141.

・ワリード・ベシュティ「倫理の感性論に向かって」、中野勉訳、美術手帖、2016.6、特集=コンテンポラリー・アート・プラクティス、pp.82-90.

・ヒト・シュタイエル「アートの政治学：コンテンポラリー・アートとポスト民主主義への変遷」、大森俊克訳、美術手帖、2016.6、特集=コンテンポラリー・アート・プラクティス、pp.91-97.

・グラント・ケスター「露わにされた技法：今日の美術批評のいくつかの限界について」、大森俊克訳、美術手帖、2016.8、特集=キャラクター生成論、pp.118-133.

・ダニエル・ルービンシュタイン「写真による経験の殺戮」、中野勉訳、美術手帖、2016.9、特集=#photograph、pp.98-104.

・ロバート・ルーバー「アメリカにおけるモダンアートとマスカルチャー：サルバドール・ダリの場合」、中野勉訳、美術手帖、2016.10、特集=サルバドール・ダリ、pp.66-73

・クレア・ビショップ「デジタルという分水嶺」、大森俊克訳、美術手帖、2016.11、pp.126-141.

・ロバート・ジャクソン「唯物論が解決でなければ、ではなにが問題だったのだろう？：グレアム・ハーマンへの応答」、大森俊克訳、美術手帖、2017.2、pp.136-153.

・ボリス・グロイス「アート・アクティビズムについて」、大森俊克訳、美術手帖、2017.5、pp.124-141

・デイヴィッド・ジョーズリット「アグリゲータについて」、大森俊克訳、美術手帖、2017.10、pp.148-163.

・ローリ・B・アンドリューズ「公共政策の媒体としてのアート」（抄訳）、中野勉訳、美術手帖、2018.1、特集=バイオ・アート、pp.102-107

・ヒト・シュタイエル「デューティ・フリー・アート」、大森俊克訳、美術手帖、2018.6、pp.109-125.

・クレア・ビショップ「美術館におけるダンスの危機と可能性：テート、ニューヨーク近代美術館、ホイットニー美術館」（抄訳）、大森俊克訳、美術手帖、2018.8、特集=ポスト・パフォーマンス、pp.124-135.

・マーク・ウォー「分散台帳技術時代におけるアーティストの権利」、中野勉訳、美術手帖、2018.12、pp.96-103.

・ヒト・シュタイエル「パンがないなら、アートを食べろ！：コンテンポラリー・アートとデリバティブ・ファシズム」、中野勉訳、美術手帖、2018.12、pp.106-115.

・ヘレン・カプリンスキー「ブロックチェーン上での収集品管理：美術館の規範への回帰」、大森俊克訳、美術手帖、2018.12、pp.118-131.

・T・J・ディーモス「人新世にようこそ! : 人新世に抗して : 視覚文化と今日の環境」、中野勉訳、美術手帖、2019.2、pp.119-128.

・デヴィッド・エリオット「時間と距離：不在と沈黙の詩」、中野勉訳、美術手帖、2019.8、pp.98-103.

・イザベレ・グラーフ「���画の約束：非・媒体固有性、インデックス性、価値について」、大森俊克訳、美術手帖、2020.4、pp.154-167.

・ブリュノ・ラトゥール「地球に降り立つことへの7つの反対理由：『クリティカルゾーン：地球に降り立つことの科学と政治学』 序」、鈴木葉二訳、美術手帖、2020.6、特集=新しいエコロジー、pp.119-130.

・デイヴ・ビーチ「アートとポスト資本主義：美的労働、オートメーション、そして価値生産 序：ポスト資本主義、批判、アート」、中野勉訳、美術手帖、2020.10、特集=コロナ禍に考える、ポスト資本主義とアート、pp.108-116.

・ホリス・グッドール「No Place to Call Homeわが家と呼べる場所なしで」、中野勉訳、美術手帖、2021.6、pp.102-108.

[kyokosdog]

Miyawaki Sakura 宮脇咲良, EX-Taishu 2016.10

[drarryspecificrecs]

Hi I'm looking for a specific fic where Harry lives with Luna (and Neville?) in muggle London after the war and they have a lot of plants and a cat in their flat. Draco has been kicked out of the magical world and lives in a big house in London and they run into each other in the subway I think? And at the beach as well. And I think Harry has some weird PTSD/premonitory dreams as well? I'd be so grateful if you or one of your followers knew which one it was, thank you so much!

Anon #1: Hi! I was wondering if you could help me find this fic please? It starts with Harry living with Luna and Neville and he can see the future in his dreams and he sees him and Malloy together one night and freaks out? I don’t remember much but he dissociates when it happens and his nose bleeds. I know it’s not much to go off so it’s totally fine if you can fine it. Thank you!

whomstvethefuckisthis asked: First of all, thank you and your followers in advance for your help it is greatly appreciated :) Second, I know this is a super long shot but I can't get this one moment from a fic out of my head. Drarry are having sex and Draco does not like penetration before he comes and its sort of discussed while they are having sex, I believe this was not the first time they were having sex. It was a fic with a more realistic portrayal of sex - any help is greatly appreciated!

@un-chuchoter asked: Hi! Would you be able to help me find a fic? I know it’s not Turn, but I think the writing was similar! Harry sporadically jumps to an AU where drarry is already established. I think the AU jump is due to a curse or something, because I remember Harry telling someone about the AU jumps but hiding the fact he and Draco were in a relationship; Draco eventually finds out and Harry is worried it will impact their relationship. Thank you so much for any help ❤️

---

ETA: Thank you guys for your help ♥

Harry Potter and the Future He Doesn't Really Want, Thanks. by Seefin [E, 70k]   *restricted

► It was addictive, the feeling of Draco Malfoy telling him things in a soft voice early in the morning. Harry felt like he was taming a wild animal, or petting a cat that hated everybody else. This train existed outside of time, that was the only explanation Harry could come up with as to why Malfoy was actually having a civil conversation with him right now.   ~ 2016.10

[goppie-stamp]

南ヶ丘牧場

栃木県那須町 2016.10

[jonghyunjjong]

'1 of 1' album photoshoot

One of my favourite photo of SHINee ever 🤗 The whole era (the jeans look, the cassette release, the 'vintage' atmosphere) reminds me so much of my decade, the 90s 💓 So it's very comforting to me 💙💙💙💙💙

2016.10.05 - VLive "샤이니 비긴즈 '1 of 1' (SHINee begins '1 of 1')"

Speaking about that era, here is the epic live they did on that day : I remember seeing it live, it was so chaotic but also so funny and cheerful 😆🥰 I loved Taemin's sweater, it looked so comfy ! 🟣 And Jonghyun was already my bias but I loved him even more there (even if it was sad he had to leave earlier 📻😞 [same for Kibum 📺]) ; he made me laugh when he was trying to follow the script in some way but at the same time it's like he had to deal with 'troublemakers' at times lol 😅 😆 I always love how mature / observant is Jjong but also cheerful / spontaneous 😘🥰💙

[brooklynmuseum]

The Brooklyn Museum mourns the loss of Dr. David C. Driskell, whose scholarship, teaching, and curatorial work were instrumental in defining the field of African American art history. His landmark, traveling exhibition Two Centuries of Black American Art, which made its final stop at the Brooklyn Museum in 1977, featured work by more than 200 artists and transformed the ways in which American museums framed and presented histories of African American art. An artist himself, his work was included in the Museum’s recent presentation of Soul of a Nation: Art in the Age of Black Power.

Reflecting on Two Centuries of Black American Art in 2009, Dr. Driskell recounted how he wanted to bring “patterns of exclusion, segregation, and racism to the attention of the art public. [. . .] But it was also about engaging the establishment in the rules of the canon, so as to say, ‘No, you haven't seen everything; you don't know everything. And here is a part of it that you should be seeing.’”

We are grateful to Dr. Driskell for his immeasurable contributions to the field of art history, and will continue to carry his scholarship and his lessons with us.

***

“When Dr. Driskell spoke at the Brooklyn Museum last year as part of the programming for Soul of a Nation, he told me backstage how he had been on our stage in the 60s with civil rights heroes such as James Baldwin. He was so happy to have returned and could not have been more full of grace. Dr. Driskell has left a profound mark on the Museum’s history. While we mourn his passing, we also celebrate the ways that he shaped a history of African American art and advanced both the field and our institutions with clarity and conviction.”

– Anne Pasternak, Shelby White and Leon Levy Director

“An artist, educator, art historian, and curator across at least five decades, Dr. Driskell’s impact was not only field defining but field generating. When we talk about the ongoing project that is the writing and presentation of black art history against its erasure and/or dismissal, we must keep close what it meant for scholars like Driskell who began this work with few blueprints, summoning the great courage and clarity necessary to name and advocate for the importance of black art history – in the face of so many cynics and detractors. I live with gratitude for that fortitude. It was my absolute honor to include Dr. Driskell in the Brooklyn presentation of Soul of a Nation, and an even bigger honor to meet him and to welcome him to the museum for an unforgettable conversation with Dr. Elizabeth Alexander in the fall of 2018. I will hold that memory close.”

– Ashley James, Associate Curator, Guggenheim Museum, and former Assistant Curator, Contemporary Art, Brooklyn Museum

Two Centuries of Black American Art, June 25, 1977 through September 05, 1977 (Image: Brooklyn Museum photograph, 1977)

“Dr. Driskell's 1977 exhibition Two Centuries of Black American Art intended to, in his words, engage "the establishment in the rules of the canon, so as to say, 'No, you haven't seen everything; you don't know everything. And here is a part of it that you should be seeing.'" Museums are still catching up to this proposition today, and we can all benefit from acknowledging how much there is to learn from each other. And we learned so much from him!

In the New York Times review of that exhibition, critic Hilton Kramer dispraised the show, asking "Is it black art or is it social history?" Dr. Driskell responded: "All art is social history; it's all made by human beings. And, consequently, it has its role in history."

Rest in power Dr. Driskell.”

– Carmen Hermo, Associate Curator, Elizabeth A. Sackler Center for Feminist Art

“When I was an undergrad art history student at the University of Maryland, I ran the student art gallery and while this was between the time when Dr. Driskell served as Chair of the Art Department and when he was named Distinguished Professor, he was always interested and supportive of the clique of young artists and future art historians who hung out at the West Gallery. His generosity made a real impression on me and every time he walked in the gallery I would become completely tongue-tied.”

– Catherine Morris, Sackler Senior Curator, Elizabeth A. Sackler Center for Feminist Art

“Although I never got to know Dr. David C. Driskell personally, I did have the opportunity to hear him speak several times. When I first began studying African American art in college, I understood that David Driskell was a pioneer in the field. But, when I tucked into seats in buzzing lectures hall to hear Dr. Driskell speak as a grad student or subsequently as a museum professional, I heard about conversations with Aaron Douglas or summer at Skowhegan--Dr. Driskell painted a picture of a life lived with the people that made up the history I was devoted to studying. With the passing of Dr. Driskell, a connection to the past has been irrevocably severed.”

– Dalila Scruggs, Fellowship Coordinator, Education

“David Driskell’s life took him from a one-room segregated schoolhouse in North Carolina to the White House. Under the Clinton administration, Driskell, acknowledged as a leading expert on African American Art, worked with Mrs. Clinton to acquire a great landscape by Henry Ossawa Tanner, who became the first Black artist to enter the White House collection. This is only one example of the many doors Driskell opened in his quest to tell a more truthful and complete story of American history and culture.”

– Eugenie Tsai, John and Barbara Vogelstein Senior Curator, Contemporary Art

“I did not have the opportunity to meet Dr. David C. Driskell, but I fondly recall seeing him speak at a CASVA symposium, The African American Art World in 20th-Century Washington, D.C., at the National Gallery of Art in 2017. There, he participated in a panel discussion with other artists (moderated by Ruth Fine) regarding the city’s impact on his own artistic development. He spoke with such passion about James A. Porter and the legacy of his teaching at Howard University.

Driskell has also left an indelible imprint on the Brooklyn Museum and its own exhibition program, most recently with his inclusion in Soul of a Nation: Art in the Age of Black Power. In 1976, he curated Two Centuries of Black American Art, which opened at the Los Angeles County Museum of Art in 1976 and subsequently traveled to the Brooklyn Museum in 1977. In this groundbreaking exhibition and publication, he defined the “evolution of a black aesthetic” and called attention to such important eighteenth- and nineteenth-century artists as Joshua Johnson, Robert S. Duncanson, and Henry Ossawa Tanner, among many others. Driskell has significantly shaped my own thinking on American art and, in my own research, I am reminded of his rediscovery of the landscape painter Edward Mitchell Bannister who, after his death in 1901, remained largely forgotten.

Edward Mitchell Bannister (American, 1828-1901). Untitled (Cow Herd in Pastoral Landscape), 1877. Oil on linen canvas. Brooklyn Museum Brooklyn Museum Fund for African American Art, 2016.10

A tireless advocate for Black artists, Driskell led the charge in redefining the mainstream art historical canon. He forever changed the discipline and paved the way for so many, and for that I am grateful.”

– Margarita Karasoulas, Assistant Curator of American Art

Clips from Two Centuries of Black American Art, Los Angeles County Museum of Art © Pyramid Films, 1976. Brooklyn Museum Archives.

“One of the greatest treasures in the Brooklyn Museum Archives are the five videos that document the Symposium Afro-American Art: Form, Content, and Direction that occurred on June 24th and 25th, 1977 that was organized by David Driskell, the Schomburg Center, and Brooklyn Museum Staff in conjunction with the Two Centuries of Black American Art exhibition. In the afternoon of the first day, Romare Bearden, Selma Burke, Jacob Lawrence, John Rhoden, Ernest Crichlow, Vincent Smith, Bob Blackburn, Roy De Cavara, Valerie Maynard, and William T. Williams talked on stage for three hours about their artistic practices within the context of twentieth-century art traditions. It’s staggering to think of all those brilliant artists in conversation together—watching the footage, hearing the artists in their own words is profoundly moving.

When researchers are looking into the exhibition or are curious about the Museum’s history of exhibiting Black Artists, I’m always excited to share the material produced for, by, and of the exhibition. The archival material includes visitor comment books, the press kit, 22 folders of correspondence, the film produced for the exhibition, and the aforementioned symposium videos. The programming built around the exhibition was legendary, and the breadth is rarely seen today: seven artist studio visits (Howardena Pindell!), six supplemental exhibitions at other venues (The Abstract Continuum at Just Above Midtown Gallery!), twenty-two gallery talks (Dr. Rosalind Jeffries on the Harlem Renaissance!), dance performances (Sounds in Motion Dance Company!), concerts, and the list goes on. Driskell’s vision had a deep seismic effect on the art world. The people brought together at these events and programs, the knowledge shared, learned, and passed on to subsequent generations, none of this can be quantifiably measured or completely comprehended, especially from a remove, but its incredible magnitude can be felt when conducting research into the exhibition. Dozens of researchers have come to look into this history, and I look forward to welcoming future visitors to the Archives to learn more about David Driskell, hopefully inspiring them to perpetuate his monumental legacy.”

– Molly Seegers, Museum Archivist

[q-posts]

Dragon(wood)

Treasure each moment in time. Life is a continuation of “Now”. Treasure each and every moment as it comes, so that you can live your life as fully as possible without regrets. Perfect Liberty 2016.10 Let the wise listen and add to their learning, and let the discerning get guidance. Proverbs 1:5 Oyashikiri Lunar New Year Definition. The Lunar New Year is an event celebrated by millions of…

[fotologo]

Capybara - 2016.10

Just so you know I changed my Tumblr username from ‘kapibaranigou’ to ‘fotologo’. Thanks.

[chibiutsubo]

昭和ではなく、平成の終わりごろに撮影した画像です、と注釈を付けておかないといけないような一枚。東岡崎駅前の標識と車の形が現代を物語る。

このレトロ感がたまらんです。

[ecruhonoka]

2016.10

Halloween dress