#joe parrino

[boardgametoday]

Games Workshop Pre-Order Preview: Gallowfall, Kill Team, Adeptus Titanicus, and Blood Bowl

Games Workshop Pre-Order Preview: Gallowfall, Kill Team, Adeptus Titanicus, and Blood Bowl #warhammercommunity #killteam #adeptustitanicus #bloodbowl

[plus-low-overthrow]

J F Murphy - If You Buy My Morning (Verve Forecast)

wrt. & arr. J F Murphy, Flutes, Joe Parrino, 1970

Fans of Nick Drake may dig this guy, only LP he made unfortunately,!

[gagosiangallery]

Gagosian at Art Basel Miami Beach

December 3, 2019

ART BASEL MIAMI BEACH Booth D7 December 5–8, 2019 Miami Beach Convention Center __________ Gagosian is pleased to participate in Art Basel Miami Beach 2019 with modern and contemporary artworks by Richard Avedon, Georg Baselitz, Jean-Michel Basquiat, Joe Bradley, Cecily Brown, John Chamberlain, John Currin, Edmund de Waal, Rachel Feinstein, Urs Fischer, Helen Frankenthaler, Ellen Gallagher, Theaster Gates, Katharina Grosse, Mark Grotjahn, Jennifer Guidi, Simon Hantaï, Damien Hirst, Alex Israel and Bret Easton Ellis, Ellsworth Kelly, Jeff Koons, Roy Lichtenstein, Man Ray, Peter Marino, Adam McEwen, Joan Mitchell, Takashi Murakami, Albert Oehlen, Steven Parrino, Pablo Picasso, Rudolf Polanszky, Richard Prince, Sterling Ruby, Ed Ruscha, Richard Serra, Rudolf Stingel, Cy Twombly, Andy Warhol, Mary Weatherford, Tom Wesselmann, Jonas Wood, Christopher Wool, and Zao Wou-Ki, among others. Concurrent with the fair, at the Moore Building in the Miami Design District, Gagosian and Jeffrey Deitch will present The Extreme Present, a group exhibition inspired by The Age of Earthquakes: A Guide to the Extreme Present, a book by Shumon Basar, Douglas Coupland, and Hans Ulrich Obrist, published in 2015. This will be Gagosian’s fifth collaboration with Deitch in Miami. To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at artbasel.com. #ArtBasel _____ Tom Wesselmann, Sunset Nude with Wesselmann Still Life, 2004, oil on canvas, 56 1/4 × 78 inches (142.9 × 198.1 cm) © The Estate of Tom Wesselmann/Licensed by ARS/VAGA, New York

[inquisition-curations-blog]

Black Library: Damocles by ukitakumuki

artist’s commentary:

Black Library: Damocles

Check out the e/book here! : www.blacklibrary.com/warhammer… Illustration © Games Workshop Art director/producer: Karen Miksza ++++++++++++++++++++++ The brief for this one was a three-way melee between Kor'sarro Khan of the White Scars, Tau Commander Shadowsun, and Captain Kayvaan Shrike of the Raven Guard, amidst a mixed-force battle of White Scars, Raven Guard, and Cadian IG versus the Tau fighting atop a rocky promontory with jungle. The main focus of the show is Shadowsun, whom according to the reference and specs sent to me, often fields two shield drones. I thought that could be a perfect excuse to not end up in an awkward “2 on 1” prong attack. So that resulted in our assault marine captain Shrike pulling off a DFA and Kor'sarro timing a strike to take out her shield on one side. Given the hardback template/format I decided early on to have two back to back crisis suits behind the main trinary to visually frame the action and hopefully some narrative link to what was going on in the background. While sketching in comp ideas I was thinking of World in Conflict FMVs (yeah I watched a compilation vid of the different sequences but set to just Audioslave’s Shadow on the Sun… how apt for our Tau commander ) which inspired that jungle crossfire for the back cover (left of image), along with some physics logic I thought should be observed such as “if plasma based weaponry gets spammed in the general direction of a forest, there should be a moderate to high chance of a forest fire occurring” which kinda explains why we see the charred dirt and branches and hints of trees on fire in the back. Other favourite points of interest that I recall from half a year back: -Singed/scorched Imperial armour versus cracked/gouged tau armour -Drones buzzing a tree (near the sun) -Devastator Raven going head on with the battlesuit turned away from us, armour in the process of being seared off chunk by chunk. -White Scar reading poetry on the lawn in an admirable last stand -Unfortunate IG, now literally half the man he used to be. Courtesy of being in the open when Tau heavy artillery drops.

Check out the e/book by Joe Parrino here! :

www.blacklibrary.com/warhammer…

Illustration © Games Workshop

Art director/producer: Karen Miksza

++++++++++++++++++++++

This piece is, in my own way, dedicated to two very unique creatives whose achievements and trust in me have both inspired and helped me take my work to higher levels. Ghislain Barbe(

NOT because he is coincidentally now the art director on Eternal Crusade at BHVR  

, but because when I was a kid I played a PC game called Heavy Gear by Dream Pod 9/Activision, and along with it came a printed game manual with wonderful mecha illustrations and diagrams that blew my little mind, and he was the illustrator of my favourite designs in the book.), and Peter Cooper(an incredibly kind and talented writer/director who years ago offered me the opportunity to do the illustrated set pieces for his HALO fan-film, Operation Chastity). Moreso because I think they might appreciate certain aspects of this image in their own capacities, like the pew pew lazars. Ok really its just about the lazars and the airburst munitions.

And my special thanks and apologies to my truly professional and patient producer, Karen Miksza, for enduring and evaluating a chickenscratch-sketch of mine that resembled more of a Rorschach exercise than anything. You rock!

As for the artwork:

Reading the brief, and visualising the narrative and technical approach, made me want to crawl under a rock somewhere and just go into a coma. But it dawned on me it was really about huge battlesuits and powered armour on bikes in a desert--the very stuff my favourite SF childhood memories were made of. So I put on some Bubblegum Crisis tracks to remind me of what I felt was special about the genre and what I would like to see happen again, and got back to work. "Say Yes!" by Maiko Hashimoto in particular, really helped bring back those memories.

Bearing in mind this is meant to be a triple-fold/paneled illustration; I was to illustrate a White Scars Stormseer fighting a Crisis Battlesuit with a tulwar on the front cover(rightmost third of image), looming Riptide in center third, and miscellaneous combatants filling up the remainder. The White Scars were to seem joyous in the midst of their hunt, armed with lances or tulwars in addition to the bolters on their bikes. All this was to take place on a dusty plain. I immediately thought that a scene showing a breached frontline would work best, to help put across just how fast moving and aggressive the White Scars are known to be, and for all the long distance planning of the Tau once up close and personal with Space Marines on bikes, it can quickly descend into unmanageable chaos. Troops having to divert their attention from the front to acquire stray bikers without hitting their friends, and crisis suits engaging their thrusters to quickly manoeuver along the ranks and train their guns on the bikes. Crisis suits... in a crisis of their own... aha..haha..h-

As a Chinese guy, I felt it got really hilarious at one point painting Fu Manchu 'roid mongols in sun-bleached white armour going to town on the Tau. So I just rode that wave as best I could  Having my own front row seat and getting into the mentality of what it means to create a 40K flavoured illustration is making me more and more of a fan of what I think the franchise represents on different levels. When I say I find 40K really insane, I mean it in a sincerely optimistic way, and I think I am finally getting better at understanding where that balance point between grimdark outlook, cautionary tale/social commentary, and outlandish spectacle sits.

This reflection of what 40K meant to me, had me throwing out the idea that maybe in order for the Stormseer to even be in close combat with a Battlesuit twice his height, required he be presented in a way that could rival the nuttiness of the idea to begin with. So imagining a narrative, I assume these guys could have force-lances that they could also throw, using that as a medium range large-caliber stopping weapon (illustrated at bottom right) and then move into closer combat with their shorter range tulwars. (This of course sets up the visual excuse for the flapping blood-soaked hair plume on the end of the lance up front.) The stormseer would realise that his bolters might be ineffectual at getting him within close enough range so he would opt to just pop a wheelie off the frontline Tau and use the bolter riddled chassis of the crisis suit as a landing ramp and shield to buy him precious seconds to plan his next move. They're Space Marines. Seemed legit. "SAY YES!"

Other favourite details:

-Please excuse the slightly overdone prismatic effect on the Riptide's shield. I still think it looks nice and it makes some sense. Just riffing off similar idea in the previous Tau codex supplement. I also wanted to illustrate how the hexa-projection areas might be linked to individual projection nodes, and we would see how individual 'tiles' pulse under stress as opposed to having a continuous 'texture pattern'.

-I keep reading in the fluff how much advanced targetting tech the Tau pack, technically a Fire warrior would have onboard sensors and targetting aids, that eventually gets meshed with higher level networked data from sensor drones, add on to that markerlight data and more... basically it just sounds like a Tau shooter could be drunk, falling over, and still hit a fly in between its eyes having accounted for atmospheric disruption from 600 meters away. So that I felt gave me the right to imply that they can shoot incoming rounds out of the sky. Which we can see to great effect in the background and right behind the Stormseer. There of course is the consideration for fans who think its unreasonable, so they also look like they could be randomly hit because the relatively slow moving missiles are travelling through a firestorm of plasma. But I just wanted to say what the original intent was  Also to the left is a inverted Phalanx-CIWS looking burst cannon drone that seems to be in charge of clearing the skies for ground troops (when I saw that design I almost stood up and clapped at the screen). And for those of you who absolutely do not buy any of that, there's this:

warhammer40k.wikia.com/wiki/Ai…

-Poor Tau loses his head in the background-The bikes were initially block-modelled in Sketchup to help me give a sense of their geometry and what I could do with them.This took over a week to do, the longest I've spent on any of the illustrations to date and burnt a weekend or so (gladly so) getting it done. I hope it makes the Tau and White Scars fans amongst you happy and rooting for your favourites and for mech heads in general  

[4bestmarks]

We provide test banks and solution manuals to allow students to prepare for their exams ,( Immediate delivery , at Suitable prices ). For contact: 4studentbook@gmail.com

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[othersportsnews-blog]

Epic Rivals Cormier, Jones Need Gain at UFC 214 For Have Factors | UFC &reg

New Post has been published on https://othersportsnews.com/epic-rivals-cormier-jones-need-gain-at-ufc-214-for-have-factors-ufc-reg/

Epic Rivals Cormier, Jones Need Gain at UFC 214 For Have Factors | UFC &reg

  ANAHEIM, Calif.

It is hard to say who needs the victory more at UFC 214. Right after two and a half several years waiting around for the major rematch in blended martial arts background, it stands to rationale that Daniel Cormier – the loser in the to start with struggle – needs to defeat Jon Jones.

But for “Bones” – now seemingly rehabilitated and cost-free from the torment that arrived with seeking to be somebody he was not – a get against “DC” somehow may perhaps be just as critical, if not more, for a man hoping to stay away from a further drop from grace.

“I actually associate becoming mild heavyweight winner as a element of my identity. In a weird way it’s almost a element of my self really worth,” Jones reported this week forward of his anticipated endeavor to reclaim his title Saturday night at Honda Center in Anaheim.

“Without it I just feel a big hole in my life. I actually want it back again mainly because I can, and I’m capable of possessing it. In order for me to feel finish from factors that have occurred – and feel completely full once again – I think I have to have to get that belt back again and move forward in my life. Do factors much better.”

Buy UFC 214 Correct Now Digitally, On Your Favorite Product, or by Satellite or Cable

Driving Jones are a slew of mistakes, regrettable instances that crippled his image and more than two several years shed in the prime of a job numerous feel to be the biggest of all time – irrespective of all of it.

For the extremely-competitive Cormier, a next reduction to Jones, who has been forged by the previous Olympic wrestler as the No. one supervillain in his heroic tale, would be debilitating. It is not about the championship belt he would no for a longer period don all-around his midsection. It would be the devastating blemish at the time once again on an or else Hall of Famer resume.

“The legacy implies a whole lot to me,” Cormier reported. “All the other stuff, the undesirable blood – I’d like to get in that element much too – but the most critical element of this struggle is that I get mainly because I have to get the competitors.”

Jones reported the to start with struggle with Cormier supplied him with a blueprint that he has analyzed each individual working day of his suspension in anticipation of a further struggle with DC, whom feels he had good results in the to start with bout.

“I ultimately get my opportunity to take care of that a single reduction on my report,” Cormier reported. “We dealt with the locations we struggled in past time. This time we will find sustained good results over the training course of twenty five minutes.”

Relevant: Joe Rogan previews Cormier-Jones 2 | Anthony Johnson previews Cormier-Jones 2 | Jones phone calls DC ‘A Good Belt Sitter’ | DC: ‘This Combat Will Be Different’

UFC commentator Dominick Cruz is a single of the most good MMA minds on the planet. He’s analyzed the matchup involving Cormier and Jones and thinks “The King of the Grind” has to do more of what he did very well in the to start with time to have good results in the rematch.

“He has to have more output,” Cruz instructed BT Sports activities. “We noticed him lose the later rounds and that’s the variation. I think that’s in which Daniel gets the self confidence now is he thinks he has the cardio for people later championship rounds.”

Cardio is great but the obstacle Jones presents with his sizing, ability established and practical experience pose the biggest check Cormier has at any time faced.

“DC has two levels of offense that he has to get by way of to get to the within pocket. He has to get past the elbows and knees of Jones after he gets past the palms and feet of Jones,” Cruz reported. “So he possibly needs to keep within that pocket and maintain pushing Jones back again on his heels, or Jones is gonna build the place that he needs and just choose him aside from the outside like he did past time.”

  Cormier reported that he’ll dominate the rematch, but accepts Jones will have his times mainly because of his capabilities. Jones is satisfied to be back again in which he is familiar with he is intended to be competing for the belt he longs to get back. On struggle night, he’s striving to defeat Cormier even more convincingly than past time.

“I’m heading to complete him this time. The to start with time preventing him he was undefeated. I had these concerns,” Jones reported. “I’m heading to go out there and put a rate on him that he’s not heading to be in a position to maintain up with. I feel that I’ll complete the struggle finally by TKO or submission.”

Matt Parrino is digital producer and writer for UFC.com. Comply with him on Twitter at @MattParrinoUFC

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[estudiodedecoracion]

Rick Owens

Rick Owens. Diseñador de Moda y de mobiliario.

Rick Owens es, probablemente, uno de los diseñadores más vanguardistas, estimulantes y creativos de la historia de la moda.

Rick Owens (1962, California, Estados Unidos) lanzó su propia marca a lo grande en 1994, a la venta en la exclusiva boutique Charles Gallay de Los Ángeles, donde se venden otras firmas como Martin Margiela, Thierry Mugler o Alaïa.

Cinco años después, daba el salto a los almacenes Barneys y con él, el salto al gran público, y en el año 2002 es la industria de la moda, a través de la CFDA, la que reconocía su talento otorgándole el Perry Ellis Award al Talento Emergente.

Al año siguiente, se trasladaría a París para seguir desarrollando su marca y fijará la Semana de la Moda francesa como escaparate para la muestra de sus transgresoras, y no exentas de polémica, propuestas.

“Cuando planteo algo provocador, siempre está planteado desde la calidez, la amabilidad y el amor”, ha declarado el californiano.

Su estilo glunge (una mezcla entre gótico y grunge) y su estética dark, en las antípodas de la imagen de sol y playa que proyecta su ciudad (Los Ángeles), le han convertido en uno de los diseñadores más respetados, interesantes y alabados de la industria de la moda y en un reconocido visionario.

Junto a otros creadores como Comme des Garçons o Ann Demeulemeester, fue uno de los pioneros de la moda sin género : “Estoy muy cómodo con la idea de que haya dos (géneros). Lo que me interesa es ver el punto en el que confluyen ambos” decía al respecto.

Asegura que le inspira la arquitectura y que la idea del estilo le preocupa lo justo : “Quizá no sea tan importante. Si no es una prioridad para ti y todavía no lo has encontrado, pasa a otra cosa. El estilo no lo es todo” reconocía.

Entre otros datos curiosos, Owens cuenta con su propia línea de máquinas de gimnasio y con una serie de figuras (o tótems) de sí mismo distribuidas por todas sus tiendas.

El aclamado diseñador de moda exhibió en el MOCA (Museo de Arte Contemporáneo de Los Ángeles) del 17 de diciembre de 2016 al 2 de abril de 2017 “Rick Owens : Muebles“.

La exposición -creada en colaboración con la esposa de Owens, Michelle Lamy– se componía de muebles, obras de arte, una nueva selección de esculturas a gran escala y audiovisuales, todos de Owens, además de una serie de obras del artista y músico Steven Parrino.

El transgresor diseñador de prendas de vestir convertido en diseñador de muebles ha elegido materiales como el mármol, alabastro, bronce, hueso de buey, cuero, cemento y madera contrachapada entre otros para crear sus piezas cercanas al arte y que se inspiran en el diseño moderno, la arquitectura brutalista, la pintura monocromática, el arte minimalista y la danza de vanguardia.

Esta no es la primera exposición de los diseños de muebles de Rick Owens. Sus primeras muestras se produjeron en 2007 y fueron exhibiciones en la galería Jousse Enterprise de París, además de recorrer Ferias de arte como Art Basel, (Suiza).

En 2015, el diseñador hizo otra exposición en el Musée d’Art Moderne de la Ville de París junto a Carol Rama (artista autodidacta italiana cuya pintura abarca un universo erótico, y a menudo sexualmente agresivo, poblado por personajes que presentan temas de identidad sexual con referencias específicas a la sensualidad femenina).

Rick Owens (pág. web).

Rick Owens y dos de sus asientos de bronce que emulan cornamentas.

AllABCDEFGHIJKLMNOPQRSTUVWXYZ

A

Alessandro Mendini

Alfredo Häberli

Alvar Aalto

Andrea Branzi

Andreu Carulla

Andy Martin

Antonio Citterio

Arend Groosman

Arik Levy

Autoban

B

Benjamin Graindorge

Benjamin Hubert

Boca do Lobo

C

Carlo Mollino

Charles Rennie Mackintosh

Charles y Ray Eames

Claudio Colucci

D

David Adjaye

Doshi Levien

E

Edward van Vliet

Eero Saarinen

Enzo Mari

Ettore Sottsass

F

Fernando Mastrangelo

Finn Juhl

Frank Lloyd Wright

G

George Nelson

Goula Figuera

H

Hermanos Campana

Hervé Van der Straeten

I

Inga Sempé

J

Jaime Hayón

Jasper Morrison

Jean Prouvé

Joaquim Tenreiro

Joe Colombo

Jonathan Adler

K

Kelly Wearstler

L

Lex Pott

Ludovica y Roberto Palomba

M

Marc Newson

Marcel Breuer

Max Lamb

Michael Anastassiades.

Mies van der Rohe

N

Naoto Fukasawa

Nendo

Nigel Coates

O

Olivier Mourgue

P

Paolo Lomazzi

Patricia Urquiola

Pierre Paulin

Piet Hein Eek

Q

Quentin de Coster

R

Rick Owens

Rodolfo Dordoni

S

Sacha Lakic

Scholten & Baijings

Seung-Yong Song

Simone Simonelli

Studio Job

T

Thomas Sandell

Toni Grilo

V

Verner Panton

Vico Magistretti

Vincenzo de Cotiis

Vladimir Kagan

W

William Sawaya

X

Xavier Lust

Y

Yrjo Kukkapuro

Z

Zanuso

from http://decorador.online/disenadores-destacados/rick-owens/

[surphile]

Joe Parrino. Passing. photog clark via red bull  

[plus-low-overthrow]

J F Murphy - Ship (Verve)

Flutes.

[gagosiangallery]

Gagosian will be participating in Artgenève 17, taking place from January 26 through January 29, 2017. Come see us at Hall 2, Booth B23. We will be presenting a selection of works by Richard Artschwager, Georg Baselitz, Joe Bradley, Gregory Crewdson, Edmund De Waal, Helen Frankenthaler, Damien Hirst, Howard Hodgkin, Roy Lichtenstein, Vera Lutter, Sally Mann, Paul Noble, Steven Parrino, Jean Pigozzi, Sterling Ruby, Ed Ruscha, Rudolf Stingel, Blair Thurman, and others. __________ Image: Blair Thurman, Kiss Kiss Bang Bang (Transformer), 2016, acrylic on canvas on wood, 60 1/4 × 46 × 1 3/4 inches (153 × 116.8 × 4.4 cm). Photo by Rob McKeever.

[shadowhawksshade]

NANP: Names On A Train

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