#vermeer equipment

[chrisstumps05]

" Backyard Makeover: Removing Ugly Tree Stumps with Stump Grinder!"

[industrialnetwork]

Top 10 Best Hay and Forage Equipment of All Time

Hay and forage equipment plays a critical role in agriculture, especially in livestock farming, where the quality and quantity of forage can make or break the operation. Over the years, manufacturers have introduced various innovations that have significantly improved the efficiency and effectiveness of harvesting and baling hay. The best hay and forage equipment not only ensures productivity but also minimizes waste, enhances feed quality, and saves valuable time for farmers. In this blog, we’ll explore the top 10 best hay and forage equipment of all time, celebrating their durability, performance, and impact on modern agriculture.

1. John Deere 569 Round Baler

The John Deere 569 Round Baler is a legendary piece of hay equipment that has been a staple for many farmers due to its reliability and high-performance features. It is known for producing dense, uniform bales that are easy to transport and store. The MegaWide Plus Pickup ensures that even larger windrows are picked up efficiently, while the BaleTrak Pro monitor provides valuable information to the operator, helping with productivity and ease of use. With its ease of maintenance and robust construction, the John Deere 569 has earned its place among the best hay and forage equipment.

2. Krone Big X 1180 Forage Harvester

The Krone Big X 1180 is one of the most powerful forage harvesters on the market, known for its exceptional throughput and quality of cut. With a 1,156-horsepower engine, it has the strength to handle even the toughest crops, ensuring that farmers can work quickly and efficiently. The VariStream system helps prevent blockages while providing smooth, consistent operation. Additionally, the OptiMaize technology allows operators to adjust chop lengths to optimize the forage for different livestock needs. The Krone Big X 1180 is a favorite among large-scale operations requiring maximum productivity.

3. New Holland Roll-Belt 560 Round Baler

The New Holland Roll-Belt 560 offers significant advancements in baling technology, featuring a unique Roll-Belt design that provides tighter, denser bales with excellent shape retention. This baler is equipped with IntelliBale™ technology, which automatically stops the tractor when a bale is formed, reducing operator fatigue and ensuring consistent results. The ability to handle both wet and dry forage makes this baler highly versatile, appealing to farmers with diverse forage needs. Its efficiency and innovation have cemented its reputation as one of the best balers in the industry.

4. Vermeer 605N Round Baler

The Vermeer 605N Round Baler is another top-performing baler that has earned widespread respect for its durability and easy operation. Vermeer, known for pioneering round balers, continues to lead the industry with the 605N. Its Super M baler is engineered for heavy, wet forage, while the patented NetWrap system ensures a tight, uniform bale every time. This baler is highly regarded for its minimal maintenance requirements, easy-to-use controls, and the ability to produce high-quality, dense bales in various conditions, making it a top choice for farmers seeking a versatile and reliable baler.

5. Claas Jaguar 990 Forage Harvester

The Claas Jaguar 990 is a powerhouse in forage harvesting, with cutting-edge features designed to maximize efficiency and precision. It comes equipped with the CMOTION multifunction control lever that makes operating the harvester easy and intuitive. The Dynamic Power system adjusts the engine power according to the workload, saving fuel while delivering optimal performance. Claas is well-known for its attention to detail and superior build quality, and the Jaguar 990 is no exception. Its ability to deliver precise cuts and handle large quantities of forage efficiently makes it a top choice for commercial operations.

6. Massey Ferguson Hesston 2290 Large Square Baler

Massey Ferguson's Hesston 2290 Large Square Baler is a leader in the large square baler market. Known for producing ultra-dense bales, the 2290 reduces the number of bales required for storage and transport, saving time and costs. It features Twin Density Control, which ensures consistent bale density in various conditions, and a pre-compression chamber that guarantees uniform crop feed into the bale chamber. This baler is ideal for commercial hay producers looking for reliability and efficiency in high-volume operations.

7. Kuhn FC 4060 TCD Trailed Mower Conditioner

The Kuhn FC 4060 TCD is a highly efficient mower conditioner that delivers exceptional cut quality and speeds up the drying process with its integrated conditioner. Its Lift-Control Suspension reduces ground pressure, protecting the sward while delivering a clean, even cut. The conditioner’s steel fingers accelerate drying times, allowing for faster baling or forage harvesting. For farmers who need a reliable, easy-to-operate mower conditioner, the Kuhn FC 4060 TCD is a top contender thanks to its robust design and high-level performance.

8. John Deere 8300 Self-Propelled Forage Harvester

The John Deere 8300 is a highly regarded forage harvester known for its versatility and efficiency in both grass and corn crops. It’s powered by a 9.0-liter John Deere engine and comes with an intuitive ProDrive transmission, making it easy to operate even on uneven terrain. The HarvestLab 3000 sensor technology offers real-time moisture readings and crop analysis, allowing farmers to make better-informed decisions about feed quality. Its ease of use, combined with precision features, makes it one of the best all-around forage harvesters for farmers.

9. Fendt Katana 650 Forage Harvester

Fendt’s Katana 650 is renowned for its cutting-edge technology and high-performance forage harvesting capabilities. It features the VarioFill system, which allows the operator to adjust the filling strategy for optimal efficiency. The Visio5 cab offers unmatched visibility and comfort, ensuring that the operator can work long hours without fatigue. The Katana 650’s precision cutting and ability to harvest large volumes of forage make it a must-have for farmers focused on maximizing yield while maintaining high feed quality.

10. Pottinger Top 1252 C S-Line Rake

The Pottinger Top 1252 C S-Line Rake is a double rotor rake known for its precision and efficiency in windrow formation. Its unique MULTITAST wheel system ensures precise guidance, even on uneven ground, resulting in clean and consistent windrows that are ideal for baling. The hydraulic adjustment of the working width allows for maximum versatility, while the durable design ensures long-term reliability. Farmers who prioritize clean, efficient windrows for faster, more efficient baling find the Pottinger Top 1252 C S-Line Rake to be an invaluable tool in their hay and forage operations.

Hay and forage equipment has evolved to meet the increasing demands of modern agriculture. From balers to forage harvesters and rakes, the best equipment enhances productivity, improves feed quality, and reduces operational costs for farmers. Whether you're managing a small-scale operation or a large commercial farm, the right hay and forage equipment can make all the difference. The equipment listed above has stood the test of time, earning their place as some of the best in the industry. By investing in reliable, high-performance hay and forage equipment, farmers can ensure that their operations run smoothly and efficiently, season after season. A spokesperson from AllMachines, an agri and construction equipment website that deals with tractors, forklifts, lift trucks, cranes, and harvesters, emphasized that having the right equipment is essential to maximizing productivity and reducing downtime in both small and large-scale operations.

[coldmiraclewizard]

Need to rent a wood and brush chipper? Talk with Treeline Houston Rentals in Spring, TX. They have a 12" Vermeer wood chipper for rent. Call them for more details.

[abequipment]

Sakai | AB Equipment

Pioneers in road construction, Sakai’s top-class compaction equipment has made it the preferred choice for many. Chosen for its force and performance, Sakai’s products include various types of compactions and road maintenance equipment such as vibratory single drum roller, static wheel roller, stabilizer, etc. Sakai is also a pioneer of new technology – introducing the world’s first vibratory pneumatic tyre roller. Sakai’s reliable and high-performing range of products is available for rent or to buy from AB Equipment. Browse https://abequipment.co.nz/our-brands/sakai/ for our range of Sakai products or connect with our experienced team to find the product that is suitable to your needs.

[luxe-pauvre]

In a 2005 essay by Lawrence Weschler titled “Vermeer in Bosnia,” I found a more open-ended idea of what art might do for politics that stuck with me. Weschler, who has devoted his long writing life to reports about human rights around the globe and essays about art, asked a judge in The Hague how he could stand to listen to the stories of atrocities day after day in the International Criminal Tribunal for the former Yugoslavia of the mid-1990s. The judge, reports Weschler, brightened as he answered: “As often as possible I make my way over to the Mauritshuis museum, in the centre of town, so as to spend a little time with the Vermeers. For a long time after I read the essay, I imagined the museum had many Vermeers, but it has three: the early Diana and Her Nymphs, the famous portrait Girl with a Pearl Earring, and the nearly as famous View of Delft with clouds far larger than anything else in the painting, up there in the delicately blue sky above tiny figures and dense buildings and a canal. The clouds are so light and evanescent; the buildings so solid and steadfast; the blue water reflects them both. In the foreground of all that spaciousness, two women converse. The Vermeer paintings have nothing, of course, to say directly about war or justice or the law or how you fix your society; they tell no news and propagandise no cause. In Diana and Her Nymphs, a kneeling woman washes another’s feet while two others look on, and one turns her back, a plebeian moment among divinities. Weschler notes that Vermeer worked in a turbulent, war-plagued time, and that “the pressure of all that violence (remembered, imagined, foreseen) is what those paintings are all about” but that they are about it by being its opposite, about the peace we crave in times of war, the stillness in uproar, about the persistence of the everyday and its beauty. The argument that all art must exhort us overlooks the needs and desires of those who are already engaged, and what fuels them, and what the larger work of building a society concerned with justice and compassion might be. What I found memorable in Weschler’s essay was the idea that it’s not necessarily the representation of injustice or suffering that might encourage someone to engage or help someone like the judge sustain that engagement. Art that is not about the politics of this very moment may reinforce a sense of self and society, of values and commitments, or even a capacity to pay attention, that equip a person to meet the crises of the day. Politics is the pragmatic expression of beliefs and commitments shaped by culture. Works of art can and do help construct the self that engages in politics, and the mere exhortation to engage or tirades about what’s wrong do not necessarily produce the empathic imagination, the insights, principles, orientations, collective memories that engagement requires. Of course other works of art, and lots of them in our time, help construct disengagement, by telling us that we are private individuals unimpacted by and unobliged to larger forces, or present those forces as fixed and unchangeable, or just erase all traces of their existence. The Vermeers could be read either way, and the judge’s response suggests that some of it is in the eye of the beholder.

Rebecca Solnit, Orwell’s Roses

[mermaidsirennikita]

I kept feeling like this AI conversation was reminding me of something... and I just realized what it was.

My grandparents knew that I majored in art history, and so in an attempt to connect (no shade, it was nice) they watched this documentary with me called Tim's Vermeer (2013). It's been a while since I've seen the doc, but the basic premise was that Tim Jenison was "attempting to prove that Johannes Vermeer used optical devices like a camera obscura to create his masterpieces".

Which, both as an art history major and a Vermeer fan (his work is probably my favorite, visually) didn't make sense to me. Even as a kid reading books about Vermeer, I'd seen it theorized, many times over with evidence, that Vermeer used aides like the camera obscura to assist in his process. In fact, the film adaptation of Girl with a Pearl Earring, released in 2003, shows Vermeer using this equipment because that was something art historians had been speculating about for quite some time, 10 years before the doc came out.

While we may not have the documentation to conclusively prove that Vermeer used such devices, it's fairly likely based on the work, what little we know of him, and what we know of the art production of his era, that he used it. I mean, it's kind of hard to "prove" anything when you're discussed a centuries-dead subject, but I don't think many Dutch Golden Age-focused art historians in 2013 were like... dying on the hill that Vermeer didn't use any optical devices or specific techniques to create his pieces (though they may debate to what extent they were used, and which ones were utilized and for what pieces). Because at the end of the day, artists have always used tools to assist them in creating their vision. Sometimes, they've literally used assistants, as was the case for many Renaissance maestros like Raphael, who had an entire workshop of assistants and apprentices creating collaborative works.

What the doc was really trying to prove was whether or not Tim could make a "Vermeer". Whether he could, essentially, create a work that was just like Vermeer--and no matter how much he tried to deny it in the doc, it felt like... If not Tim, then perhaps those making the doc itself, were trying to prove that Vermeer was tricking us. That his artistry wasn't artistry or talent or ability, but a sleight of hand that any old dipshit could replicate.

Which is why I'll add now that the documentary was directed by Teller, and written by Penn Gillette, of Penn and Teller fame. They're essentially illusionists, and often remark on the tricks of the trade, hoaxes, etc. They create things to be skeptical of, and are professional skeptics. It's a part of the brand. That's fine. But when you add that perspective to Tim's Vermeer, it feels a lot like they were trying to disprove that there was something unique or special about Vermeer and his work. Anyone can do it--look, Tim just made a Vermeer!

Except... Tim doesn't create an original work with techniques like those Vermeer may have used. He copies The Music Lesson, a piece by Vermeer. A piece Vermeer not only painted, but composed and presumably conceived with the collaboration of a patron. There's this implication that Vermeer is tricking you, that what you thought was God-given (which like, contemporary art historians aren't running around saying talent was God-given and just appeared without practice and equipment and technique) was actually made with the help of this thing, and anyone could do it with this thing, this cheat.

And maybe if Tim had made an original composition, with an original style, with the techniques Vermeer may or may not have used, I'd see the argument more. But he copied Vermeer's technique, his style, and his composition. The things that were unique to the piece were all Vermeer, all something Vermeer thought of or was involved in thinking of. As Jonathan Jones (who I disagree with on a lot of shit, but this was a good line) said, ""The technology Jenison relies on can replicate art, but it does so synthetically, with no understanding of art's inner life. The 'Vermeer' it spits out is a stillborn simulacrum."

Vermeer came to his compositions based on how he grew up, what he knew of symbolism, his history, the individuals he was painting for, even things as individual and minute as the way he perceived light and color. It was unique to him. So while Tim replicated the piece, he did not replicate the art. What he created was not art.

And basically, what I'm saying is, that's what AI "art" (not-art) is doing right now. It's replicating art, it's copying things artists have conceived, but it's doing so without an inner life of any kind, without an individualized sensibility. And an individualized perspective, good or bad, is part of what makes art... art.

[exhibitionsvisited]

2023

This year I visited 178 exhibitions, here is my top ten.

Vermeer, Rijksmuseum, Amsterdam

Perhaps not just an exhibition of the year, but one of a lifetime. Astonishing perfection in every brush stroke; words and reproductions do not capture the empathy contained in every painting that survives by Vermeer. Most of which were brought together at the Rijksmuseum for a truly exceptional exhibition. Unlike so many blockbusters of this type, the paintings did not feel (well ok too crushingly) crowded or overwhelmed by the throngs. Each was given space and a carefully considered semi-circular barrier so visitors could fan out from it. There was little in the way of text panels, no need to contextualise with artworks by other artists; the paintings were each given lots of space in sensitively and richly painted and floor-to-ceiling curtains. They were allowed a dignified space in order to sing to us. I contracted Covid-19 from the trip to Amsterdam which developed into Long-Covid; this left me changed fundamentally as a human as I battle(d) fatigue for months on end. I am still not sure if the impact on my health was worth the trip, but as I write these words I know it was. I will always remember the opportunity to see 28 of the 37 Vermeer’s all in one place at one time.

2. Philip Guston, Tate Modern, London

I want to lick and consume Guston’s paintings metaphorically and perhaps even literally, they ingest the eyeballs and linger in the mouth. Seeing the paintings together made so much sense, perhaps the curation sold the narrative but the exhibition made me think that the foray into full-on abstract expressionism was actually the inconsistency; right from the earliest paintings there was story-telling, narrative, figuration, politics, turmoil and a desire to point out what needs to change societally. With the pure abstract works, ambiguity felt too strong, everywhere else the balance was perfect, enough to be led and enough to form your own thoughts. So many works of greatness all together, the final room of grief was as heart-breaking and poetic as it comes. 

3. Hilma af Klint and Piet Mondrian, Tate Modern, London

This was an exhibition I had to see. I spent weeks preparing for the trip to go and see it. Having Long-Covid meant that I had to conserve and use my energy intensely - when everything saps strength and leaves you exhausted, from having a shower, to walking up stairs to reading a page of a book, then you have to be careful. T0 go to London for the day to see this exhibition was something I trained and equipped myself for/. I was so glad I did. The exhibition made me feel happy and lightness...an injection of art through the eyes which is so good for the soul. af Klint was paired with Mondrian, which made unexpected sense (to me, I know not to others) with so many surprising overlaps such as in their botanical paintings,and more general link to natural forms, the link to Theosophical thought and of course abstraction. One of my favourite rooms in the exhibition was titled the ether and was filled with sketchbooks, books, works by other artists and this amazing model of Mondrian's New York studio.

4. Mike Nelson, Hayward Gallery, London

A proper art-as-experience encounter, the atmosphere of being within each of the installations by Nelson, restated at the Hayward was palpable; senses, memories, possibilities spiralled outwards, creating new stories and narratives. An embodied and tacit experience of speculative and to be-found-out-and-created knowledge. A novel or series of novellas contained in a material-led happenstance. This felt like the sort of show a big institution is made for, enabling a coming together of elements that would not be possible in the world without the structure behind it.

5. Rebecca Fortnum, Henry Moore Institute, Leeds

In many ways the opposite of the behemoth of the shows of the year above; this was a quiet and intimate exhibition of new drawings, paintings and hand-printed wallpaper by Fortnum. The paintings are transcriptions of sculptures by fifteen women who visited or worked at Auguste’s Rodin’s studio. An intention of the work is to offer insight and exposure to these often-overlooked female sculptors. Rodin is known to have trained women to sculpt in the late nineteenth century when they were not allowed to enter into art schools in France, and employed some of them as studio assistants (or the ‘praticienne’ of the show’s title). Many of the women artists that Fortnum has selected to make work from had in what the text panel calls “an extraordinary, and in many cases unpublished, life narrative.” The show also featured drawings of men that were sculpted by the women artists, creating a gendered distinction between female subjects in paint and male subjects in drawings, albeit that the subject of Fortnum’s work is actually the unpictured female artists.  

6. Oliver Ventress, Project Space Plus, Lincoln 

A beautifully installed coming together of sculpture, sound and video by Ventress that all speculates on what is out there, what might be out there in a delicate oscillation between despair and hope of what our present and future might be. The work beckoned me in quietly, gently insisting that I spend time with it, to slow down by heartbeat to become in line with the tide in one sculpture or the sound emanating from a large grey spherical sculpture (apparently at 210.42hz the theoretical frequency of the moon. With the tuning in to the resonance of the work, came an opportunity to speculate on the future in the present from a position of calm, not panic, all too rare an opportunity in 2023.

7. Chad McCail, Turntable Gallery and tt88

You gotta love a bit of bonkers; a serpentine urban and rural landscape sweeps the carpet tiles on the high street, giants roam the gallery constructed from discarded detritus of the capitalist waste-culture, brains exude from trees and gonzo lizards pelt churches with walnut-like objects. Poke a bit further though and melancholy descends as the worst aspects of humanity seep everywhere: capitalist-greed, paedophilia, and environmental-apocalypse. 

8. Brendan Lyons, Bridewell, Liverpool

A joyful form of institutional critique of painting, one rich in materiality. In one gallery several paintings line the walls, completely conventional in description. In one gallery a range of fixings for hanging paintings line the walls, completely conventional in description. That the description is for one and the same gallery is the magic of Lyons work. Each fixing has been constructed fully from paint, being both itself and a simulacra of the hidden elements of painting, an opening up and unlocking. In the other gallery three new pieces are bold in the way the first gallery is subtle. Ivy creeps down the walls and over canvas; parcel tape tries to fix a smashed glass of an empty frame; multiple blank canvas are tapped to the wall with Gaffa and parcel tape…or look a bit closer.

9. Rosa Barba, Tate Modern, London 

The Tanks at Tate Modern are a brilliant space to encounter Barba’s work; the atmosphere of the space evokes the type of places the artist is attracted too, places that are pregnant with a past. 3 35mm film installations affectingly occupy the space, the visuals draw you in, the sound quivers with the image, but perhaps most evocatively the projectors percolate all the space in their industriousness that comes close to humanity in their presence.

10. Lynette Yiadom Boakye, Tate Britain, London

I could have had several number tens on this list, significantly I whittled a shortlist down to five, all of which were painting exhibitions. So why does Yiadim Boayake become number ten? Perhaps it is the way she handles paint, something I wish I could inhabit? Or perhaps it is the way she creates stories with paints? Or perhaps it is the way she conjures personal lives, and memories of histories in the people she paints from imagination? Perhaps it is the way she invents archetypes for our time in the presence of the people? Or perhaps it is because I want to look, to spend time, to look harder, nearer, closer, more attentively? Or perhaps it is because I struggle with the words, the paintings do what (my) words can’t, reach the soul.

In 2023 I visited the following exhibitions:

30 December, Pesellino, National Gallery, London

30 December, Discover Liotard and the Lavergne Family Breakfast, National Gallery, London

15 December, Corrupt Vision, General Practice, Lincoln

15 December, Sam Scorer, Usher Gallery, Lincoln

30 November, 8 Acts of Love, Project Space Plus, Lincoln

24 November, Made in Scunthorpe, Fountain Arts, Scunthorpe

24 November, Glow Up , 2021, Scunthorpe

24 November, Swords into Ploughshares: Knives into Jewels, 2021, Scunthorpe

17 November, Daniel Richter, Thaddaeus Ropac, London

17 November, Endless Variations, Ordovas, London

7 November, Avery Singer, Hauser & Wirth, London

7 November, Christina Quarles, Pilar CorriasLondon

7 November, It All Starts With a Thread, Whitechapel Gallery, London

7 November, Anna Mendelssohn, Whitechapel Gallery, London

7 November, Johanna Billing, Whitechapel Gallery, London

7 November, Nicole Eisenmann, Whitechapel Gallery, London

7 November, In the Studio, Tate Modern, London

7 November, El Anatsui, Tate Modern, London

7 November, Phillip Guston, Tate Modern, London

7 November, Joan Mitchell, Tate Modern, London

14 November, Tread Softly, Gloam, Sheffield

14 November, Paul Housely, Persistence Works, Sheffield

14 November, Autumn Almanac III, Persistence Works, Sheffield

13 November, Nature Positive, Project Space Plus, Lincoln

27 October, Tim Murray-Browne, St. Marks, Lincoln

27 October, Maria Mavropoulou, St. Mary Le Whigford, Lincoln

27 October, Beccy McCray Engine Shed, Lincoln

27 October, Filthy Luker, Lincoln

27 October, Camille Baker, The Drill, Lincoln

27 October, Lumo Workshop and The Network, Lincoln

27 October, Dangerous Times, Lincoln

27 October, Lauren Hubbard, Waterstones, Lincoln

27 October, Touch & Glow, St. Marks,Lincoln

27 October, Marc Renshaw, Wealth Streams Development Agency, Gainsborough

24 October, John Dowling, Link Corridor, Lincoln

24 October, Birth and Design 23, Project Space Plus, Lincoln

21 October, Creativity Unlocked, Salthouse, Lincoln

21 October, Sam Tahmassebi and Harrison Taylor, Cornhill, Lincoln

21 October, Soft Egg, Don't Wear It, Salthouse, Lincoln

21 October, Unweeded, General Practice, Lincoln

21 October, Tyler Barker, Zara Sands, Walking Together, The Collection, Lincoln

21 October, Past and Present Practice, St Mary Le Whigford, Lincoln

21 October, SLQS - Straight from the Horses Mouth, St Mary Le Whigford, Lincoln

21 October, In My Perfect State, Cornhill, Lincoln

20th October, Artists in the Now, The Link Up, Limcoln

19 October, Obscene Pomegranate, Salt House, Lincoln

19 October, Gurminder Sikand, Trace, Nottingham

14 October, Nahem Shoa, Walker Art Gallery, Liverpool

14 October, John Moores Painting Prize, Walker Art Gallery, Liverpool

14 October, Tom Wood, Walker Art Gallery, Liverpool

14 October, Tim Spooner, Bluecoat, Liverpool

14 October, Brendan Lyons, Bridewell, Liverpool

14 October, About Face, 50_MV, Liverpool

14 October, Anthony Gormley, Crosby beach, , Liverpool

6th October, Grayson Perry, Lincoln Museum

6th October, Oliver Ventress, Project Space Plus, Lincoln

28 September, Ridykeulous (Nicole Eisenman & A.L. Steiner, with Sam Roeck): Ridykes’ Cavern of Fine Inverted Wines and Deviant Videos, Nottingham Contemporary

28 September, Green Unseen, Dajongly Gallery, Nottingham

28 September, Reimagining the Victorians, Dajongly Gallery, Nottingham

28, Community Choice, Usher Gallery, Lincoln

21 September, Method Lab 3, Trace Gallery, Nottingham

21 September, John Becka nd Matthew Cornford, Bonnington Gallery, Nottingham

21 September, Art (School) Histories, Bonnington Gallery, Nottingham

16 September, Chad McCail, Turntable Gallery

16 September, Chad McCail, Turntable 88 Gallery

10 September, Mark Judson, the hub, Sleaford

10 September, Together we are Powerful, the hub, Sleaford

10 September,Adaesi Ukairo, the hub, Sleaford

9, September, George Boole School, Lincoln Museum

9, September, CODED: Digital Art that Defies Definition, Lincoln Museum

8 September, MA Fine Art, University of Northampton

1 September, The Power of Printed Matter, Beam, Nottingham

27 August, A Sense of Place, Willoughby Memorial Gallery, Corbey Glenn

25 August, Bare, Project Space Plus, Lincoln

24 August, Strange Friends, Hauser and Wirth, London

24 August, Connect, Reveal, Conceal, Hauser and Wirth, London

24 August, Holding Space, Hauser and Wirth, London

24 August, To Bend the Ear of the Outer World: Conversations on contemporary abstract painting, Gagosian, London

24 August, Glenn Brown, The Brown Collection, London

24 August, The Belly and the Guts, Alice Amati, London

24 August, Tomas Saraceno, Serpentine Gallery, London

24 August, Lina Ghotmeh, Serpentine Gallery, London

24 August, Gabriel Massan, Serpentine Gallery, London

24 August, Atta Kwami, Serpentine Gallery, London

24 August, Matthew Collings, Wellington Arch, London

24 August, Summer Show, Skarstedt, London

24 August, Malediction and Prayer, Modern Art, London

24 August, Moki Cherry, ICA, London

24 August, Samson Kambalu, London

24 August, Nira Pereg, Tate Modern, London

24 August, Vivian Sundaram, Tate Modern, London

24 August, Jannis Kounellis, Tate Modern, London

24 August, Rosa Barba, Tate Modern, London

24 August, Rasheed Araeen, Tate Modern, London

24 August, Art and Text, Tate Modern, London

24 August, Lawrence Weiner, Tate Modern, London

24 August, Hilma af Klint and Piet Mondrian, Tate Modern, London

10th August, Erwin Wurm, Yorkshire Sculpture Park

10th August, Lindsey Mendrick, Yorkshire Sculpture Park

10th August, Leonardo Drew, Yorkshire Sculpture Park

10th August, Catriona Robertson, Art House, Wakefield

10th August, The Royal Society of Sculptors presents: The Gilbert Bayes Award, Art House, Wakefield

10th August, Tony Wade, Art House, Wakefield

10th August, The Art of the Potter: Ceramics and Sculpture from 1930 to Now, Hepworth, Wakefield

10th August, If Not Now, When? Generations of Women in Sculpture in Britain, 1960 – 2022, Hepworth, Wakefield

10th August, Hurvin Anderson Curates, Hepworth, Wakefield

10th August, Hurvin Anderson, Hepworth, Wakefield

25, July, Kresiah Mukwazhi: Kirawa, Nottingham Contemporary

25, July, Abbas Zahedi: Holding a Heart in Artifice, Nottingham Contemporary

25, July, Eva Koťátková: How many giraffes are in the air we breathe? , Nottingham Contemporary

25, July, Jade Foster, TG, Nottingham

25, July, Line Nielsen, Beam, Nottingham

25, July, Residents & Members | Video Materials, Primary, Nottingham

25, July, Sam Keogh, Primary, Nottingham

21 July, The Weight of Words, Henry Moore Institute, Leeds

21 July, Egon Altdorf, Henry Moore Institute, Leeds

21 July, Things Left Unsaid: Percy Wyndham Lewis, Iris Barry, Helen Saunders and the story of Praxitella, Leeds Art Gallery

7th July, Patrick Hartigan, Moon Grove, Manchester

7th July, Office of Arte Útil, Whitworth Art Gallery, Manchester

7th July, Standardisation and Deviation The Whitworth Story, Whitworth Art Gallery, Manchester

7th July, (Un)defining Queer, Whitworth Art Gallery, Manchester

7th July, Traces of Displacement, Whitworth Art Gallery, Manchester

7th July, Albrecht Durer, Whitworth Art Gallery, Manchester

7th July, Economics the Blockbuster – It’s not Business as Usual, Whitworth Art Gallery, Manchester

7th July, Tino Sehgal, Whitworth Art Gallery, Manchester

7th July, The Poetics of Water, Castlefield Gallery, Manchester

7th July, Yaoi Kusama, Factory International, Manchester

7th July, What's New?, Manchester Art Gallery

7th July, Friends, Family and Other Animals, Manchester Art Gallery

7th July, Rethinking the Grand Tour, Manchester Art Gallery

7th July, Room to Breathe, Manchester Art Gallery

7th July, Climate Justice, Manchester Art Gallery

7th July, Trading Station, Manchester Art Gallery

7th July, Suzanne Lacy, Manchester Art Gallery

7th July, Out of the Crate, Manchester Art Gallery

11 June, Demo Valley, Peter de Wint building, Lincoln

3 June, Sonia Boyce, Leeds Art Gallery

20 May,Opera North: Race, Representation and Authenticity, 1979–2023, The Stanley & Audrey Burton Gallery, Leeds

20 May, Arcadia for All? Rethinking Landscape Painting Now, The Stanley & Audrey Burton Gallery, Leeds

20 May, Andrew Black, The Tetley, Leeds

20 May, Samra Mayanja, The Tetley, Leeds

20 May, Rebecca Fortnum, Henry Moore Institute, Leeds

20 May, Michael E Smith, Henry Moore Institute, Leeds

19 May, Re:Collection, Lincoln Museum

26 March, Vermeer, Rijksmuseum, Amsterdam

26 March, Rijksmuseum & Slavery, Rijksmuseum, Amsterdam

26 March, Operation Night Watch, Rijksmuseum, Amsterdam

25 March, Choosing Vincent, Van Gogh Museum, Amsterdam

25 March, Titus is Back Home ,Rembrant House, Amsterdam

25 March, The Art of Drawing,Rembrant House, Amsterdam

24 March, Visitant Queens, Project Space Plus, Lincoln

19 March, Charlotte Johnnesson, Nottingham contemporary

19 March, Carolyn Lazzard, Nottingham contemporary

19 March, Rosalind Nasashibi, Nottingham Contemporary

19 March, A Commonplace, Nottingham Contemporary

Helen Dearnley, St Mary le Whigford, Lincoln

18 March, Annie Morrad and Joana Coffee Cerda, Cornhill, Lincoln

13 March, Blubber, General Practice, Lincoln

26 February, Harriet Plewis, General Practice, Lincoln

24 February, Peter Doig, Courtaud Gallery, London

24 February, John Akomfrah, Tate Britain, London

24 February, Haroon Mirza, Lisson Gallery London

24 February, Lines of Empathy, Patrick Heide Gallery, London

24 February, Atiena R. Kilfa, Camden Arts Centre, London

24 February, Mohamed Sami, Camden Arts Centre, London

24 February, Hannah Quinlan and Rosie Hastings, Tate Britain, London

24 February, Aubery Williams, Tate Britain, London

24 February, Lynette Yiadim Boayake, Tate Britain, London

24 February, Ingela Ihrman, Gasworks, London

24 February, group show, Corvi Mora, London

24 February, Nakeya Brown, Greengrassi, London

24 February, Mike Nelson, Hayward Gallery, London

19 February, Horror in the Modernist Block, Ikon Gallery, Birmingham

10th February, Twin Realms, General Practice, Lincoln

27th January, Kai Speed and H.Eaven, General Practice, Lincoln

27th January, David Remfrey, Usher Gallery, Lincoln

20th January, Hollow Earth, Nottingham Contemporary

16th January, Bodies of Practice, Project Space Plus, Lincoln

[aitoolswhitehattoolbox]

Horizontal / Directional Driller

We are on the lookout an experienced horizontal/directional driller to join our clients team. The successful candidate will have previous experience operating drilling equipment such as Vermeer HDD, and Ditch Witches. ABOUT THE ROLE: Di… Apply Now

[gardenreviewus]

Vermeer Expands Equipment Line with Bunning Manure Spreaders A Game-Changer for Livestock Producers In a significant move that promises to revolutionize the agricultural equipment landscape, Vermeer Corporation has announced a strategic partnership with G. T. Bunning Sons Ltd, a renowned UK-based manufacturer of manure spreaders. This collaboration, unveiled on September 11, 2024, marks a pivotal expansion of Vermeer's product lineup, integrating Bunning's premium compost spreaders into their existing range of equipment designed for hay, forage, and livestock producers across North America. This article delves into the implications of this partnership, exploring how it enhances Vermeer's offerings and what it means for farmers and ranchers seeking efficient, reliable solutions for their operations. The Strategic Alliance: Vermeer and Bunning Join Forces The partnership between Vermeer and Bunning represents a confluence of expertise and innovation in the agricultural equipment sector. Vermeer, long recognized for its comprehensive lineup of farm machinery, including self-propelled balers, round balers, mowers, tedders, rakes, bale wrappers, bale processors, vertical mixers, and feed wagons, has now added another string to its bow with the inclusion of Bunning's compost spreaders. This strategic move is not merely about expanding a product catalog; it's a calculated step towards addressing the evolving needs of modern agricultural producers. Shane Rourke, managing director of Vermeer Forage Solutions, encapsulates the essence of this partnership: "This alliance with Bunning strengthens our ability to address the evolving needs of agricultural producers. It's a natural extension of our commitment to keeping farmers and ranchers productive and efficient." The Synergy of Experience and Innovation Vermeer's decision to partner with Bunning is rooted in a deep understanding of the agricultural sector's demands. Bunning brings to the table a 40-year legacy in premium spreader technology, complementing Vermeer's established expertise in forage and livestock equipment. This synergy promises to deliver solutions that are not just technologically advanced but also tailored to the practical needs of farmers and ranchers. The collaboration leverages Vermeer's extensive dealer network, ensuring that the new line of compost spreaders will be backed by the same level of support and service that Vermeer customers have come to expect. This aspect of the partnership cannot be overstated – in the world of agriculture, where downtime can have significant financial implications, reliable support is as crucial as the equipment itself. Expanding Horizons: North American Market Focus For Bunning, this partnership marks a significant milestone in their expansion into the United States and Canada. Chris Druce, sales director for Bunning, emphasizes the importance of this collaboration, stating, "This partnership with Vermeer marks a significant milestone for Bunning in the United States and Canada. This collaboration underscores both companies' commitment to supporting agricultural operations of all sizes with innovative solutions that can help improve productivity and streamline operations." The focus on the North American market is strategic. Witha growing demand for high-quality manure management solutions, particularly among livestock producers, this partnership aims to tap into a lucrative segment of the agricultural sector. By combining Bunning’s advanced compost spreaders with Vermeer's well-established market presence, both companies are poised to provide exceptional value, enhancing the ability of farmers and ranchers to optimize their operations. Benefits of the Bunning Manure Spreaders The inclusion of Bunning's equipment into Vermeer’s offerings means that livestock producers will gain access to a variety of benefits, including: Increased Efficiency: Bunning's compost spreaders are designed for optimal efficiency, reducing time spent on manure management.

With advanced technology, these machines distribute manure evenly and effectively, allowing for better nutrient management in pastures and fields. Environmental Responsibility: Proper manure management is critical for maintaining soil health and minimizing environmental impact. Bunning's innovative designs help ensure compliance with modern environmental standards, making it easier for farmers to operate sustainably. Versatility: The new line of compost spreaders can handle various materials, from solid and semi-solid manures to composts and organic fertilizers, providing flexibility and adaptability for diverse farming operations. Conclusion The partnership between Vermeer and Bunning marks a significant advancement in agricultural machinery, especially for livestock producers facing increasing demands for efficiency and sustainability. By integrating Bunning's compost spreaders into Vermeer's established lineup, they are set to address critical needs in manure management, enhancing productivity while supporting environmentally responsible practices. As both companies move forward, farmers can expect innovative solutions backed by robust support, driving the agriculture industry toward a more sustainable future. https://gardenreview.us/vermeer-expands-equipment-line-with-bunning-manure-spreaders-a-game-changer-for-livestock-producers/?feed_id=160&_unique_id=672d84cb51335 https://gardenreview.us/vermeer-expands-equipment-line-with-bunning-manure-spreaders-a-game-changer-for-livestock-producers/?feed_id=160&_unique_id=672d84cb51335

[tvbrasilnoticias]

Por que a 'Menina com Brinco de Pérola' Cativa Nossas Mentes: Uma Análise Científica

A célebre pintura “Menina com Brinco de Pérola”, de Johannes Vermeer, é uma das obras mais admiradas mundialmente. Recentemente, cientistas revelaram os segredos por trás dessa fascinante atração, ao analisarem as reações cerebrais dos espectadores ao observar a obra-prima do século XVII, em exibição no museu Mauritshuis, em Haia. Uma equipe de neurocientistas, contratada pelo museu, utilizou…

[head-post]

Real art in museums boosts brain much more than prints, scientists find

A neurological study conducted in the Netherlands has found that real works of art in a museum stimulate the brain 10 times more than viewing reproductions.

The independent study, commissioned by the Mauritshuis Museum in The Hague, which houses Johannes Vermeer’s “Girl with a Pearl Earring,” used eye-tracking technology and magnetic resonance imaging to record the brain activity of volunteers viewing authentic works of art and their reproductions.

The scientists found that 20 volunteers had 10 times stronger reactions when they looked at the first ones. Martine Gosselink, director of the Mauritshuis, said on Wednesday:

“A factor of 10 is an enormous difference, and this is what happens when you look at a reproduction compared to a real work. You become [mentally] richer when you see things, whether you are conscious of it or not, because you make connections in your brain.”

Gosselink said she was convinced of the power of the real thing even before the study, but wanted her speculation to be formally investigated.

“We all feel the difference – but is it measurable, is it real?” she said she had asked her colleagues a year ago. “Now, today we can really say that it is true.”

Martin de Munnik, co-founder of the Neuropsychology Research Institute, which conducted the study with other neuroscientists, said the study had two elements.

Effects of art on brain function

Volunteers aged between 21 and 65 were hooked up to an electroencephalogram (EEG) brain scanner and eye-tracking equipment and asked to look at five paintings in a museum, as well as posters depicting them in a museum shop.

The researchers also examined the effects of images of the actual works versus reproductions that flashed on the volunteers’ glasses in the University of Amsterdam’s functional magnetic resonance imaging machine. They said:

“If you want to know what people think, it is better to measure it than to ask them. The results were extraordinary.”

According to the researchers, real works of art elicited a strong positive response in the precuneus – the part of the brain associated with consciousness, self-reflection and personal memories. For example, Gerrit van Honthorst’s “The Violin Player” elicited a positive stimulus “approachability” score of 0.41 out of 1 in real life, but only 0.05 in poster form.

The magic of the painting “Girl with a Pearl Earring”

The study also analysed “Girl with a Pearl Earring.” The popular artwork attracted the most overall attention and drew the eye to what the researchers called the “sustained attention loop” – the triangle between the girl’s highlighted eyes, mouth and pearl earring.

The viewer’s gaze is automatically drawn first to the girl’s eye, then to her lips, to the pearl and back to the eye – and the cycle repeats. As a result, the person looks at the painting longer than at other paintings. The greatest stimulation when viewing a painting is to the precuneus – the part of the brain responsible for consciousness and personal identity.

This study was the first of its kind to use EEG brain scans to track reactions to an artwork. The scientists also compared reactions to an original painting and a reproduction. It turned out that the brain response was 10 times stronger when viewing the original painting.

In his works, Vermeer often focused on one thing, from which the surrounding details became more blurred. In the painting “Girl with a Pearl Earring” there are three such accents (eyes, mouth and pearl), which distinguishes it from other works by the Dutch artist.

The scientists noted that it would be interesting to conduct similar studies with other paintings, in particular Leonardo da Vinci’s Mona Lisa.

Read more HERE

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(via https://youtube.com/watch?v=O6ymjAnpdJU&si=hdUdA13J0AVcRVf_)

[binfancontrol]

Finding the Best Farm Equipment for Sale in Iowa

Iowa, known for its rich agricultural heritage, is a hub for farming activities in the United States. Whether you are an established farmer or just starting your agricultural journey, finding the right farm equipment for sale in Iowa is crucial for your success. This guide will help you navigate the landscape of farm equipment manufacturers in Iowa and farm equipment dealers in Iowa, ensuring you make informed decisions that benefit your farming operations.

The Importance of Choosing the Right Farm Equipment

Investing in quality farm equipment can significantly impact productivity and efficiency on your farm. The right tools can save time, reduce labor costs, and improve crop yields. When looking for farm equipment for sale in Iowa, it's essential to consider various factors such as the type of equipment, the scale of your operations, and your budget.

Leading Farm Equipment Manufacturers in Iowa

Iowa is home to several renowned farm equipment manufacturers that produce a wide range of machinery to meet the diverse needs of farmers. These manufacturers are known for their innovative designs, durability, and commitment to quality. Some of the top farm equipment manufacturers in Iowa include:

John Deere: A household name in the farming industry, John Deere offers a vast array of equipment from tractors and harvesters to planting and seeding machinery. Their equipment is known for its reliability and cutting-edge technology.

Kinze Manufacturing: Specializing in planters and grain carts, Kinze Manufacturing is another key player in Iowa’s farm equipment market. Their products are designed to enhance planting precision and efficiency.

Vermeer Corporation: This manufacturer provides high-quality forage equipment, including balers, mowers, and rakes. Vermeer is praised for its robust and efficient machinery, catering to the needs of livestock farmers.

Finding Reliable Farm Equipment Dealers in Iowa

To get the best deals and service, it's crucial to connect with reputable farm equipment dealers in Iowa. One standout dealer that offers a range of new and used equipment, along with maintenance services and expert advice, is END ZONE Farm Shop. Here’s why you should consider END ZONE Farm Shop for your equipment needs:

Wide Inventory: END ZONE Farm Shop boasts an extensive inventory of new and used farm equipment, ensuring that you find exactly what you need for your operations.

Expert Support: With knowledgeable staff and excellent customer service, END ZONE Farm Shop is dedicated to helping farmers make the best purchasing decisions and maintain their equipment.

Quality Assurance: All equipment from END ZONE Farm Shop is thoroughly inspected to ensure it meets the highest standards of quality and reliability.

Tips for Buying Farm Equipment for Sale in Iowa

Assess Your Needs: Determine the specific equipment you need based on your farm’s size and type of operations.

Set a Budget: Establish a budget that includes the cost of the equipment and any additional expenses such as maintenance and repairs.

Research: Look into the reputation of manufacturers and dealers, read reviews, and seek recommendations from other farmers.

Inspect Before Purchase: If buying used equipment, thoroughly inspect it or have a professional do so to ensure it’s in good working condition.

Consider Financing Options: Many dealers offer financing plans, so explore these options to manage your budget effectively.

Conclusion

Navigating the market for farm equipment for sale in Iowa can be daunting, but with the right information and resources, you can make informed decisions that will enhance your farming operations.

Trustworthy farm equipment manufacturers in Iowa and reliable farm equipment dealers in Iowa are essential partners in your agricultural journey. For top-notch equipment and services, consider reaching out to END ZONE Farm Shop, where quality meets reliability. Investing wisely in your farm equipment will pay dividends in productivity and success for years to come.

[abequipment]

Ease of use combined with high efficiency are the core benefits of the BT Reflex B-series models. These reliable reach trucks offer the operator the high-quality, comfortable and spacious position that makes the work safe and enjoyable. Get in touch with our regional teams via the links https://abequipment.co.nz/our-brands/bt/reach-trucks/bt-reflex-reach-truck-b-series/. Enquire now at 0800 30 30 90.

[rentalextampa]

The Vermeer CV873SGT is a robust, low-profile trailer vacuum designed for optimal accessibility and efficiency. It stands out as a versatile and cost-effective solution for various excavation needs, combining exceptional performance with outstanding value. Don't miss the opportunity to enhance your operations with this superior machine. To reserve your Vermeer CV873SGT Vacuum Excavator, call us today at (813)971-9990 and experience the difference in your excavation projects!

See the Vermeer CV873SGT Vacuum Excavator here: https://www.rentalex.com/rental_equipment/tampa-earthmoving-excavating-equipment/vermeer-cv873sgt-vacuum-excavator/

[rockyhillequipmentrental]

Caple Plow Rental

At Rocky Hill Equipment Rentals, we excel in offering premium cable plow rentals, featuring the Vermeer RTX1250 ride-on tractor. Specifically crafted for the swift and effective installation of utilities like gas, fiber, water, and electric, this state-of-the-art equipment ensures optimal performance even in challenging terrains. With its durable build and cutting-edge functionalities, the RTX1250 serves as the perfect companion for seamless utility installations, enhancing efficiency and productivity.

Rocky Hill Equipment Rentals 16701 I-35 N Selma, TX, 78154 (210) 651-5611