Thursday, November 10, 2011

Fw: re: Great Barrier Reef under threat

-------Original Message-------
From: GetUp!
Date: 10/11/2011 12:12:42 PM
Subject: re: Great Barrier Reef under threat
Dear Lee,

Just 3 days ago we sent out an emergency call to action. The Great Barrier Reef World Heritage Area ecosystem is in crisis: millions of cubic metres of sea floor is being dredged up to make way for the expansion of coal seam gas export facilities.

GetUp members have responded to the call in force - so far 41,870 people have added their name to the petition calling for an immediate halt to all dredging in the Gladstone Harbour and Great Barrier Reef World Heritage Area1.

We're aiming to reach 75,000 signatures before we take this campaign global and have the petition delivered to UNESCO* in Paris!

Can you join the petition now, and let your friends and family know about this campaign by forwarding the message below?

Thanks for being part of this,
The GetUp team.

* The United Nations' Educational Scientific and Cultural Organisation (UNESCO), which is responsible for protecting world heritage listed sites like the Great Barrier Reef.

PS - In breaking news, late yesterday the NSW Labor Opposition reversed their stance on coal seam gas and joined calls for a ban on all new coal seam gas operations - but we urgently need their federal counterparts to follow suit. Click here to add your name to this urgent petition before it's delivered to UNESCO.

--- email to share ----

Click here to add your voice

Dear friends,

Millions of cubic metres of sea floor are being dredged up from the Great Barrier Reef World Heritage Area1 to make way for massive new coal seam gas export facilities. No, we're not kidding.

It's the largest dredging project ever undertaken in Australia, and one that has the United Nations' Educational, Scientific and Cultural Organisation (UNESCO) so alarmed they're warning the Reef could lose its iconic world heritage status. We've created an emergency petition to stop this. Sign here, tune in and spread the word now.

As The Age recently put it- what's of primary concern is the "vast dredging program" associated with the construction of three coal seam gas plants located inside the reef's World Heritage area. "The Gladstone Ports Corporation (GPC) has approvals to dredge 46 million cubic metres from within the harbour boundaries, inside the World Heritage area, over the next 20 years...a volume equivalent to 27 Melbourne Cricket Grounds." 2

Environment Minister Tony Burke has so far refused to stand up for the Reef, a priceless and fragile site of significance not just to Australia, but to the world. Imagine if the Pyramids were being bulldozed or the Grand Canyon mined -- the global community would be furious. Well UNESCO is furious. They're sending a special delegation in March to investigate what is happening - but that's too late to stop the damage happening now.

Meanwhile, UNESCO are being lobbied hard by the insatiable coal seam gas industry. And although they failed to even tell UNESCO about the project, the state and federal governments would have us simply trust them to monitor and regulate this crazy project -- claiming it's possible to dredge up 46 million cubic metres of reef inside a world heritage site provided there's sufficient environmental oversight. If the Australian Government won't stand up for the Great Barrier Reef as it's ripped up for corporate profit, we will.

That's why we've created an urgent petition, as we prepare to launch this campaign on the global stage.

The fragile and unique ecosystem of the Great Barrier Reef is already under intense pressure due to earlier floods and a changing climate. We've witnessed a steep increase in the rates of death of endangered marine wildlife this year -- including dolphins, dugongs and turtles. The massive development for the coal seam gas industry may well prove too much for it to handle.

Coal seam gas mining is now affecting our communities and environment, from the family farm to the deep blue sea, and once these areas are destroyed, no amount of money will ever bring them back. Sign the petition now, and if you're on Twitter and Facebook, be sure to share this emergency call to action with your friends.

Thank you for using your voice now,
The GetUp team

1In our previous email we referred to dredgeing the 'reef' however what's being dredged is the Great Barrier Reef World Heritage Area which the reef is within.
2New battlefront opens up in gas debate, Tracey Ferrier, The Age, October 31 2011.

GetUp is an independent, not-for-profit community campaigning group. We use new technology to empower Australians to have their say on important national issues. We receive no political party or government funding, and every campaign we run is entirely supported by voluntary donations. If you'd like to contribute to help fund GetUp's work, please donate now! If you have trouble with any links in this email, please go directly to To unsubscribe from GetUp, please click here. Authorised by Simon Sheikh, Level 5, 116 Kippax St, Surry Hills NSW 2010

Friday, October 7, 2011


These amazing wire sculptures were created by self-taught artist, illustrator and designer Gavin Worth.
By bending black wire into something of freestanding line drawings, I create sculptures that engage the viewer by involving them in their subtle changes. When the light in the room shifts, so does the mood of the piece. A breeze might softly move an arm. My wire sculptures tell stories of simple human moments: a woman adjusting her hair, a face gazing from behind tightly wrapped arms, a mother gently cradling her baby. The honest, unguarded moments are the ones that I find to be the most beautiful.


American artist Cayce Zavaglia creates amazingly layered embroidered portraits that look more like paintings than thread work. From her website:
Initially, working with an established range of wool colors proved frustrating. Unlike painting, I was unable to mix the colors by hand. Progressively, I created a system of sewing the threads in a sequence that would ultimately give the allusion of a certain color or tone. The direction in which the threads were sewn had to mimic the way lines are layered in a drawing to give the allusion of depth, volume, and form. Over time the stitches have become tighter and more complex but ultimately more evocative of flesh, hair, and cloth.

Monday, September 5, 2011

leehynes1 sent you a video: "Machine with Abandoned Doll - Arthur Ganson"

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leehynes1 has shared a video with you on YouTube:

very moving
Stopping to view the ocean from Highway #1 on the coast of California just south of San Francisco, I found this doll lying in a trash pile by the side of the road. I picked it up and immediately visualized this machine. "As above, so below."- this recognition of the parallel nature of our spirit and body helps define the formal structure of the machine.
The intellect may be strong and the adult tormented as a result of it, but the child within dreams innocently.
© 2011 YouTube, LLC
901 Cherry Ave, San Bruno, CA 94066

Friday, September 2, 2011

Jimi Gleason at Toomey Tourell Fine Art


Toomey Tourell Fine Art

"Active Light," 2011, silver deposit, acrylic, canvas, 20 x 16"

Jimi Gleason
Silver Deposit Paintings

On view through September 30, 2011

Artists Reception:
Thursday, September 8, 5-7 pm

Toomey Tourell Fine Art
49 Geary Street, 4th floor
San Francisco, California 94108

Phone: (415) 989-6444
Hours: Tuesday - Friday, 11:00am-5:30pm; Saturday, 11:00am-5:00pm; or by appointment

Toomey-Tourell Fine Art is pleased to announce "Silver Deposit Paintings," an exhibition by Los Angeles painter Jimi Gleason. The works on display emphasize seductive surfaces, nontraditional materials and the luminescent use of silver deposit to catalyze intimate reflection on the mechanics of perception. The paintings will be on view August 23-September 30, 2011. There will be reception for the artist on September 8, 5 p.m.-7 p.m.

Gleason's new collection is consistent with the iridescent paintings he's developed over the last decade but it's a radical departure in execution. Using a silver-deposit surface coat, he creates paintings that are ethereal and glassy, sheets of solid vapor that respond to the play of light and react to their environment.

The silver-deposit paintings began in 2008 as a mutation of Gleason's soft, glowing iridescent works. They're easily understandable as paintings, though it's difficult to imagine how they were created. They're enigmatic, betraying no evidence of traditional method--the application of paint on canvas. The viewer's first impression is that Gleason has found a way to freeze the immaterial. From there, the silver surfaces, which are highly reactive to light effects and different viewing positions, invite involvement and suggest the infinitely broad experiential possibilities of art.

Born in Newport Beach, Calif., Gleason received his BA from UC Berkeley in 1985. He studied printmaking at the San Francisco Art Institute before relocating to New York City, where he worked as a photo assistant and photo technician. Returning to California, Gleason was employed in the studio of Ed Moses for five years. Combining the disparate technical and compositional skills developed during his exposure to printmaking, photography and mixed-media painting, Gleason is now the subject of considerable curatorial and critical applause. His work is exhibited in significant public institutions, including the Armand Hammer Museum, the Long Beach Museum of Art, the Seattle Art Museum, the Tucson Museum of Art and the Frederick Weisman Art Museum. The artist's paintings are actively collected by a growing number of major public and private collections around the world.

"Emulsive Glow," 2011,
silver deposit, acrylic, canvas, 14 x 11"

"Accendo," 2011,
silver deposit, acrylic, canvas, 20 x 16"

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Wednesday, August 3, 2011

She is here!

I haven't seen her yet but Sylvie is here. 10lbs! A good size!
Pics to come!
this is her big sister when she was young, she is 2yrs now, a big girl now she tells me!

Tuesday, June 28, 2011

Fw: Dragana B. Stevanovic at L2kontemporary

Dragana B. Stevanovic at L2kontemporary


Dragana B. Stevanovic, "The Red Note No. 1"
Dragana B. Stevanovic

July 2 - 30, 2011

Opening Reception:
Saturday, July 2, 7–10pm

990 N. Hill Street #205
Los Angeles, California 90012

Phone: (323) 225-1282
Hours: Thursday – Sunday, 1-6pm;
or by appointment

L2kontemporary proudly presents Excess, the second solo exhibition at the gallery from Serbian-based artist Dragana B. Stevanovic. The exhibition opens July 2, 2011 and closes July 30.

In her paintings from the series Excess, Dragana B. Stevanovic successfully blends the subjects that used to occupy her with idea of the flow of consciousness as the main narration in paintings and she introduces the play of letters and words into a dialogue with represented personages.

Known by her expressive, colorful palette, Stevanovic paints the motions and events she is currently preoccupied with. This is why her paintings do not show any central motif – sometimes, drawing is predominant, or dark hues, gender themes; sometimes everything seems to be in disorder and disharmony. The result of such principle is the representation of "excess", that is, a combination of figures,
portraits or skulls with formal aspects of canvas attacked by fireworks of colors. Placing the letters and words in the composition, Dragana defines the canvas as flat surface, the place at which her ideas combine in various ways. This interweaving of personages, their ambiences, words, letters, contrasts and colors on two-dimensional canvas is the basic characteristic of Stevanovic's new paintings.

The impact on the beholder is instantaneous, and the canvases seem visceral. Only after a period of time the figures and their correlations can be recognized in the paintings. There is no point of support, no center of the composition. In relation to beholder, Dragana B. Stevanovic treats the canvas as background for communication, as a point of confrontation of the beholder's own thoughts and points of view regarding the relations formed within the painting itself. The enigma of the letters and their meanings in the paintings add to her skillful breaking of the modernist narrations about the flow of time, about unity and centrality of the gaze, as well as about figure as the main actor in works of art. In such way, Stevanovic forms new narration, which follows the flow of consciousness of the artist during long periods of time that she dedicates to each painting; thus ideas and motifs complement each other and intertwine. This is why her paintings approximate portrait of the chaotic era we live in, where media create events, information multiplies but is getting forgotten even more and more quickly.
- Slobodan Jovanovic


Dragana B. Stevanovic, "The Blue Note No. 5"

Dragana B. Stevanovic, "The Note No. 2"

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Friday, March 11, 2011

and another



contemplation of one's navel as an aid to meditation; also: lack of will to move, exert, or change: inertia

About the word:

In Greek, omphalos means "navel"; skepsis means "examination."
Less than a century old, omphaloskepsis is usually considered humorous. For example, in his 2005 autobiography, Grateful Dead bassist Phil Lesh reminisced about his absorption in "the time-honored pursuits of adolescents in any era – school, social life, the opposite sex, omphaloskepsis – ...."

a word for you



a boastful and self-important person; a strutting little fellow

About the word:

If cockalorum suggests a crowing cock, that's because cockalorum probably comes from kockeloeren – an obsolete Dutch dialect verb meaning "to crow."