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So here I am on my 50th picture-a-day in a row. Thanks to everyone that has been reading my blog. I appreciate the comments, both in person and here and on Facebook and Myspace. Next milestone is my th photo. Gotta do something special. A nude protest or something crazy like that. OK maybe not.

We even lit up some cars with candle lights". After Croton, the Calders moved to Spuyten Duyvil to be closer to New York City, where Stirling Calder rented a studio.

While living in Spuyten Duyvil, Calder attended high school in nearby Yonkers. InStirling Calder was appointed acting chief of the Department of Sculpture of the Panama-Pacific International Exposition in San Francisco, California,and began work on sculptures for the exposition that was held in During Calder's high school years -the family moved back and forth between New York and California. In each new location, Calder's parents reserved cellar space as a studio for their son.

Toward the end of this period, Calder stayed with friends in California while his parents moved back to New York, so that he could graduate from Lowell High School in San Francisco. Calder graduated with the class of Calder's parents did not want him to suffer the life of an artist, so he decided to study mechanical engineering. An intuitive engineer since childhood, Calder did not even know what mechanical engineering was.

He enrolled at the Stevens Institute of Technology in Hoboken, New Jersey in When asked why he decided to study mechanical engineering instead of art Calder said, "I wanted to be an engineer because some guy I rather liked was a mechanical engineer, that's all.

At Stevens, Calder was a member of the Delta Tau Delta fraternity and excelled in mathematics. He was well-liked and the class yearbook contained the following description, "Sandy is evidently always happy, or perhaps up to some joke, for his face is always wrapped up in that same mischievous, juvenile grin. This is certainly the index to the man's character in this case, for he is one of the best natured fellows there is.

Digital artist Marina Amaral specializes in photo colorization and recently ated the last images of a year-old Polish prisoner in Auschwitz. Breathing life into the black-and-white pictures, Amaral managed to visually emphasize the tragic past of Czeslawa Kwoka The pageant spawned from an event created by journalist and comedian Pat Dixon back in called the Nearly Naked Lady Hour, which he came up with following the breakdown of a relationship The "slave Leia" look is often imitated by female fans at Star Wars conventions. In , 51 years after the bikini's debut, and 77 years after the Miss America Pageant was founded, contestants were allowed wear two-piece swimsuits, not just the swimsuits (nicknamed "bulletproof vests") traditionally issued by the pageant

In the summer ofCalder spent five weeks training at the Plattsburg Civilian Military Training Camp. Calder received a degree from Stevens in For the next several years, he held a variety of jobs, including working as a hydraulic engineer and a draughtsman for the New York Edison Company. In JuneCalder found work as a mechanic on the passenger ship H. While the ship sailed from San Francisco to New York City, Calder slept on deck and awoke one early morning off the Guatemalan Coast and witnessed both the sun rising and the full moon setting on opposite horizons.

He described in his autobiography, "It was early one morning on a calm sea, off Guatemala, when over my couch-a coil of rope-I saw the beginning of a fiery red sunrise on one side and the moon looking like a silver coin on the other. The H. Alexander docked in San Francisco and Calder traveled up to Aberdeen, Washington, where his sister lived with her husband, Kenneth Hayes.

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Calder took a job as a timekeeper at a logging camp. The mountain scenery inspired him to write home to request paints and brushes. Shortly after this, Calder decided to move back to New York to pursue a career as an artist.

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Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, inone of his assignments was sketching the Ringling Brothers and Barnum and Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work.

InCalder moved to Paris, enrolled in the Academie de la Grande Chaumiere, and established a studio at 22 rue Daguerre in the Montparnasse Quarter.

In Junewhile traveling by boat from Paris to New York, Calder met his future wife, Louisa Jamesgrandniece of author Henry James and philosopher William James. They married in While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Leger, Jean Arp, and Marcel Duchamp.

Calder and Louisa returned to America in to settle in a farmhouse they purchased in Roxbury, Connecticut, where they raised a family first daughter, Sandra bornsecond daughter, Mary, in In Alexander and Louisa Calder travelled around in India for three months, where Calder produced nine sculptures as well as some jewelry.

InCalder settled into his new workshop, which overlooked the valley of the Lower vriere to Sache in Indre-et-Loire France. He donated to the town a sculpture, which since has been situated in the town square. Throughout his artistic career, Calder named many of his works in French, regardless of where they were destined for eventual display.

InCalder published his Autobiography with Pictures with the help of his son-in-law, Jean Davidson. Calder died unexpectedly on November 11,shortly after the opening of a major retrospective show at the Whitney Museum in New York. Inat the suggestion of a Serbian toy merchant in Paris, Calder began to make mechanical toys. At the urging of fellow sculptor Jose de Creeft, he submitted them to the Salon des Humoristes. Calder began to create his Cirque Calder, a miniature circus fashioned from wire, cloth, string, rubber, cork, and other found objects.

Designed to be transportable it eventually grew to fill five large suitcasesthe circus was presented on both sides of the Atlantic. Soon, his Cirque Calder on view at the Whitney Museum of American Art at present became popular with the Parisian avant-garde.

He also invented wire sculpture, or "drawing in space," and in he had his first solo show of these sculptures in Paris at Galerie Billiet. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio inwhere he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. It was the mixture of his experiments to develop purely abstract sculpture following his visit with Mondrian that led to his first truly kinetic sculptures, manipulated by means of cranks and motors, that would become his signature artworks.

Byhe moved on to hanging sculptures which derived their motion from touch or the air currents in the room. They were followed in by outdoor pieces which were set in motion by the open air. At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in to differentiate them from mobiles.

In he produced a number of works made largely of carved wood. At Exposition Internationale des Arts et Techniques dans la Vie Moderne the Spanish pavilion included Alexander Calder's sculpture Mercury Fountain. During World War II, Calder attempted to join the Marines as a camofleur, but was rejected.

He continued to sculpt, adapting to a scarcity of aluminum during the war by returning to carved wood in a new open form of sculpture called "constellations. Once the war was over, Calder began to cut shapes from sheet metal into evocative forms and would hand-paint them in his characteristically pure hues of black, red, blue, and white.

Calder created a small group of works from around this period with a hanging base-plate, for example Lily of ForceBaby Flat Topand Red is Dominant Calder also set about creating new works such as Seven Horizontal Discswhich, like Lily of Force and Baby Flat Tophe was able to dismantle and send by mail despite the stringent size restrictions imposed by the postal service at the time.

His show at the Galerie Louis Carre in Paris, composed mainly of hanging and standing mobiles, made a huge impact, as did the essay for the catalogue written, at the artist's invitation, by French philosopher Jean-Paul Sartre. InCalder devised a new kind of sculpture, related structurally to his constellations. These "towers," affixed to the wall with a nail, consist of wire struts and beams that jut out from the wall, with moving objects suspended from their armatures.

While not denying Calder's power as a sculptor, an alternate view of the history of twentieth-century art cites Calder's turning away in the early s from his motor-powered works in favor of the wind-driven mobile as marking a decisive moment in Modernism's abandonment of its earlier commitment to the machine as a critical and potentially expressive new element in human affairs - and an abandonment, in effect, of its larger goal of a rapproment with science and engineering - and this with unfortunate, if not to say disastrous, long-term implications for contemporary art:.

The larger myth of the mobile is that it represents the triumph of kinetic sculpture, when in reality the mobile was as different as one could imagine from the original vision: passive rather than active; not at all mechanical; and random rather than directed in its motion. Indeed, the mobile drew upon none of the incredible technical resources of the twentieth century, the appropriation of which had of course been the principal inspiration of the original kineticists.

As a renowned artist, part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions: Nuclea, Panorama, Horizon, Socrate, Work in Progress. Calder would describe some of his stage sets as dancers performing a choreography due to their rhythmic movement. The production of the Socrate set in became a decisive moment in Calder's artistic development.

Calder described it in these terms: Ģit serves as an indication of a good deal of my subsequent work. Man, a sculpture by Alexander Calder for Expo 67, on Saint Helen's Island Parc Jean-Drapeau, Montreal, Quebec. In the s, Calder increasingly concentrated his efforts on producing monumental sculptures his self-described period of "agrandissements". Notable examples are. Calder's largest sculpture at InCalder made his first outdoor works in his Roxbury, Connecticut studio, using the same techniques and materials as his smaller works.

Exhibited outside, Calder's initial standing mobiles moved elegantly in the breeze, bobbing and swirling in natural, spontaneous rhythms. In fact, the first few outdoor works were too delicate for strong winds, which forced Calder to rethink his fabrication process.

Inhe responded to the problem, changing his working methods. He began to create smaller scale maquettes that he then enlarged to monumental size. The small metal maquette, the first step in the production of a monumental sculpture, was already for Calder a sculpture in its own right. The larger works were made under his direction, using the classic enlargement techniques used in different ways by traditional sculptors, including his father and grandfather.

Calder began to draw his designs on brown craft paper, which he enlarged using a grid. His large-scale works were created according to his exact specifications, while also allowing him the liberty to adjust or correct a shape or line if necessary.

He made most of his monumental stabiles and mobiles after at Etablissements Biemont in Tours, France. Calder would create a model of his work, the engineering department would scale it up to final size under Calder's direction, and then technicians would complete the actual metalwork - all under Calder's watchful eye. Stabiles were made in steel plate, then painted in black or in colors. An exception was Trois disques, in stainless steel at 24 meters tall, which was commissioned by International Nickel Company of Canada.

InCalder asked Jean Prouve to construct the steel base of Spirale in France, a monumental mobile for the UNESCO site in Paris, while the top was fabricated in Connecticut. In JuneCalder attended the dedication of his monumental stabile La Grande Vitesse in Grand Rapids, Michigan.

This sculpture is notable for being the first civic sculpture in the United States to receive funding from the National Endowment for the Arts. Calder created a sculpture called Bent Propeller, which in was installed at the entrance of the World Trade Center's North Tower in New York City. When Battery Park City opened, the sculpture was moved to Vesey and Church Streets.

The sculpture stood in front of 7 World Trade Center until it was destroyed on September 11, In Calder unveiled to the public two sculptures, Flamingo at Federal Plaza and Universe at Sears Tower, in Chicago, Illinois.

The exhibition Alexander Calder: A Retrospective Exhibition at the Museum of Contemporary Art, Chicago, opened simultaneously with the unveiling of the sculptures. Originally meant to be constructed in for the Hart Senate Office Building, Mountains and Clouds was not built until due to government budget cuts. The massive project, constructed of sheet steel and weighing 5 tons, spans the entire nine-story height of the building's atrium in Washington DC.

Calder designed the maquette in the last year of his life for the US Senate. In addition to sculptures, Calder painted throughout his career, beginning in the early s.

He picked up his study of printmaking inand continued to produce illustrations for books and journals. The thin lines used to define figures in the earlier prints and drawings began delineating groups of geometric shapes, often in motion.

Calder also used prints for advocacy, as in poster prints from and protesting the Vietnam War. Masses of lithographs based on his goua paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale.

Calder's South American-themed design applied to a Braniff Douglas DC taken at Miami Airport in InDallas, Texas, based Braniff International Airways commissioned Calder to paint a full-size Douglas DC four engined airliner as a "flying canvas. Calder responded that he did not paint toys and Gordon told him it was a real full sized airliner that he proposed that Calder paint.

Calder immediately gave his approval and George knew that Braniff International, known for melding the worlds of fashion and design with the mysterious world of aviation, would be the perfect company to propose his idea of Calder painting one of their jets. InCalder was commissioned to paint a BMW.

Calder created over 2, pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. Several pieces reflect Calder's fascination with art from Africa and other continents. They were mostly made of brass and steel, with bits of ceramic, wood and glass.

Calder rarely used solder; when he needed to join strips of metal, he linked them with loops, bound them with snippets of wire or fashioned rivets. Calder created his first pieces in at the age of eight for his sister's dolls using copper wire that he found in the street.

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For his lifelong friend Joan Miro, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard that shimmered with dangling fish. InGuggenheim wore one Calder earring and one by Yves Tanguy to the opening of her New York gallery, The Art of This Century, to demonstrate her equal loyalty to Surrealist and abstract art, examples of which she displayed in separate galleries.

Others who were presented with Calder's pieces were the artist's close friend, Georgia O'Keeffe; Teeny Duchamp, wife of Marcel Duchamp; Jeanne Rucar, wife of the filmmaker Luis Bunuel; and Bella Rosenfeld, wife of Marc Chagall.

Inhis first solo show in a US commercial gallery was at the Weyhe Gallery in New York City. Inhe exhibited with the Abstraction-Creation group in Paris. Inhe had his first solo museum exhibition in the United States at The Renaissance Society at the University of Chicago. In New York, he was championed from the early s by the Museum of Modern Art, and was one of three Americans to be included in Alfred H.

Barr Jr. Calder's first retrospective was held in at George Walter Vincent Smith Gallery in Springfield, Massachusetts. Inthe Museum of Modern Art hosted a well-received Calder retrospective, curated by James Johnson Sweeney and Marcel Duchamp; the show had to be extended due to the sheer number of visitors. Calder was one of sculptors who exhibited in the rd Sculpture International held at the Philadelphia Museum of Art in the summer of His mobile, International Mobile was the centerpiece of the exhibition.

Calder also participated in documentas IIIIII A retrospective of his work opened at the Solomon R. Guggenheim Museum, New York, in Five years later, the Fondation Maeght in Saint-Paul-de-Vence, France, held its own Calder retrospective.

In addition, both of Calder's dealers, Galerie Maeght in Paris and the Perls Galleries in New York, averaged about one Calder show each per year. Calder's work is in many permanent collections across the world. The Whitney Museum of American Art, New York, has the largest body of work by Alexander Calder.

Other important museum collections include the Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; the Centre Georges Pompidou, Paris; the Museo Nacional Centro de Arte Reina Sofia, Madrid; and the National Gallery of Art, Washington DC.

The Philadelphia Museum of Art offers a view of works by three generations of Alexander Calders. From the second floor window on the east side of the Great Stair Hall on the opposite side from the armor collection there is behind the viewer the Ghost mobile from the rd generation bornahead on the street is the Swann Memorial Fountain by the 2nd generation bornand beyond that the statue of William Penn atop City Hall from the 1st generation born Galerie Maeght in Paris became Calder's exclusive Parisian dealer in and for the rest of Calder's life.

After his New York dealer Curt Valentin died unexpectedly inCalder selected the Perls Galleries in New York as his new American dealer, and this alliance also lasted until the end of his life.

From through the present, winners of the National Magazine Awards are awarded an "Ellie", a copper-colored stabile resembling an elephant, which was designed by Calder.

Two months after his death, the artist was posthumously awarded the Presidential Medal of Freedom, the United States' highest civilian honor, by President Gerald Ford.

However, representatives of the Calder family boycotted the January 10, ceremony "to make a statement favoring amnesty for Vietnam War draft resisters". Inthe Calder Foundation was established by Calder's family. The foundation "is dedicated to collecting, exhibiting, preserving, and interpreting the art and archives of Alexander Calder and is charged with an unmatd collection of his works.

The art includes more than sculptures including mobiles, stabiles, standing mobiles, and wire sculpturesand 22 monumental outdoor works, as well as thousands of oil paintings, works on paper, toys, pieces of jewelry, and domestic objects. The US copyright representative for the Calder Foundation is the Artists Rights Society. The Calder Foundation does not authenticate artworks; rather, owners can submit their works for registration in the Foundation's archive and for examination.

The committee that performs examinations includes experts, scholars, museum curators, and members of the Calder family. The Calder Foundation's website provides details on the current policies and guidelines governing examination procedures.

Inthe owners of Rio Neroa sheet-metal and steel-wire mobile ostensibly by Calder, went to the United States District Court for the District of Columbia charging that it was not by Alexander Calder, which the dealer who had sold it to them had claimed. That same year, a federal judge ruled that for Rio Nero the burden of proof had not been fulfilled.

Inthe Calder Foundation declined to include the mobile in the catalogue raisonne on the artist. Referring to the Rio Nero case, the Appellate Division of the New York Supreme Court in rejected the appeal of an art collector who wished to sell a couple of stage sets that Calder had designed but did not live to see completed, which had been unsuccessfully submitted to the Calder Foundation for authentication. The court found that it did not have the power to declare the purported Calder work authentic, nor to order the Calder Foundation to include it in the catalogue raisonne.

Inquestions arose about another purported Calder, Two White Dots this piece is distinguished from a similarly-named piece, Two White Dots in the Air, created by Calder in Calder created a 1-foot 0. He gave this maquette to Carmen Segretario, founder and owner of the Segre Foundry of Waterbury, Connecticut. For decades, Calder had utilized the services of Segre Foundry in manufacturing his mobiles and stabiles. Each piece no matter how many copies were made would be initialled personally by Calder in white chalk, after which a welder would follow the chalk marks to burn the initials into the work.

Calder died inwithout a full-size version of Two White Dots ever having been made. Segetario's documentation claimed that the work had been fabricated around "under the supervision and direction of Artist".

Over the next decade, the piece was sold repeatedly. When Shirley submitted the work to the Calder Foundation for inclusion in their catalogue raisonne, the Foundation contested the work's authenticity. The Andre Emmerich Gallery refunded Shirley's money, and sued the Segre Foundry, which sought bankruptcy protection.

The suit was settled out of court in the late s. Two White Dots now resides outdoors on a farm near a river outside the small town of Washington, Connecticut. After similar ideas were developed for New York in ,plans for a museum devoted to Calder in Philadelphia were announced in The proposed 5,square-foot Calder museum, designed by Japanese architect Tadao Ando, was to be located on a two-acre lot.

The late sculptor's heirs had agreed to an uembracingmothers.comecedented gift to the museum but inthe plans were abandoned over failed fundraising efforts.

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I had an absolute pleasure covering the event by Anita Rincon, designer of Anita Rincon Swim. Anita is the first person from the Nordic countries to showcase her swimwear collection at the Miami Swim Week.

Anita Rincon is a renaissance woman who is an accomplished model, swimwear designer, author, and all around dynamo. In her mere 28 years, she has achieved what only other models have dreamed of. The world of fashion and beauty opened up to this ambitious entrepreneur when she was 17 years ago. She was born in northern Europe into a multicultural family and at the age of 17, she was signed to her first modeling agency in Argentina.

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With that first step, her road to mogul status was just getting under way. In this series, Anita hopes to reveal all the secrets she has learned in order to inspire young women to go for their dreams.

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Her personal secret to success has been beauty, brains, drive, and creativity which viewers and fans will clearly see. The show will air in Januarybut the network and country it will air on is still too secret. This book is almost a blueprint for other young women entrepreneurs to follow.

Although she has faced both the highs and lows of being in business, she has ultimately persevered to become one of the most successful entrepreneurs known worldwide. Readers can follow her inspiring story and road to success.

She shows with true vision and unwavering dedication that the world is her playground. The most remarkable thing about Anita Rincon is that she does not rely on merely on her looks to get by. Rather, she blends a rare combination of ingenuity, creativity, and drive to create a multi-faceted brand.

The secret to her gorgeous swimsuits is the handmade quality.

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Anita Rincon will continue to be a major player in the fashion and beauty industry. This is only the beginning for this talented lady as her drive and charisma will constantly propel her career to new heights. With her drive, beauty, brains, and business sense, there is truly no stopping Anita Rincon. com and www. Facebook: www. The "-kini family" as dubbed by author William Safireincluding the "-ini sisters" as dubbed by designer Anne Cole has grown to include a large number of subsequent variations, often with a hilarious lexicon - string bikinimonokini or numokini top part missingseekini transparent bikinitankini tank top, bikini bottomcamikini camisole top and bikini bottomhikinithongslingshotminiminiteardropand micro.

In just one major fashion show inthere were two-piece suits with cropped tank tops instead of the usual skimpy bandeaux, suits that are bikinis in front and one-piece behin suspender straps, ruffles, and daring, navel-baring cutouts. WEBSITE LINK: INDAH SWIM.

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FACEBOOK LINK: INDAH CLOTHING. On Sunday, July 19th,over guests including top media, influencers and buyers, attended the WET Lounge, at the W South Beach, to experience a rocking runway show. Indah debuted its collection, Collage, during SWIMMIAMI.

Pops of painterly prints and bright hues are contrasted well against darker styles. Handmade with love from Bali, chains, studs, sequins, leather, lattice lace, shag and bones are incorporated into this collection, effortlessly adding an edgy statement to wearable fashion. High wispy hair and loose intricate braids added volume to each look. By using styling products of the highest caliber from Rene Furterer, and adding depth with luxe hair extensions from Indique, the hairstyle created a rocker chic meets Mad Max style.

The look was straight forward, yet simultaneously feminine. FakeBake provided a bronzed goddess look while Zoya provided professional nailcare.

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Midnight navy and metallic silver polishes popped against the tan models. These colors provided a posh elegance which complimented the tough looks of the metal jewelry provided by Blaine Bowen, which included an assortment of fringed cuffs, braided bracelets and ear-cuffs.

Electric Eyewear, available at Nordstrom. com, provided sunnies that mirrored the Collage Collection. Rooted in the lifestyle of adventure and excitement, Libby, creates exotic designs inspired by her love for the island-her home. Indah owns and operates their own eco-friendly, solar powered and no waste water fabric processing facility.

The brand can be found in retail boutiques nationwide including Planet Blue, Urban Outfitters, Revolve Clothing, iShine, Shopbop and Nasty Gal. By building upon what has stood the test of time, Electric reengineers classics. The brand designs and markets sunglasses, snow goggles and helmets, wats, backpacks, luggage and accessories. After IMG announced in May that it would be pulling out of what was formerly called Mercedes-Benz Fashion Week Swim, following the loss of its title sponsor, those involved had a lot of scrambling to do.

Without a strong sponsor or an experienced organizer, could Swim Week even continue in all its stringy, deeply spray-tanned glory? True to the old adage, the show did go on thanks to the somewhat cohesive efforts of the affected brands, production companies and publicists. Kicking off on July 15, this year's Swim Week has appeared entirely unblemished - or the collections have, anyway.

Old pros like Mara Hoffman and Mikoh delivered even more desirable swimwear for springwhile a few less established names - in the swim world at least - brought some newness to the event.

Maxim magazine, for one, showed its first-ever swimwear collection, inspired by Brigitte Bardot and chock-full of high-waisted bottoms and floaty coverups. Others, like Colombia-made Maaji Swimwear, went the Victoria's Secret Fashion Show route, going all-out on a kooky theme, this year's being a tousled, bohemian-era road trip.

But whether it was inspired by Bardot or Route 66, the common thread between each collection was an abundance barely-there, Brazilian wax-requiring swimwear. As with every year, some looks were so nude, so thinly-covered you'll just have to see them for yourself. A week spread between the sweaty Miami heat of three separate trade shows - Swim Show, Cabana and Hammock - of various personalities, with relevant brands occupying space in the show that suit their vibe.

All of these shows are situated within walking distance of each other. Brands also have parties or fashion shows throughout the four days at nearby hotels and pools, making Miami Swim Week super busy and a whole lotta fun.

There's hot, Miami energy and it's awesome to be seeing a preview of swim collections from the hottest brands for This is the boutique show where the brands showcase in two big, cabana-style tents near the beach with coconuts issued to buyers, media and guests on entry.

A few of our faves included Beach Riot, Minimale Animale, Tori Praver Swim, Mara Hoffman, Bec and Bridge, Boys and Arrows and Bower Swim. Situated in the W Hotel, with the coolest brands of today occupying the luxury suites to showcase their latest collection with their marketing teams and a bevy of hot models.


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On the first night we hit the Mikoh "Aloha" presentation at the 1 Hotel in South Beach. We were greeted with shark-tooth Cali cocktails and an amazing swim collection that I found hard to better over the next days.

The collection is described as sister co-founders Oleema and Kalani Miller's love letter to Hawaii. From this point on the pace was set and the action didn't stop. I think you get the idea of how we got the party started in the heat of Miami. Poolside, party time and everything in between. Graffiti both singular and plural; the singular graffito is rarely used except in arology is writing or drawings made on a wall or other surface, usually without permission and within public view.

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities.

A related term is "sgraffito",[7] which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into it. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used.

The word originates from Greek ???????-graphein-meaning "to write". The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Use of the word has evolved to include any graphics applied to surfaces in a manner that constitutes vandalism.

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratd on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia.

Safaitic dates from the first century BC to the fourth century AD. The first known example of "modern style"[clarification needed] graffiti survives in the ancient Greek city of Ephesus in modern-day Turkey. Local guides say it is an advertisement for prostitution.

Located near a mosaic and stone walkway, the graffiti shows a handprint that vaguely resembles a heart, along with a footprint, a number, and a carved image of a woman's head. The ancient Romans carved graffiti on walls and monuments, examples of which also survive in Egypt. Graffiti in the classical world had different connotations than they carry in today's society concerning content.

Ancient graffiti displayed phrases of love declarations, political rhetoric, and simple words of thought, compared to today's popular messages of social and political ideals.

One inscription gives the address of a woman named Novellia Primigenia of Nuceria, a prostitute, apparently of great beauty, whose services were much in demand. Another shows a phallus accompanied by the text, mansueta tene "handle with care". Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka scribbled over individual graffiti there between the 6th and 18th centuries. Etd on the surface of the Mirror Wall, they contain pieces of prose, poetry, and commentary.

The majority of these visitors appear to have been from the elite of society: royalty, officials, professions, and clergy. There were also soldiers, arrs, and even some metalworkers.

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The topics range from love to satire, curses, wit, and lament. Many demonstrate a very high level of literacy and a deep appreciation of art and poetry. One reads:. Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

Historic forms of graffiti have helped gain understanding into the lifestyles and languages of past cultures. Errors in spelling and grammar in these graffiti offer insight into the degree of literacy in Roman times and provide clues on the pronunciation of spoken Latin.

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Here, "qu" is pronounced "co". The 8 pieces of graffiti found at CIL IV, are evidence of the ability to read and write at levels of society where literacy might not be expected. The graffiti appear on a peristyle which was being remodeled at the time of the eruption of Vesuvius by the architect Crescens.

The graffiti were left by both the foreman and his workers. The brothel at CIL VII, 12, contains more than pieces of graffiti, some of which were the work of the prostitutes and their clients. The gladiatorial academy at CIL IV, was scrawled with graffiti left by the gladiator Celadus Crescens Suspirium puellarum Celadus thraex: "Celadus the Thracian makes the girls sigh.

Another piece from Pompeii, written on a tavern wall about the owner of the establishment and his questionable wine:. It was not only the Greeks and Romans who produced graffiti: the Maya site of Tikal in Guatemala contains examples of ancient Maya graffiti.

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Viking graffiti survive in Rome and at Newgrange Mound in Ireland, and a Varangian scratd his name Halvdan in runes on a banister in the Hagia Sophia at Constantinople. These early forms of graffiti have contributed to the understanding of lifestyles and languages of past cultures. Graffiti, known as Tarons, were frequently scratd on Romanesque Scandinavian church walls. There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the s. Contemporary graffiti style has been heavily influenced by hip hop culture [24] and the myriad international styles derived from Philadelphia and New York City Subway graffiti, however, there are many other traditions of notable graffiti in the twentieth century.

Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges. The oldest known example of modern graffiti are the "monikers" found on traincars created by hobos and railworkers since the late s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his film, Who is Bozo Texino?. Some graffiti have their own poignancy. In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:[27][28].

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture.

Shortly after the death of Charlie Parker nicknamed "Yardbird" or "Bird"graffiti began appearing around New York with the words "Bird Lives". At the time in the US, other political phrases such as "Free Huey" about Black Panther Huey Newton became briefly popular as graffiti in limited areas, only to be forgotten. A popular graffito of the early s was "Dick Nixon Before He Dicks You", reflecting the hostility of the youth culture to that US president.

Rock and roll graffiti is a significant subgenre. A famous graffito of the twentieth century was the inscription in the London tube reading "Clapton is God" in a link to the guitarist Eric Clapton.

The phrase was spray-painted by an admirer on a wall in an Islington station on the Underground in the autumn of The graffito was captured in a photograph, in which a dog is urinating on the wall. Graffiti also became associated with the anti-establishment punk rock movement beginning in the s. Bands such as Black Flag and Crass and their followers widely stenciled their names and logos, while many punk night clubs, squats, and hangouts are famous for their graffiti.

In the late s the upside down Martini glass that was the tag for punk band Missing Foundation was the most ubiquitous graffito in lower Manhattan[according to whom? Style Wars depicted not only famous graffitists such as Skeme, Dondi, MinOne, and ZEPHYR, but also reinforced graffiti's role within New York's emerging hip-hop culture by incorporating famous early break-dancing groups such as Rock Steady Crew into the film and featuring rap in the soundtrack.

Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early s. This period also saw the emergence of the new stencil graffiti genre.

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Some of the first examples were created in by graffitists Blek le Rat in Paris, in by Jef Aerosol in Tours France ;[citation needed] by stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis. With the popularity and legitimization of graffiti has come a level of commercialization.

Incomputer giant IBM laund an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin Linux mascotto represent "Peace, Love, and Linux. Ina similar ad campaign was laund by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system.

In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

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Marc Ecko, an urban clothing designer, has been an advocate of graffiti as an art form during this period, stating that "Graffiti is without question the most powerful art movement in recent history and has been a driving inspiration throughout my career. Graffiti have become a common stepping stone for many members of both the art and design communities in North America and abroad.

Within the United States graffitists such as Mike Giant, Pursue, Rime, Noah, and countless others have made careers in skateboard, apparel, and shoe design for companies such as DC Shoes, Adidas, Rebel8, Osiris, or Circa[6] Meanwhile, there are many others such as DZINE, Daze, Blade, and The Mac who have made the switch to being gallery artists, often not even using their initial medium, spray paint. Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene Laws and taxes change frequently.

Prominent Brazilian graffitists include Os Gemeos, Boleta, Nunca, Nina, Speto, Tikka, and T. Graffiti in the Middle East is emerging slowly, with pockets of taggers operating in the various 'Emirates' of the United Arab Emirates, in Israel, and in Iran.

The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls.

Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. Many graffitists in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London.

The religious reference "? ?? ??? ???? ?????" "Na Nach Nachma Nachman Meuman" is commonly seen in graffiti around Israel. Graffiti has played an important role within the street art scene in the Middle East and North Africa MENAespecially following the events of the Arab Spring Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur.

Sincethe country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture. The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. However, spray paint in aerosol cans is the number one medium for graffiti.

From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color. Stencil graffiti is created by cutting out shapes and designs in a stiff material such as cardboard or subject folders to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes throwies as new media for graffitists.

Yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists. Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in painting declared in a graffiti-like gesture "the avant-garde won't give up". Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art.

According to many art researrs, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal. In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run.

The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR. Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early s, graffitists Mathangi Arulpragasam, aka M.

Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville. Many graffitists choose to protect their identities and remain anonymous or to hinder prosecution. With the commercialization of graffiti and hip hop in generalin most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity.

This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted artypal artist. Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society.

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In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side.

One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place sinceand recent works of art have fetd vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs.

Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it. Pixnit is another artist who chooses to keep her identity from the general public. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts.

Some store owners endorse her work and encourage others to do similar work as well. Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission.

In Marchthe Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot in an article about new cars, with his graffiti prominently shown on the background.

The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation. Inscription in Pompeii lamenting a frustrated love, "Whoever loves, let him flourish, let him perish who knows not love, let him perish twice over whoever forbids love. Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes.

It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late s and early s.

The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". So when hip hop came to Europe in the early s there was already a vibrant graffiti culture. The student protests and general strike of May saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-revolutionnaire "Boredom is counterrevolutionary" and Lisez moins, vivez plus "Read less, live more".

While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers. I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p artists. Traditionally artists have been considered soft and mellow people, a little bit kooky.

Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely. The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements.

These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

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Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest.

For example, the anti-capitalist art group the Space Hijackers did a piece in about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies.

Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

Wall in Belgrade, Serbia, with the slogan "Vote for Filip Filipovic", who was the communist candidate for the mayor of Belgrade An interpretation of Liberty Leading the People on the separation barrier which runs through Bethlehem. WWII bunker near Anhalter Bahnhof Berlin with a graffiti inscription Wer Bunker baut, wirft Bomben those who build bunkers, throw bombs.

Stencil in Pieksamaki representing former president of Finland, Urho Kekkonen, well known in Finnish popular culture. This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. March Learn how and when to remove this template message. Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV.

In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store. Red Sox Right-Hander Matt Barnes Tests Positive For COVID, Will Miss Opening Day Manager Alex Cora says Barnes is asymptomatic, but he has been ruled out for Boston's season opener against Baltimore on April 1. Bruins Beat Sabres In 1st Win In Front Of Home Fans Since March Matt Grzelcyk and Nick Ritchie each had a goal and an assist, and third-stringer Daniel Vladar stopped 25 shots for Boston.

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WBZ News ate For March 27 Ken MacLeod and Sarah Wroblewski have your latest news and weather headlines.

NCAA Tournament: BC's Earl Grant Discusses Saturday's Late Sweet 16 Matchups Boston College head basketball coach Earl Grant will be joining WBZ and CBSN throughout the NCAA Tournament as a guest analyst.

Here he previews Saturday's late games in the tournament. NCAA Tournament: BC's Earl Grant Discusses Saturday's Early Sweet 16 Matchups Boston College head basketball coach Earl Grant will be joining WBZ and CBSN throughout the NCAA Tournament as a guest analyst. Here he previews Saturday's early games on WBZ.

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Basquiat Exhibit At MFA First Of Its Kind The lower level of the Museum of Fine Arts has been transformed to resemble a New York City subway in the s. WBZ-TV's Anaridis Rodriguez reports. To Do List: Outdoor Escape Game, Drive-In Comedy, Paint At Home If you like escape rooms, try an outdoor escape game. An annual comedy fundraiser is moving to the drive-in. Contact WBZ-TV. Program: WBZ News 11pm Categories: NewsCrimeGeneralLocal NewsWBZTV.

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