marjan zahed-kindersley

Fine Art Photographer

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twitter.com/Marjaneh:

    rudygodinez:

    F. Krantz Company, Nine Cardboard Crystal Models, (1920’s)

    In 1833, Adam August Krantz (who studied pharmacy and later “Geognosie” at the “Bergakademie Freiberg”) founded the “Krantz” company in Bonn. Four years later Krantz moved to Berlin and sold minerals, fossils, rocks and basically acquired a monopoly in the production of crystal models made of pear wood, walnut and a variety of other materials. Ever since its foundation, the firm was always in contact with renowned scientists and important collectors. Hence in 1880 Krantz proposed a series of 743 models compiled for teaching purposes by the crystallographer Paul Groth. Seven years later a supplementary collection of 213 models was available.

    At the onset of the 20th century, Friedrich Krantz (a nephew of August Krantz, with a degree in mineralogy) supported by his teacher the crystallographer Carl Hintze, offered a collection of 928 models including most of the Groth models. Later, and along with many other productions, a Dana collection of 282 models was manufactured. Krantz offered several collections of models in different sizes (5, 10, 15–25 cm). In addition he sold a variety of glass models having the crystallographic axes illustrated by colored silk threads or with the holohedral form made of cardboard inside. Also available were models in massive cut and polished glass (colored and uncolored), cardboard models, wire crystal models, crystal lattice models, models with rotating parts, etc. Over the years, Krantz published numerous detailed catalogues of the collections he offered; they constitute a precious documentation.

    Above are nine Cardboard models produced by Friedrich Krantz in the mid 1920’s from the collection of the Gottingen Collection of Mathematical Models and Instruments.

    (via rudygodinez)

    — 17 hours ago with 60 notes

    rudygodinez:

    Kaiser Wilhelm Institute for Flow Research, Two Striation Photographs, (1929)

    (from top)

    1)  Supersonic current Pattern against profile wire

    2)  Compression Current Pattern

    Both photographs from the collection of the Institute of Aerodynamics.

    — 17 hours ago with 32 notes
    rosswolfe:

Interior to German expressionist architect Erich Mendelsohn’s Red Banner Textile Factory in Leningrad (1926). (via http://thecharnelhouse.org/2014/04/08/erich-mendelsohn-red-banner-textile-factory-in-leningrad-1926/)

    rosswolfe:

    Interior to German expressionist architect Erich Mendelsohn’s Red Banner Textile Factory in Leningrad (1926).
    (via http://thecharnelhouse.org/2014/04/08/erich-mendelsohn-red-banner-textile-factory-in-leningrad-1926/)

    — 1 day ago with 38 notes
    Eduardo Galeano -Mirrors: Stories of Almost Everyone

    Excerpt: ‘Mirrors: Stories Of Almost Everyone’
    "Origin of modern art

    West African sculptors have always sung while they worked. And they do not stop singing until their sculptures are finished. That way the music gets inside the carvings and keeps on singing. In 1910, Leo Frobenius found ancient sculptures on the Slave Coast that made his eyes bulge.
    Their beauty was such that the German explorer believed they were Greek, brought from Athens, or perhaps from the lost Atlantis. His colleagues agreed: Africa, daughter of scorn, mother of slaves, could not have produced such marvels.
    It did, though. Those music-filled effigies had been sculpted a few centuries previous in the belly button of the world, in Ife, the sacred place where the Yoruba gods gave birth to women and men. Africa turned out to be an unending wellspring of art worth celebrating. And worth stealing.
    It seems Paul Gaugin, a rather absentminded fellow, put his name on a couple of sculptures from the Congo. The error was contagious. From then on Picasso, Modigliani, Klee, Giacometti, Ernst, Moore, and many other European artists made the same mistake, and did so with alarming frequency.
    Pillaged by its colonial masters, Africa would never know how responsible it was for the most astonishing achievements in twentieth century European painting and sculpture.

    Lost and found

    The twentieth century, which was born proclaiming peace and justice, died bathed in blood. It passed on a world much more unjust than the one it inherited.
    The twenty-first century, which also arrived heralding peace and justice, is following in its predecessor’s footsteps.
    In my childhood, I was convinced that everything that went astray on earth ended up on the moon.
    But the astronauts found no sign of dangerous dreams or broken promises or hopes betrayed.
    If not on the moon, where might they be?
    Perhaps they were never misplaced.
    Perhaps they are in hiding here on earth. Waiting.
    ….”

    "Fleas dream of buying themselves a dog, and nobodies dream of escaping poverty: that, one magical day, good luck will suddenly rain down on them - will rain down in buckets. But good luck doesn’t rain down, yesterday, today, tomorrow or ever. Good luck doesn’t even fall in a fine drizzle, no matter how hard the nobodies summon it, even if their left hand is tickling, or if they begin the new day on their right foot, or start the new year with a change of brooms. The nobodies: nobody’s children, owners of nothing. The nobodies: the no-ones, the nobodied, running like rabbits, dying through life, screwed every which way. Who are not, but could be. Who don’t speak languages, but dialects. Who don’t have religions, but superstitions. Who don’t create art, but handicrafts. Who don’t have culture, but folklore. Who are not human beings, but human resources. Who do not have faces, but arms. Who do not have names, but numbers. Who do not appear in
    the history of the world, but in the crime reports of the local paper. The nobodies, who are not worth the bullet that kills them.”

    – Eduardo Galeano, “The Nobodies”

    — 1 day ago

    Gresham College - 

    From Jenner to Wakefield: The long shadow of the anti-vaccination movement

    In 1998 a medical furore broke out when The Lancet published an article by Andrew Wakefield questioning the benefits of the MMR vaccination which was being given unquestioningly to children throughout the UK.

    Coming 202 years after the first vaccination by Edward Jenner, which led to the eradication of smallpox throughout the world, this recent incident is only the latest in a long history of questioning the benefits of vaccination.

    From early irrational fears born of outdated medical understanding through to the latest medical research and findings, Professor Gareth Williams traces the history of the anti-vaccination movement and its long tail, reviewing the social settings in which the fears were found and offering a balanced assessment of vaccination as we find it today.

    The transcript and downloadable versions of the lecture are available from the on the Gresham College website:
    http://www.gresham.ac.uk/lectures-and…

    — 1 day ago with 1 note

    Plus idiot que -  idiot

    http://www.francemusique.fr/actu-musicale/video-du-jour-dvorak-se-met-au-twerk-25913

    Cinq danseuses qui se déhanchent de façon sexy sur la symphonie du Nouveau Monde de Dvořák, c’est le moyen qu’a trouvé un festival belge pour attirer le jeune public.

    Le festival belge B-Classic innove pour tenter de sensibiliser de nouveaux publics à la musique classique.

    Dans ce clip, cinq danseuses du groupe sud-coréen Waveya se déhanchent sur le rythme de la symphonie du Nouveau Monde de Dvořák.

    — 1 day ago
    #beyond stupidity  #perfect example of elitist dumbing down in the art world 
    MoMA | Alibis: Sigmar Polke 1963–2010 →

    http://www.monopol-magazin.de/fotostrecke/artikel/20108329/-Alibis-Sigmar-Polke-1963-2010—MoMA-New-York.html

    «Er war mehr als ein großartiger Künstler», sagt Kuratorin Kathy Halbreich vom New Yorker Museum of Modern Art (MoMA), das Sigmar Polke vier Jahre nach seinem Tod posthum seine bislang größte Retrospektive widmet. «Mit seiner enormen Intelligenz hat er mir dabei geholfen zu verstehen, was es bedeutet, ein Künstler zu sein: Grausam, unzufrieden, eigensinnig und ohne jede Balance.»

    — 1 day ago
    metzkers:

banquethall :

[Image: Oskar Schlemmer, diagramme pour “Danse de geste», 1926]

    metzkers:

    banquethall :

    [Image: Oskar Schlemmer, diagramme pour “Danse de geste», 1926]

    — 2 days ago with 1317 notes