![]() ![]() They allow neighbors to visit more easily and are a welcome breath of fresh air. Whether a modern-day luxury or a historical necessity, porches have always provided respite from the duties of house and land. Interior doors are often conveniently placed. A wrap around porch can extend partially beyond the façade, or often fully wraps the house and joins with a rear deck. Queen Anne homes are more likely to make use of thinner round columns, gingerbread ornament and delicate spindlework that set the style apart. Farmhouse floor plans (or Farmhouse style house plans) may feature a porch with simple round or square columns extending to the porch floor, with a balustrade between the columns. Wrap around porches utilize stylistic details in their construction to define a house's style. Outfit your porch with fans, unique light fixtures, porch furniture and artwork that suits your own personal style. If you have kids, a wraparound porch can become that perfect not-too-faraway. Owners display their decorative style and treat the porch as an outdoor room. Porches that wrap around at least one side add lots of usable outdoor space. Today's wrap around porches still serve the utilitarian need for shade, but they are becoming almost an extension of the interior home. ![]() Without central heating and air, they were often a necessity in particularly warm regions such as the Southeast. Porches are a means to enjoy the outdoors while being protected from the elements, and were a welcome relief from hot summers throughout the country. More modest farmhouses also utilized wrap around porches, which were an extension of the land beyond. The upper class built large, rambling homes with wrap around porches to accentuate the asymmetry of the Victorian facades. Wrap around porches became popular in the late 19th century during the Victorian Era, a time when leisurely activities became more acceptable due to advancement in technology and reduction of manual labor.
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His daughter Kaila said, “I thought he was invincible." #LostOnTheFrontline Jeff tested positive for COVID-19 and he died on March 31. Jeff Baumbach, 57, was a seasoned nurse of 28 years when the novel coronavirus began to circulate in California. But after contracting the novel coronavirus, she spent her final 11 days on a ventilator - and didn’t survive past March. Nurse Divina “Debbie” Accad had cared for veterans for over 25 years and was set to retire in April. Two weeks later, she too was lying in a hospital intensive care unit, with a co-worker holding her hand as she died. Nurse Vianna Thompson, 52, spent two night shifts caring for a fellow Veterans Affairs health care worker who was dying from COVID-19. Reporters will also exhaust traditional reporting methods to find as many cases as possible. This method serves two purposes: as a digital memorial of the people who were lost and to identify larger trends in health care across the country. 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But, the matter came to the limelight when the victim wrote a letter to the then-Governor of Bihar, Sunder Singh Bhandari and pleaded for justice. If the case had gone to the police, either the file would have been ended in the pile of forgotten cases or action would have been taken against the victims. However, when IAS officer BB Vishwas accused Lalu Yadav’s close aide Mriyutanjay Yadav of raping his wife and several other relatives in two years, there was chaos all around. The ruling party leaders were goons and never faced any action in crimes like sexual exploitation and murder. Murders and kidnappings during Lalu’s Jungle Raj were so common that people had stopped to consider them as news. ![]() Champa Vishwas’s rape: A blot on Bihar’s reputation Let’s discuss one of such dark incidents that took place during that time. Anti-social elements connected to Lalu could do anything in Bihar. ![]() As these incidents are happening openly nowadays, one can only imagine the situation when Lalu Prasad Yadav was in power in Bihar. RJD has given tickets to the wives of two rapist MLAs. In recent times, several prominent leaders were named in the Muzaffarpur Girls’ Home Scandal. She was brutally raped and the incident not only shook the state but the whole country.Īllegations of sexual exploitation of politicians in Bihar are not new. Champa Vishwas was the wife of one such officer. However, during the period of Jungle Raj in Bihar, even the IAS officers were not safe. In many cases, their role is more important than the leader as they are responsible for implementing government schemes in the region. Bureaucrats are the most powerful in a government after the political leaders. Beside the centerpiece, a series of video snaps are displayed on mobile phones along with oversized golden-framed prints of their captions, ironically subverting the traditional relationship between visual artwork and contextual information.Strategies of dissemination form the point of departure for Price's seminal artwork. Mobile devices, loaded with several images, texts and emoji, are applied on the surface encouraging visitors to slightly mutate the artwork by swiping through their contents. ![]() The central piece is a screen in a baroque framing displaying the artist impersonating Leonardo's masterpiece. The second piece, Musée du Lowres, is a replica of the part of the Louvre where the Mona Lisa is exhibited. The visitors of the exhibition are invited to take a piece of cake, offering a metaphorical, yet playful and engaging comment on the ephemeral nature of online images. The temporary nature of the pictures therefore encourages frivolity and emphasizes a more natural flow of interaction. ![]() All posts are deleted from the user’s Snapchat story after 12 hours. These edible treats represent a “snap” published on “Snapchat ”, a phone app that allows a user to develop an intense dialogue with others through images. In Let Them Eat Cake, images are printed on cakes. In her new installation Please Do Not Take Photographs designed for Aksioma Project Space, Škrabo draws upon these premises. To her, online image production is a performative gesture in a way that artworks can’t be understood as autonomous artifacts, but as traces of the artist and “viewers” are not consumers of a finished artifact, but are an active part of an ongoing process. Before existing as an artist, she existed as a computer and smartphone user. ![]() Trained in art and design, “digital native” artist Dorotea Škrabo has grown up in this kind of environment. We can't forget this when considering the work of younger generations of artists, who happen to be “users” of digital devices and participants in the social networking economy, even before being “artists”. Later on, artist and teacher Hito Steyerl wrote about the potential of “poor images”, the low quality version of an offline artifact that circulates for free on the internet, where it is shared, compressed, remixed, and often deprived of its links to the original author and artist Brad Troemel talked about “athletic aesthetics” to describe the fast and quantitative approach to art production that artists adopt to maintain an online presence, where they are confronted with compressed attention spans and with modes of fruition that are totally different from those of a dedicated art space. As early as 2002, artist Seth Price discussed online “dispersion” as a powerful alternative to official art circulation systems. The impact of this condition on professional visual production and visual art has yet to be recognized, but it has been discussed by many scholars and artists. As art critic David Joselit noted, “The scale at which images proliferate and the speed with which they travel have never been greater.” In the current condition of information overload, images are among the most transferred content: via instant messaging, social networking platforms like Facebook and Twitter, micro blogging tools like Tumblr, and services like Instagram and Snapchat. ![]() Today’s tools of image production have turned everyone into a producer, distributor and consumer of images. Exhibition opening: Wednesday, 22 March 2017 at 7 pm |
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