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In part one of this 1991 Chanell 4 documentary the surviving faces from old Soho are interviewed on their recollections of Deakin, and what a roll-call: Gaston Berlemont the proprietior of The French House, Ian Board who inherited The Colony from Muriel Blecher, Jeffrey Bernard who raise to late fame as the character in hit play "Jeffrey Bernard is Unwell", Henrietta Moraes who was photographed by Deakin to be painted by Bacon. Whats extraordinary about the interviews is not just their collective memory of Deakin as a man of mean wit and piercing visual acumen, but their own faces after years of drinking addiction and and disease. Its amazing that so many survived so long. Some of the interview take place in the The Colony itself, its green walls and pictures only to survive a few more months. This film represents the last time many of these faces would be filmed. FOR EDUCATION PURPOSES, AND USING COMMENTARY AND CRITICISM GUIDELINES, A FAIR USE CLAIM IS MADE TO SHOW THIS COPYRIGHT MATERIAL. THE ORIGINAL IS UNAVAILABLE COMMERCIALLY. Channel Four documentary 1991 Direction: John Christie Production: Annalogue, Anna Ridley
In this film, John Deakin’s double-exposure images are discussed in relation to a longer history of revealing the unseen in photography. The film begins with Deakin’s double exposure of Muriel Belcher, the founder of the Colony Room, the infamous private club in London’s Soho district that was regularly frequented by artists and musicians such as Francis Bacon and George Melly. Deakin’s images are here discussed in relation to Victorian spirit photography and to a longer history of the doubled image in twentieth-century photography. Conversation between Paul Rousseau and James Boaden. Film by Jonathan Law. Read more: 🤍
The Look First feature represents a different kind of article to its companions in British Art Studies; one that is pre-eminently visual and necessarily collaborative, and that is made possible by the digital format of the journal. In this series of short films made by Jonathan Law, the art historian James Boaden, and the curator of The John Deakin Archive, Paul Rousseau, discuss the double-exposure images made by the photographer John Deakin (1912-1972) in the 1950s and 1960s. The films ask you, firstly, to look closely at the images being discussed. Each one begins with a sustained and intense shot of a single image before opening up to a wide-ranging discussion about Deakin, double exposures, and photography. For more information, see 🤍
The Look First feature represents a different kind of article to its companions in British Art Studies; one that is pre-eminently visual and necessarily collaborative, and that is made possible by the digital format of the journal. In this series of short films made by Jonathan Law, the art historian James Boaden, and the curator of The John Deakin Archive, Paul Rousseau, discuss the double-exposure images made by the photographer John Deakin (1912-1972) in the 1950s and 1960s. The films ask you, firstly, to look closely at the images being discussed. Each one begins with a sustained and intense shot of a single image before opening up to a wide-ranging discussion about Deakin, double exposures, and photography. For more information, see 🤍
In part two the remarkable roll call of Soho survivors continues, all happy to confirm Deakin's personality as a funny sharp wit with a magical eye. Both Lucian Freud AND Francis Bacon had originally agreed to appear in it, and it seems a shame lost forever that they in the end both, separately and for different reason, demurred in the end. Yet in print Bacon was happy to both praise Deakin, and then to Dan Farson express his lack of any real knowledge of him at all. Over the phone Freud described Deakin as both "Cinderella and the Ugly Sisters", which seems especially astute. If both these painters had been persuaded to be interviewed, its safe to say this television documentary would be much better known. Yet it still stands as a fine document of the tone and style of the hard-drinking characters that Deakin was at the centre of. FOR EDUCATION PURPOSES, AND USING COMMENTARY AND CRITICISM GUIDELINES, A FAIR USE CLAIM IS MADE TO SHOW THIS COPYRIGHT MATERIAL. THE ORIGINAL IS UNAVAILABLE COMMERCIALLY.
The Look First feature represents a different kind of article to its companions in British Art Studies; one that is pre-eminently visual and necessarily collaborative, and that is made possible by the digital format of the journal. In this series of short films made by Jonathan Law, the art historian James Boaden, and the curator of The John Deakin Archive, Paul Rousseau, discuss the double-exposure images made by the photographer John Deakin (1912-1972) in the 1950s and 1960s. The films ask you, firstly, to look closely at the images being discussed. Each one begins with a sustained and intense shot of a single image before opening up to a wide-ranging discussion about Deakin, double exposures, and photography. This film explores John Deakin’s artistic development from the 1930s into the war years, contextualizing his work within a broader framework of 20th century Modernism. Presenting new research from the Tate Gallery Archives that connects Deakin to British photographer Barbara Ker-Seymer, it includes the discovery of an early double exposure that could have been taken by either photographer. Paul Rousseau and James Boaden take account of the surrealist elements of the double exposures, exploring connections to Francis Bacon’s Man in Blue series; and Jonathan Law presents Deakin’s double exposure portraits alongside a rich seam of others by artists including Degas, Duchamp and Picasso, positioning the time-based multiple planes within these photographs alongside the generation of cubism.
The Look First feature represents a different kind of article to its companions in British Art Studies; one that is pre-eminently visual and necessarily collaborative, and that is made possible by the digital format of the journal. In this series of short films made by Jonathan Law, the art historian James Boaden, and the curator of The John Deakin Archive, Paul Rousseau, discuss the double-exposure images made by the photographer John Deakin (1912-1972) in the 1950s and 1960s. The films ask you, firstly, to look closely at the images being discussed. Each one begins with a sustained and intense shot of a single image before opening up to a wide-ranging discussion about Deakin, double exposures, and photography. John Deakin started his career as a dresser of shop windows and his images of windows set the scene for this discussion. The film explores Deakin’s double exposures in relation to the queer cultures of postwar London. Boaden and Rousseau discuss the ways in which the double exposure served as a metaphor for the idea of living a doubled life at a time when homosexuality was illegal. They explore the ambivalent character of such photographs as works that both reveal and conceal, bringing this idea up to the present by discussing the double exposures made by contemporary photographer Daniella Zalcman. Conversation between Paul Rousseau and James Boaden. Film by Jonathan Law. For more information, see 🤍
Join Ray Mears, woodsman and TV presenter, and John Deakin, National Trust Head of Trees, as they explore the woods at Slindon Estate in West Sussex. You’ll discover what woodlands meant for our ancestors and how the National Trust is developing these green spaces for the future. Ray investigates how our ancestors may have interacted with woodlands – how they would forage for leaves to eat, or identify whether an animal had rested under the lush canopy. He and John will also explain how the National Trust is restoring woodland at Slindon Estate, and how we work to protect young saplings from damage. Working in harmony with nature is vital to the restoration and regeneration of woodlands like these. With your help, we’ve been able to plant and establish 200,000 trees over the course of a year. You can still donate to our Plant a Tree campaign via our website, which will go towards our goal of planting 20 million trees by 2030. You can find out more about our Plant A Tree campaign and donate at 🤍 We protect and care for places so people and nature can thrive. Everyone can get involved, everyone can make a difference. Nature, beauty, history. For everyone, for ever. Subscribe to our YouTube channel: 🤍 Find things to do near you: 🤍 Like us on Facebook: 🤍 Follow us on Instagram: 🤍 Follow us on Twitter: 🤍
The John Deakin photograph “Wheeler’s Lunch” is not all it seems. Taken in his favourite seafood restaurant, Francis Bacon appears the main focus, Christ-like in the centre, under a wall plate halo. The forward-facing arrangement alludes to its other title: “Last Supper”, a nod to the irreligious Bacon, but framed by a lapsed catholic, Deakin. Deakin dated the print to March ’63, and in December 2014 Catherine Lampert asked Frank Auerbach for his memory of the event. He recalled they assembled grumpily at 11am, and that the image was an unused commission for Queen Magazine by Francis Wyndham. Bill Feaver reports that Freud, Auerbach and Andrews all confirmed no actual ‘lunch’ took place, which rather destroys the illusion, as does a closer look at the champagne bottle – unopened. Whatever the motive, the cultural significance must have been obvious to Deakin: he was capturing major British painters all together as friends in their natural habitat of Soho. But its more personal value to Deakin is touchingly reflected by the three rolls of film he shakily used up, taking 36 shots of one scene, and later by his arranging for them all to sign the mounted print, like a fan collecting autographs. For the Francis Bacon MB Art Foundation monthly focus, The John Deakin Archive is pleased to present here for the first time an animated sequence of the best negatives, bringing the occasion back to life. Exposing mini-narratives and new insights, we see Bacon expresses a subtle stiff-backed ‘camp’, and seems in collusion with Freud. In one frame Freud shoots Bacon his signature wide-eyed stare, which Bill Feaver claims is the only photograph to capture it. Auerbach and Andrews appear relaxed and share a joke, Behrens fidgets, nervous and uncomfortable. They look out at us, laugh, sip water and smoke. No bread or wine taken at this last supper. Animated sequence by Paul Rousseau & Charlie Behrens. Thanks to Francis Bacon MB Art Foundation Monaco for support. 🤍
March 1st, 1971, John Richard Deacon became the fourth and final member of Queen, as history recounts it, not only because he was a brilliant bass player, but he was also quiet and didn’t try to upstage the others. John Deacon is very much the mystery man of the Queen story. Yes, he was the one who wrote tracks like "I Want To Break Free" and "Another One Bites The Dust". The closest to him in the hand was of course Freddie. FREDDIE MERCURY'S friendship with John Deacon was based on trust and support. There was so much more to it than that and John also proved his intense loyalty to Freddie. But his untimely death shook John and then things were never ever the same. Join us today as we discuss the legendary bassist, John Deacon. Sit back and enjoy. Here, we talk about tales of music that your school classes probably never covered. In here, you will find discussions about some of the world's greatest artists, stories about their personal life and the untold weird parts of their history! ✔ Follow Us On Instagram : 🤍 ✔ Subscribe To Our YT Channel : 🤍
🤍 Commemorative Air Force, Southern California Wing: 🤍 Aircraft in this video: North American PBJ-1J (USN B-25J) Mitchell "Semper Fi" Bu. 35857, USAAF s/n 44-30988, c/r N5865V, c/n 108-34263, the world's only existing (and flying) original PBJ. Mitsubishi A6M3 mod. 22 Zero 零戦22 c/n 3869, c/r N712Z, equipped with a Pratt and Whitney R-1830-75 engine (originally a Nakajima Sakae 21). Grumman F6F-5 Hellcat Bu. 70222, c/r N1078Z, c/n A-5634. All operated by the CAF So. Cal. Wing at Camarillo Airport. 0:00 Shortly after engine start, before taxi 0:20 Missing man flyover 1:12 Bonus Zero post-runup taxi back the day before
Continuing the series of interviews with the renowned film and art critic, John Russell Taylor. In this film John talks about being photographed by the 'Soho' photographer, John Deakin, around 1970
Following Freddie Mercury’s untimely death in November 1991, Queen bassist John Deacon couldn’t see the point of the band carrying on, knowing it was impossible to replace Freddie. Deacon retired from the music industry 25 years ago. In a recent interview with RockFM Brian May was asked about if he, Roger Taylor and John Deacon could ever come together on stage. To this Brian said "I think not, of course we love John and we always will but we don't have any significant contact with him. Now that's the way he wants it he wanted to cut that tie and to be a private person and we have to respect that. I don't think it would be easy for John to step back into the arena that we inhabit. In fact a couple of times we have asked him but he always says no that's not what I do now and we have to respect that. John doesn't wants to do it. I think it would be difficult for him anyway because things have changed a lot and Roger and I have adapted a certain amount. We're still very old school but we're aware of different ways of behaving these days and different ways in which our art is channeled. No I don't think that's going to happen sadly I'd love to say yes but I don't think it would. It's possible that we could meet in some low stress situation I think but in public probably not. " Since retiring, Deacon chose not the attend Queen’s induction into the Rock and Roll Hall of Fame in 2001. In a previous Interview, Roger Taylor said he remembers the last time he saw John Deacon was in the bar at the We Will Rock You musical around 2004 and when asked whether they are in touch or not both Brian May and Roger Taylor said that They are not in touch with him. Thanks for Watching Subscribe to this Channel for more Videos like this
[Breaking News]The dark art of John Deakin, the photographer who captured the Soho's demi-monde Photographer John Deakin caroused with Freud, played dirty tricks on Bacon – and was a great artist ... 🤍
Fragmento obra "Virtual meet" Óleo sobre lienzo Tamaño obra completa: 132x89 cm
What are art archives, and why do they matter? Archiving Contemporary Art: A Workshop explored some of the practical approaches and theories of archiving contemporary art, with the help of the unique perspectives of Art360 Foundation artists, archivists and experts in the field. Held on 27 March 2018. Read our speaker biographies: 🤍 View our website: 🤍 Paul will described his role in managing the archive of John Deakin, who is best known for a striking series of portraits he took when working for British Vogue magazine in the early 1950s, and for providing Francis Bacon with photographs of some of their shared Soho circle to use as base images from which to paint. Unrelated to these projects, the John Deakin Archive holds thousands of negatives and hundreds of prints. What are these other images, who are they of and what do they tell us about Deakin, his working practice and his time? ABOUT THE ART360 PROJECT The Art360 Project has created a valuable network of experts in key areas, including archive valuations, digitisation and conservation. We share the knowledge accumulated through our activities, and to stimulate ongoing conversation on these vital subjects as they evolve with technological innovations. Our workshops are a unique opportunity to gain insight into an increasingly pressing but under-researched field of inquiry. We hope to create a thought-provoking forum for discussion and bridge dialogue between institutions, artists, estates and archivists. “As a child, and now an adult I continue to be inspired by the lives of artists. My own personal life story is unique and I would like to begin the process of sharing it through the cultural history of my work.” - Hayley Newman, Art360 Foundation artist “Without a public showing, documentation or works in private or public collections the entirety of my practice remains in the margin, unseen and unavailable.” - Terry Smith, Art360 Foundation artist The Art360 Project is supported using public funding by the National Lottery through Arts Council England. It brings together the shared expertise of Art Fund, DACS, The Henry Moore Foundation and The National Archives.
Exhibition video with interviews of 'A Tale of Two Cities' at the Sebastian Guinness Gallery Dublin
John Guinan - Feilding Thai Boxing (69kg) Matt John Deakin - Scorpion Thai Boxing (69kg) ametuer Muay Thai fight in Lower Hutt 3x2 minute rounds Unanimous decission to the red corner
Lean of Peak (LOP) - it's the holy grail of engine operation for some, and pure evil for others. You are not sure who is right? This video shows what really happens when we fly lean of peak, how it is different from rich of peak (ROP), and how at different times either LOP or ROP can be the right choice. Join me on a flight where we collect and compare data from running the engine first ROP and then LOP. We'll explore how rich or lean mixtures influence exhaust gas temperature (EGT) and cylinder head temperature (CHT), and of course fuel economy (and thus the range of your airplane). We'll also discuss the "red box", which is an area in which the engine should not be operated in, and why it is difficult or even impossible for some engines to run lean of peak well. While great care has been taken to ensure the information presented in this video is accurate, different airplanes and different engines may require some practical adaptation to get the most benefit out of LOP and to prevent harm to the engine. Therefore, rely on this video for the background, but team up with a flight instructor familiar with lean of peak operations in your type of airplane and with your type of engine to apply what you learn here. A couple of URLs from this video: John Deakin's "Pelican's Perch" article index: 🤍 Advanced Pilot Seminars: 🤍 Support Martin's work on Patreon: 🤍
an animated sequence of 7 negatives from The John Deakin Archive copyright and all rights reserved
What are art archives, and why do they matter? Archiving Contemporary Art: A Workshop explored some of the practical approaches and theories of archiving contemporary art, with the help of the unique perspectives of Art360 Foundation artists, archivists and experts in the field. Held on 27 March 2018. Read our speaker biographies: 🤍 View our website: 🤍 Paul will described his role in managing the archive of John Deakin, who is best known for a striking series of portraits he took when working for British Vogue magazine in the early 1950s, and for providing Francis Bacon with photographs of some of their shared Soho circle to use as base images from which to paint. Unrelated to these projects, the John Deakin Archive holds thousands of negatives and hundreds of prints. What are these other images, who are they of and what do they tell us about Deakin, his working practice and his time? ABOUT THE ART360 PROJECT The Art360 Project has created a valuable network of experts in key areas, including archive valuations, digitisation and conservation. We share the knowledge accumulated through our activities, and to stimulate ongoing conversation on these vital subjects as they evolve with technological innovations. Our workshops are a unique opportunity to gain insight into an increasingly pressing but under-researched field of inquiry. We hope to create a thought-provoking forum for discussion and bridge dialogue between institutions, artists, estates and archivists. “As a child, and now an adult I continue to be inspired by the lives of artists. My own personal life story is unique and I would like to begin the process of sharing it through the cultural history of my work.” - Hayley Newman, Art360 Foundation artist “Without a public showing, documentation or works in private or public collections the entirety of my practice remains in the margin, unseen and unavailable.” - Terry Smith, Art360 Foundation artist The Art360 Project is supported using public funding by the National Lottery through Arts Council England. It brings together the shared expertise of Art Fund, DACS, The Henry Moore Foundation and The National Archives.
A very practical camper van that would make a great family vehicle! Sponsored by: 🤍 In association with: 🤍 🤍 With thanks to: 🤍
■stereo(URL last "&fmt=18")■ Music：Jerry Goldsmith ジェリー・ゴールドスミス 【director】 Tom Gries トム・グリース 【cast】 Charles Bronson チャールズ・ブロンソン （John Deakin） Ben Johnson ベン・ジョンソン （Nathan Pearce） Jill Ireland ジル・アイアランド （Marica Scovile） Richard Crenna リチャード・クレンナ （Richard Fairchaild） Charles Durning チャールズ・ダーニング （Frank O'Brien） Roy Jenson ロイ・ジェンソン （Banlon） Casey Tibbs ケイシー・ティッブス （Jackson） Archie Moore アーチー・ムーア （Carlos） Joe Kapp ジョー・キャップ （Henry） Ed Lauter エド・ローター （Henry） 🤍 【Title】 Breakheart Pass / Io Non Credo A Nessuno / Nevada Pass
Peterson's IO550 engines are GAMI-equipped and can provide significant benefits if properly managed. Todd explains how in this brief segment.
Résumé : Un convoi militaire ferroviaire, conduit par le gouverneur Fairchild, s'arrête à Myrtle. A l'hôtel, un certain John Deakin est surpris en train de tricher et se laisse arrêter par le marshall Pierce. Il lui avoue être le bandit John Murray, recherché pour meurtre. Le marshall obtient d'être pris dans le train, suivi de son prisonnier. En route, le gouverneur annonce à son entourage, à Miss Scoville, au major Claremont, qu'ils vont, avec leurs soldats, prendre la relève des hommes de la garnison de Fort Humboldt, atteints d'une épidémie de diphtérie Titre Original : Breakheart Pass Film - Western - Etats-Unis - 91 minutes Réalisé par Tom Gries Avec Charles Bronson, Ben Johnson, Richard Crenna, Rayford Barnes, Roy Jenson, David Huddleston, Bill McKinney, Jill Ireland, Charles Durning, Ed Lauter Credits : Alistair MacLean, Lucien Ballard, Jerry Goldsmith, MGM, Elliott Kastner Productions
If it’s true that good things come to those who wait, then this all-new Isuzu Philippines D-Max must be very, very good. Here are my first driving impressions after spending a day out of town getting to know each other.
INFO: 🤍 Barbara Idda è nata e vive a Pisa. Drammaturga, regista e docente di scrittura creativa per enti pubblici e privati. Ha collaborato, tra gli altri, con Robert Cahen, Alessio Pizzech, Emanuele Gamba. Il suo ultimo spettacolo “Io so. Veglia funebre laica per Pier Paolo Pasolini” è stato prodotto dal Teatro Goldoni di Livorno.
Interviewed by Frank Bough in early 1984 during the upcoming release of "The Works" album and with Radio GaGa at number two in the charts.
using Forensica GPS Animetrics facial recognition software
Résumé : Un convoi militaire ferroviaire, conduit par le gouverneur Fairchild, s'arrête à Myrtle. A l'hôtel, un certain John Deakin est surpris en train de tricher et se laisse arrêter par le marshall Pierce. Il lui avoue être le bandit John Murray, recherché pour meurtre. Le marshall obtient d'être pris dans le train, suivi de son prisonnier. En route, le gouverneur annonce à son entourage, à Miss Scoville, au major Claremont, qu'ils vont, avec leurs soldats, prendre la relève des hommes de la garnison de Fort Humboldt, atteints d'une épidémie de diphtérie Titre Original : Breakheart Pass Film - Western - Etats-Unis - 91 minutes Réalisé par Tom Gries Avec Charles Bronson, Ben Johnson, Richard Crenna, Rayford Barnes, Roy Jenson, David Huddleston, Bill McKinney, Jill Ireland, Charles Durning, Ed Lauter Credits : Alistair MacLean, Lucien Ballard, Jerry Goldsmith, MGM, Elliott Kastner Productions
TESTING A THEORY COMPARING VINTAGE JOHN DEAKIN PRINTS OF UNKNOWN PEOPLE TO SUSPECTED ID
🤍 - Alexander McQueen 2014 Men's Autumn Winter Collection 'A Maverick Eye: the Street Photography of John Deakin' A strict silhouette: square-shouldered tailoring, elongated coats and narrow trousers. The colour palette is from a John Deakin photograph and his photos of Lucian Freud and Oliver Bernard are printed onto shirts and woven on the back of silk coats. Pleating appears on cropped kilts worn over trousers as well as the back of long coats. Graphic and symmetrical lines feature; patch worked into a grey jacket, printed as geometric patterns on mohair jumpers or woven as gold lines on evening coats. There are a variety of plaids, from oversized checks in tonal greys to woven tartans in white or pink and black. Zips are functional and decorative fastened on the sides of knitted tops, cutting through coats and jackets or placed as stripes on a kilt. Words from Oliver Bernard's Peace Poem are embroidered on coats and shirt collars. "Thanks to the John Deakin Archive and to Victoria and Albert Museum, London for the use of the John Deakin images of Lucian Freud and Oliver Bernard. Special thanks to Bella Freud and Kate Bernard."
Changing cable operated drum to hydraulic drum brake.
Soho to legendarna dzielnica Londynu, od dekad słynąca z klubów i teatrów. Miejsce stało się kultowe za sprawą wielu artystów i piosenkarzy. Do historii przeszły Colony Room czy The French House. Bywali tam Francis Bacon, John Deakin, Lucian Freud. Dwie kobiety, malarki stały się częścią tej legendy. Nina Hamnett i Isabel Rawsthorne. Jedna była kochanką Modiglianiego druga Giacomettiego. O nich jest ta opowieść.
#alámondásosfilmek #vhs #narrátorosfilmekEmail: alamondasosfilmek🤍gmail.com Egy katonákat és gyógyszert szállító vonat 1873 telén a Humboldt erőd felé tart a hegyeken keresztül. John Deakin fogyolyként vesz részt az úton, a bűnözőnek álcázott titkosügynök feladata egy aranycsempészettel foglalkozó banda kézrekerítése. A hosszú utazás során különös halálesetek történnek. Hamarosan kiderül, hogy a gyógyszeresdobozok lőszert, a koporsók pedig fegyvert tartalmaznak. Deakin rövid idő alatt átlátja a furcsa események és az aranycsempészet közötti összefüggéseket. Az érdekek a Breakheart-szorosnál ütköznek.
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![[Breaking News]The dark art of John Deakin, the photographer who captured the Soho's demi-monde](https://i.ytimg.com/vi/MUJGbLwJW68/mqdefault.jpg "[Breaking News]The dark art of John Deakin, the photographer who captured the Soho's demi-monde")
