ICP WITH NO MAKE UP - NO MAKE UP

ICP WITH NO MAKE UP - EYE MAKE UP FOR PALE SKIN - PERMANENT COSMETICS SUPPLIES.

Icp With No Make Up


icp with no make up
    make up
  • The combination of qualities that form a person's temperament
  • makeup: an event that is substituted for a previously cancelled event; "he missed the test and had to take a makeup"; "the two teams played a makeup one week later"
  • constitution: the way in which someone or something is composed
  • Cosmetics such as lipstick or powder applied to the face, used to enhance or alter the appearance
  • The composition or constitution of something
  • constitute: form or compose; "This money is my only income"; "The stone wall was the backdrop for the performance"; "These constitute my entire belonging"; "The children made up the chorus"; "This sum represents my entire income for a year"; "These few men comprise his entire army"
    icp
  • Innovative Conservation Program. The Innovative Conservation Program portion is designed to provide grants to explore the water savings potential and practicality of new water conserving technologies.
  • Incident Command Post
  • Intra cranial pressure. Virtually any significant injury to the brain will result in a generalized edema (swelling) with corresponding increase in ICP.
icp with no make up - Great Milenko
Great Milenko
Great Milenko
Comedy hip-hop generally takes the low route, doing either physical humor (cf. The Fat Boys) or a litany of cheap-shots and potty-talk (cf. 2 Live Crew). Insane Clown Posse does both. But they're also side-splittingly funny for a couple listens--and pretty good with the beats and samples besides. The concept's like this: These two white guys have a vision of global unity that has something to do with dressing as clowns and spraying soda all over everything. They're, like, dead or something, so they have supernatural powers, and each album they put out represents a card in this eternal trump hand that'll call God back to earth when it's all collected together. If you can think of anything funnier on the spot, go get a record deal. --Gavin McNett

75% (18)
excellent review . icp show: Archive Fever
excellent review  .  icp show: Archive Fever
The New York Times January 18, 2008 Art Review Well, It Looks Like Truth By HOLLAND COTTER After an autumn of large, expert, risk-free museum retrospectives, the time is right for a brain-pincher of a theme show, which is what “Archive Fever: Uses of the Document in Contemporary Art” at the International Center of Photography is. Organized by Okwui Enwezor, an adjunct curator at the center, it’s an exhibition in a style that’s out of fashion in our pro-luxe, anti-academic time, but that can still produce gems. The tough, somber little show “Manet and the Execution of Maximilian” at the Museum of Modern Art last year mixed grand paintings with throwaway prints and demanded a commitment of time and attention from its audience. The payoff was an exhibition that read like breaking news and had the pull of a good documentary. It was the museum’s proudest offering of the season. Mr. Enwezor’s “Archive Fever” is up there with it. It has something like the same suspenseful pace, without the focused story line. The archive of the title is less a thing than a concept, an immersive environment: the sum total of documentary images circulating in the culture, on the street, in the media, and finally in what is called the collective memory, the “Where were you when you heard about the World Trade Center?” factor. Photography, with its extensions in film, video and the digital realm, is the main vehicle for these images. The time was, we thought of photographs as recorders of reality. Now we know they largely invent reality. At one stage or another, whether in shooting, developing, editing or placement, the pictures are manipulated, which means that we are manipulated. We are so used to this that we don’t see it; it’s just a fact of life. Art, which is in the business of questioning facts, takes manipulation as a subject of investigation. And certain contemporary photographers do so by diving deep into the archive to explore its mechanics and to carve their own clarifying archives from it. “Archive Fever” puts us deep inside right from the start. The gallery walls have been covered with sheets of plain industrial plywood. The exhibition space looks like the interior of a storage shed or a shipping container packed with images both strange and familiar. Familiar comes first: Andy Warhol’s early 1960s “Race Riot,” a silk-screened image of a black civil rights marcher attacked by police dogs. Warhol, our pop Proust, was a child of the archive; he lived in it and never left it. He culled his images straight from the public record — in this case Life magazine — and then made them public in a new way, as a new kind of art, the tabloid masterpiece, the cheesy sublime. In the process he messed up our habit of sweetening truth with beauty, of twisting the base and the awful into the transcendent. He nailed art’s moral ambivalence, pegged it as a guilty party and kept hammering away at this. People who hate the 1960s for the illusions they shattered usually hate Warhol too. He was a slippery spoiler. The second, far less well-known work that opens the show is a 1987 silk-screen piece by Robert Morris that does what the Warhol does but in a deadlier way. It too is based on an archival image, a 1945 photograph of the corpse of a woman taken in the Bergen-Belsen concentration camp. Although such pictures initially circulated in the popular press, they were soon set aside in an ethically fraught image bank of 20th-century horrors. As if acknowledging prohibitions, Mr. Morris has half-obscured the woman’s figure with old-masterish strokes of paint and encased it, like a relic, in a thick black frame swelling with body parts and weapons in relief. The series of war-related paintings this piece came from took a lot of critical heat in the 1980s. Mr. Morris was accused of, at best, pandering to a market for neo-Expressionism; at worst, of exploiting the Holocaust. Now that his reputation as an influential artist of probing diversity is becoming more clear, so is the impulse behind this work. When you are looking at great art in museums, it seems to say, you are, whether you know it or not, looking at realities like the one you see here. Art is not merely a universal ornament of civilization. It is a cautionary tale in need of constant translation. There are many tales in “Archive Fever.” In most, fact and fiction are confused. A group of pictures called “The Fae Richards Photo Archive” (1993-1996), produced by Zoe Leonard in collaboration with the filmmaker Cheryl Dunye, purports to document the life of an African-American actress from her childhood early in the 20th century through her post-civil rights era old age. The substance of the narrative, including a film career sabotaged by racism, rings true; but Fae Richards never existed. Her life was staged for the contemporary camera. So, in a different way, was the saga suggested in “The Sher-Gil Archive” (1995-97) by Vivan Sundaram, an artist in New Delhi. In this case the peo
Okay ... so if I just walk up to her and ask her what she's reading, what are the chances I can ask her out for a date?
Okay ... so if I just walk up to her and ask her what she's reading, what are the chances I can ask her out for a date?
(more details later, as time permits) ************************************** Most of the time, I have no idea what I'm going to photograph when I walk out the door with my camera; spontaneity is very important to me, and I'm constantly amazed by how many unexpected opportunities present themselves on the streets of New York. But when it's raining outside, my options are limited: digital cameras don't like water, and expensive DSLR cameras have a reputation for reacting very badly when they get wet. So when I saw that it was raining this morning, I figured that it was time to make another visit to the local subway station, to see if I could find some interesting new scenes to capture, while keeping my camera comfortably dry. It was also a good opportunity to try out the combination of a newly-arrived (just this morning!) 70-300mm VR zoom lens with the high-ISO capability of my recently-acquired Nikon D700 camera. So I set the ISO meter to 6400, found a quiet bench on the uptown side of the 96th Street IRT line, and sat patiently to see what would happen across the tracks, on the downtown side... All in all, I thought the people that I photographed today were relatively boring; they were low-key and lethargic, and they mostly stood in one place while they waited for their local or express train. But I ended up with about 50 photos, and when I looked at them after uploading them onto my computer, I found that they were actually more interesting than I had imagined. There's a little bit of noise/graininess, but I decided to leave them that way; I did adjust the "hot spots" (areas over-exposed from the fluorescent lighting in the subway station) and "cold spots" (shadows and dark areas), and punched up the color a little bit. But aside from that, this is yet another view of the typical daytime scene on a typical NYC subway line... ******************* Over the years, I've seen various photos of the NYC subway "scene," usually in black-and-white format. But during a recent class on street photography at the NYC International Center of Photography (ICP), I saw lots and lots of terrific subway shots taken by my fellow classmates ... so I was inspired to start taking a few myself. So far, I'm taking photos in color; I don't feel any need to make the scene look darker and grimier than it already is. To avoid disruption, and to avoid drawing attention to myself, I'm not using flash shots; but because of the relatively low level of lighting, I'm generally using an ISO setting of 800 or 1600 -- except for today's photos, which are all shot at ISO 6400. I may eventually use a small "pocket" digital camera, but the initial photos have been taken with my somewhat large, bulky Nikon D300 DSLR; and today's were taken with an even bulkier Nikon D700. If I'm photographing people on the other side of the tracks in a subway station, there's no problem holding up the camera, composing the shot, and taking it in full view of everyone -- indeed, hardly anyone pays attention to what's going on across the tracks, and most people are lost in their own little world, reading a book or listening to music. But if I'm taking photos inside a subway car, I normally set the camera lens to a wide angle (18mm) setting, point it in the general direction of the subject(s), and shoot without framing or composing. So far it seems to be working ... we'll see how it goes...

icp with no make up
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