Didone is a genre of seriftypeface that emerged in the late 18th century and is particularly popular in Europe. It is characterized by:
Narrow and unbracketed (hairline) serifs. (The serifs have a constant width along their length.)
Vertical orientation of weight axes. (The vertical strokes of letters are thick.)
Strong contrast between thick and thin lines. (Horizontal parts of letters are thin in comparison to the vertical parts.)
Some stroke endings show ball terminals. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.)
An unornamented, "modern" appearance.
The category is also known as modern or modern face serif fonts, in contrast to old style serif designs, which date to the Renaissance period.
Didone types were developed by printers including Firmin Didot, Giambattista Bodoni and Justus Erich Walbaum, whose eponymous typefaces, Bodoni, Didot, and Walbaum, remain in use today. Their goals were to create more elegant, classical designs of printed text, developing the work of John Baskerville in Birmingham and Fournier in France towards a more extreme, precise design with intense precision and contrast, showing off the increasingly refined printing and paper-making technologies of the period. These trends were also accompanied by changes to page layout conventions and the abolition of the long s.
Critical response to Modern has been mixed-to-negative.
Michael Sandlin of Pitchfork called it "wholly ill-conceived and mind-numbingly dull" and that "[it] seems like a weak attempt by a once-great band to simply sound 'current', whatever that means." Joshua Klein of The A.V. Club, on the other hand, wrote "the band reunited in time to ride the new punk wave, but something was missing from its two capable comeback albums. The new Modern is something else entirely: Essentially picking up where the band left off in 1981, the ironically-titled disc sounds like it was recorded just as punk turned into new wave", calling it "retro in the best sense".
All songs written and composed by Pete Shelley, except where noted.
An adit (from Latin aditus, entrance) is an entrance to an underground mine which is horizontal or nearly horizontal, by which the mine can be entered, drained of water, ventilated, and minerals extracted at the lowest convenient level. Adits are also used to explore for mineral veins.
Adits are driven into the side of a hill or mountain, and are often used when an ore body is located inside the mountain but above the adjacent valley floor or coastal plain. In cases where the mineral vein outcrops at the surface, the adit may follow the lode or vein until it is worked out, in this case the adit is rarely straight. The use of adits for the extraction of ore is generally called drift mining.
Adits can only be driven into a mine where the local topography permits. There will be no opportunity to drive an adit to a mine situated on a large flat plain, for instance. Also if the ground is weak, the cost of shoring up a long adit may outweigh its possible advantages.
The 491 Gallery was a squattedsocial centre and multi-disciplinary gallery in Leytonstone, London, England, that operated from 2001 to 2013. Taking its name from its street number, 491 Grove Green Road, the former factory was home to a community-led art organisation and served as an exhibition space for a diverse range of artists of different origins working in varied media. It contained a range of art and music studios, which were used to host workshops, classes and musical rehearsals.
The building, originally a factory, was later used as a storage space and warehouse for materials being used to construct the A12 that cuts through Leytonstone and the surrounding areas. Unlike the rest of the surrounding buildings, it and the few neighbouring houses were not subject to compulsory purchase orders and demolition for the A12 site. When in late 2000 the building was abandoned, it became occupied by a group of homeless drug users, who remained in it for some six months. Within a month of their vacating the premises, the building was reoccupied by a group of artists, who spent the next several years turning it into a community space. The neighbouring building, formerly houses, was also occupied, and named Vertigo, after the film by Alfred Hitchcock, a famous resident of Leytonstone.
The Met has leased the Whitney Museum of American Art’s 1966 Breuer building as a temporary exhibition space for Modern and contemporary art since 2015, when the Whitney moved into its new home downtown. The Met says it is now ready to resume plans for expanding galleries devoted to Modern and contemporary art at its Fifth Avenue flagship building....
But if you’re willing to take a slightly different route and explore the less well-visited corners of the museum’s 12 galleries, you’ll find any number of hidden treasures with their own stories to tell ...Wing 1, Gallery 1 (The First Villages) 3 ... Wing 1, Gallery 2 (The First Great Powers) 4 ... Wing 2, Gallery 4 (The UniversalReligions) 5 ... Wing 4, Gallery 10 (A ModernWorld?) 10 ... Wing 4, Gallery 11 (Modernity in Question)....
My job is to get in here everyday, watch the construction project, be on time and on budget.”A ModernApproach to the Collection... The expanded gallery space now allows the museum to display more of its modern acquisitions in addition to the Kress Collection, 77 Old MasterRenaissance and Baroque paintings that previously dominated the upstairs galleries ... That idea of a goddess binds the works in the first gallery of the collection....
In fact, visitors to the CMA during the run of the show this fall will encounter a four-gallery installation that offers four different takes on self-presentation ... But the second-floor galleries are once again accessible to visitors with new spaces devoted to modern and contemporary art and renovated galleries organized not just according to chronology and genre but also to theme....
Many artworks fetched values far above their highest estimates while the auction also featured more contemporary pieces (see gallery below). Hans-Peter Keller, Impressionist and ModernArt specialist ......
Tucked down a Covent Garden back street, the Royal Opera House has long been an awkward, unprepossessing place ... The inconspicuous guise isn’t entirely accidental ... Twitter ... Beard isn’t one to use such similes lightly, having led, in whole or in part, the fiendishly complex extensions and renovations at Tate Britain, TateModern and Tate St Ives in his previous role as the gallery’s deputy director ... Twitter ... Twitter ... .......