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NYC – MoMA: Dan Perjovschi’s What Happened to Us?
Projects 85: Dan Perjovschi
What Happened to Us?, 2007
May 2–August 27, 2007
The Donald B. and Catherine C. Marron Atrium, second floor
For his first solo museum exhibition in the United States, the Romanian artist Dan Perjovschi was invited to create a large-scale drawing installation, executed over a period of two weeks directly onto the wall of The Donald B. and Catherine C. Marron Atrium. Inspired by current events reported on television and in newspaper and tabloid headlines, Perjovschi explores political topics including the Middle East conflict and the recent extension of the European Union. Through concise phrases and wordplay, his sketches and skits portray reality with a sense of criticality and pointed humor. The work’s rhetorical title, WHAT HAPPENED TO US?, offers a textual pun, in which US may refer either to the subjective pronoun "us" or to the proper noun "United States of America."
Perjovschi’s drawings have been widely disseminated-from the walls of museums to the pages of newspapers. Since 1990, following the demise of Communism in Eastern Europe and the dismantling of the Berlin Wall, the artist has contributed hundreds of witty and incisive observations to literary and political journals, such as Contrapunct and 22. The latter was the first independent oppositional weekly published in Romania in the aftermath of the Democratic Revolution. Taking its name from the date December 22, 1989, the historic day on which Romanian dictator Nicolae Ceausescu was ousted from power, 22 is the brainchild of the Group of Social Dialogue, a think tank of dissident writers, artists, and philosophers who endorse freedom of expression and human rights. As an illustrator for 22, and as its former art director, Perjovschi has transformed drawing into a medium of information and political commentary. Expressing complex ideas in rapidly executed, off-the-cuff drawings, Perjovschi’s installation propose that art can be engaged without being moralistic.
Projects 85 is organized by Roxana Marcoci, Curator, Department of Photography, The Museum of Modern Art. Created in 1971, as a forum for emerging artists and new art, the Projects series has played a vital part in MoMA’s contemporary art programs.
Anatomy of Wings
The essential components of an airplane are a wing system to sustain it in flight, tail surfaces to stabilize the wing, movable surfaces (ailerons, elevators, and rudders) to control the attitude of the machine in flight, and a power plant to provide the thrust to push the craft through the air.
They are termed high-wing when the wing is attached at the top of the fuselage, midwing when it extends from or near the centre of fuselage section, and low-wing when the wing structure fastens to the fuselage structure at the bottom.
For takeoff and landing, hinged wing panels are extended at right angles to the fuselage in order to utilize the advantages of long-span and high-aspect ratio. For high speed and maneuvering in flight, the panels are swung rearward to make (with the tail surfaces) a delta configuration. The normal location for stabilizers, fins, rudders, and elevators is well behind the wing, mounted on the tapered tail section of the fuselage.
The standard arrangement is a cruciform assembly, with vertical fins and rudders and horizontal stabilizer and elevators forming a cross, the axis of which was approximately coincident with the fuselage axis. In some large, high-wing airplanes with relatively short, large-diameter fuselages, airflow over the horizontal tail surfaces was disturbed to the extent that control effectiveness under some flight conditions was compromised.
The solution was the so-called T-tail configuration, in which the horizontal surfaces were mounted at the top of the vertical fin structure. Where three jet engines are used, the fin structure may incorporate the air intake for the centre engine or the entire engine pod. The consequent increase in weight of the tail structure has changed the appearance of many airplanes.
To maintain a viable relationship between centre of lift of the wings and the airplane’s centre of gravity, the wings were moved aft and the nose section of the fuselage was extended far forward for proper balance. For two- or four-engined planes (either piston engine or turbine-propeller combinations or turbojets), the power plants are normally distributed outboard along the wings, either in nacelles projecting from wing and edges or in suspended pods.
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