Ed and Jo: Love, Art and Gloucester in the Summer of 1923

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The standard method was to insert a special sheet of carbon paper between two sheets of blank paper, which allowed ink to transfer onto both sheets, creating a perfect copy of the document. These are the six most crucial substances in human history. They took us from the Dark Ages to the present day. They power our computers and phones, build our homes and offices, and create life-saving medicines. But most of us take them completely for granted. James Stevens Curl, The Egyptian Revival: Ancient Egypt as the Inspiration for Design Motifs in the West, Routledge 2005

Sand, salt, iron, copper, oil and lithium. They built our world, and they will transform our future. Carolee Schneemann’s Constructed Environments’ in Carolee Schneemann: A Retrospective (London: Barbican Art Gallery, 2022), 48-53. Wadjet, as the goddess of Lower Egypt, had a large temple at the ancient Imet (now Tell Nebesha) in the Nile Delta. She was worshipped in the area as the "Lady of Imet". Later she was joined by Min and Horus to form a triad of deities. [10] Appearance [ edit ]She was associated with the land and depicted as a snake-headed woman or a snake—usually an Egyptian cobra, a venomous snake common to the region; sometimes she was depicted as a woman with two snake heads and, at other times, a snake with a woman's head. Her oracle was in the renowned temple in Per-Wadjet that was dedicated to her worship and gave the city its name. This oracle may have been the source for the oracular tradition that spread to Greece from Egypt. [9] Generational Objects: Ida Applebroog’s History of Feminism’, Oxford Art Journal, 40:1 (Spring 2017), 133-151. N2 - This chapter utilizes both critical and empirical forms of enquiry to uncover the relationship between dominant constructions of the ‘problem of prostitution’ and the associated norms that operate across various historical epochs, focusing in particular on the recent association between street sex work and anti-social behaviour. It shows that the alleged antithesis of sex work to community safety owes as much to the ideological operation of the law as to any inherent feature of commercial sex. The chapter considers the practical implications of recent reforms, which continue to follow this ideology. It outlines some of the dangers of policy frameworks and techniques of control that continue to situate sex work as antithetical to the cultivation of community safety, by reflecting on a recent Joseph Rowntree Foundation-funded study, which examined the experiences of those living and working in areas of street sex work. In the relief shown in the gallery, which is on the wall of the Mortuary Temple of Hatshepsut at Luxor, there are two images of Wadjet: one of her as the Uraeus with her head through an ankh and another where she precedes a Horus hawk wearing the pschent, representing the pharaoh whom she protects.

This threatening, and possibly functioning object: Lee Bontecou and the Sculptural Void’, Art History, 29:3 (June 2006), 476-502. Mobile Subjects: Abstraction, the Body and Science in the Work of Liliane Lijn and Bridget Riley’, Konsthistorisk Tidskrift/Journal of Art History, 83:2 (May 2014), 98-111. The English language is constantly evolving. In the digital age, most people will need to know how to use the verb CC’ed.Let’s look at some examples of how to write the words CC’d and CC’ed in a sentence. You can use whichever form of this word you prefer. Coppens, Flip; Vymazalová, Hana (2010). "Medicine, Mathematics and Magic Unite in a Scene from the Temple of Kom Ombo (Ko 950)". Anthropoligie. 48 (2): 127–132. JSTOR 26292902– via JSTOR. Wadjet is often depicted as a winged cobra. These wings serving a dual purpose as a protective embrace and being capable of creating the breath of life often connected to the image of the Ankh that she is often depicted with. Both of these uses are vital in surviving the afterlife. [8] An explanation for her depiction as a lion headed goddess may stem from the goddess Sekhmet through association as a powerful or dangerous goddess. [13] Engraving of surgical instruments including the Wadjet eye, from the Temple of Kom Ombo. Depiction of pharaoh presenting the Wadjet eyes (this portion no longer survives), to the god Haroeris so that he will ritually cleanse them. This is found within an inscription within the relief. From the Temple of Kom Ombo. a b c d e f Bianchi, Robert Steven (2022). "A Bronze Reliquary for an Ichneumon Dedicated to the Egyptian Goddess Wadjet". Arts. 11 (1): 21. doi: 10.3390/arts11010021. ISSN 2076-0752. Another early depiction of Wadjet is as a cobra entwined around a papyrus stem, [7] beginning in the Predynastic era (prior to 3100 B.C.) and it is thought to be the first image that shows a snake entwined around a staff symbol. This is a sacred image that appeared repeatedly in the later images and myths of cultures surrounding the Mediterranean Sea, called the caduceus, which may have had separate origins.

Cornelia Parker’s Abstractions’ in Cornelia Parker, ed. Andrea Schlieker (London: Tate Publishing, 2022), 74-75. Cut off Your Nose’ in Rachel Maclean: Spite Your Face (London: Zabludowicz Collection, 2018), 16-21.London Art Worlds: Mobile, Contingent, and Ephemeral Networks 1960-1980, eds. Jo Applin, Catherine Spencer and Amy Tobin (University Park: Penn State University Press, 2018). Wadjet is occasionally depicted as other animal headed beings or depicted as other animals such as a lion, mongoose, Ichneumonidae. Notably the depiction of the mongoose serves as an antithesis to that of the cobra as it is a natural predator. While the Icheumon probably serves as a depiction of Wedjat's role in seeing for Horus. Many bronze statues of Wadjet are argued to contain Icheumon remains however confirmation on this being forensic or a visual observation is unknown. [8] CC’ed within is my friend Brianna, who has offered to host next week’s activities. Please keep her in the loop in the future.” Eccentric Abstraction’, ‘Eva Hesse’, and ‘Louise Bourgeois’, entries for Elles font l’abstraction (Paris: Centre Pompidou, 2021), 236-240. Lee Lozano: Not Working (New Haven and London: Yale University Press, 2018). Winner of the Suzanne and James Mellor Book Prize, National Museum of Women in the Arts, Washington DC

I’m Here but Nothing: Yayoi Kusama’s Environments’ in Yayoi Kusama, ed. Frances Morris (London: Tate Publishing, 2012), 176-186. Wadjet was said to be the matron and protector of Lower Egypt in her cobra form, [6] and upon unification with Upper Egypt, the joint protector and patron of all of Egypt. The image of Wadjet with the sun disk is called the uraeus, and it was the emblem on the crown of the rulers of Lower Egypt. She was also the protector of kings and of women in childbirth. Wadjet was said to be the nurse of the infant god Horus. [6] With the help of his mother Isis, they protected Horus from his treacherous uncle, Set, when they took refuge in the swamps of the Nile Delta. [7] Talking To The Work of Philippe Vandenberg: A Seminar’ in Phillipe Vandenberg: Absence, etc, with Anna Dezeuze, Maarten Liefooghe, Raphäel Pirenne, Merel van Tilburg, and John C. Welchmann (New York: Hauser and Wirth, 2017), 89-145. Alberto Burri and Niki de Saint-Phalle: Relief Sculpture and Violence in the Sixties’, Source: Notes in the History of Art, 27:2 (Winter 2008), 77-81. Optical Noise: The Sound of Sculpture in the 1960s’ in Art or Sound, eds. Chiara Costa and Germano Celant (Venice: Fondazione Prada, 2014), 207-214.From around the 4th dynasty onward, Wadjet was claimed as the patron goddess and protector of the whole of Lower Egypt and became associated with Nekhbet, depicted as a white vulture, who held unified Egypt. After the unification the image of Nekhbet joined Wadjet on the crown, thereafter shown as part of the uraeus. The religious epithet for these patron deities of the entire county was, "nebty (' Two Ladies')". [8] If I measure it must exist’ in Frances Richardson: If I measure it must exist (London: Karsten Schubert, 2021), 2-8 . Towards a Haunted Art History?’ in Technologies of Intuition, ed. Jennifer Fisher (Toronto: YYZ Books, 2006), 247-260. Outrageous Abstraction: Senga Nengudi’ and ‘At the Place Vendôme: Dorothea Tanning’ in Louise Bourgeois: Imaginary Conversations, ed. Briony Fer (Oslo: National Museum of Art, 2023), 173-187.