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Amazing Enduro MX race in Porto’s street in Portugal !!

Jonny Walker takes on the grueling course of the Extreme XL Lagares, in Portugal. Not one to back down to a challenge, follow Jonny as he tackles the rugged course along the sea wall and then taking to the narrow streets of Porto’s old city.

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The Black Diamond American Dream n.2 (1962) – Robert Indiana (1928)

The Black Diamond American Dream n.2 (1962) - Robert Indiana (1928)

Belem, Berardo Collection, Centro Cultural de Belem, Lisbon, Portugal

Material : Oil on canvas


From Wikipedia, the free encyclopaedia


OccupationArtist, theatrical set designer and costume designer
Robert Indiana, born Robert Clark (born September 13, 1928), is an American artist associated with the pop art movement. His "LOVE" print, first created for the Museum of Modern Art’s Christmas card in 1965, was the basis for the widely distributed 1973 United States Postal Service "LOVE" stamp. His media include paper (silk screen) and Cor-ten steel sculpture.


Robert Indiana was born Robert Clark in New Castle, Indiana. He spent the first 17 years of his life living in Indiana moving frequently between cities and eventually lived in 21 different homes. After his parents divorced, he relocated to Indianapolis to live with his father so he could attend Arsenal Technical High School (1942–46).

After serving for three years in the United States Army Air Forces, he studied at the Art Institute of Chicago (1949–53), the Skowhegan School of Painting and Sculpture in Maine (summer 1953) and Edinburgh University and Edinburgh College of Art (1953–54). He returned to America in 1954 and settled in New York City. There he began making art with his distinctive "hard edge" style.

Indiana’s work often consists of bold, simple, iconic images, especially numbers and short words like EAT, HUG, and, his best known example, LOVE. In his EAT series, the word blares in paint or light bulbs against a neutral background; he regularly paired “EAT” with “DIE”.[2] In a major career milestone, the architect Philip Johnson commissioned an EAT sign for the New York State Pavilion at the 1964 New York World’s Fair.[3] The sign was turned off one day after the opening of the fair because visitors believed it to mark a restaurant. Andy Warhol’s contribution to the fair was also removed that day [4] Other well-known works by Indiana include: his painting the unique basketball court formerly used by the Milwaukee Bucks in that city’s MECCA Arena, with a large M shape taking up each half of the court; his sculpture in the lobby of Taipei 101, called 1-0 (2002, aluminum), using multicoloured numbers to suggest the conduct of world trade and the patterns of human life;and the works he created in the aftermath of the September 11, 2001 attacks and exhibited in New York in 2004 called the Peace Paintings.

Between 1989 and 1994, Indiana painted a series of 18 canvases inspired by the shapes and numbers in the war motifs paintings that Marsden Hartley did in Berlin between 1913–15.

Indiana has been a theatrical set and costume designer, such as the 1976 production by the Santa Fe Opera of Virgil Thomson’s The Mother of Us All, based on the life of suffragist Susan B. Anthony. He was the star of Andy Warhol’s film Eat (1964), which is a 45-minute film of Indiana eating a mushroom in his SoHo loft.

In 1964, Indiana moved from Coenties Slip to a five-story building at Spring Street and the Bowery. In 1969, he began renting the upstairs of the mansarded Victorian-style[2] Odd Fellows Hall named "The Star of Hope" in the island town of Vinalhaven, Maine, as a seasonal studio from the photographer Eliot Elisofon. Half a century earlier, Marsden Hartley had made his escape to the same island. When Elisofon died in 1973, Indiana bought the lodge for $10,000 from his estate. He moved in full-time when he lost his lease on the Bowery in 1978. Since 1978, he has lived as a resident of Vinalhaven.

Main article: Love (sculpture)


Indiana’s best known image is the word love in upper-case letters, arranged in a square with a tilted letter O. The iconography first appeared in a series of poems originally written in 1958, in which Indiana stacked LO and VE on top of one another. Then in a painting with the words "Love is God". The red/green/blue image was then created for a Christmas card for the Museum of Modern Art in 1964. It was put on an eight-cent U.S. Postal Service postage stamp in 1973, the first of their regular series of "love stamps".

The first serigraph/silk screen of "Love" was printed as part of an exhibition poster for Stable Gallery in 1966 (See "Love and The American Dream: The Art of Robert Indiana", page 87). A few examples of the rare image, in bold blue and green with a red bottom announcing "Stable May 66" are known to exist. Twenty-five of these, without the red announcement, were signed and dated on the reverse by Indiana. Sculptural versions of the image have been installed at numerous American and international locations.

Ahava (אהבה "love" in Hebrew), Cor-ten steel sculpture by Robert Indiana (American), 1977, Israel Museum, Jerusalem, Israel
In 1977 he created a Hebrew version with the four letter word Ahava (אהבה "love" in Hebrew) using Cor-ten steel, for the Israel Museum Art Garden in Jerusalem, Israel.

In 1995, Indiana created a "Heliotherapy Love" series of 300 silk screen prints signed and numbered by the artist, which surrounds the iconic love image in a bright yellow border. These prints are the largest official printed version of the Love image.

In 2008, Indiana created an image similar to his iconic LOVE but this time showcasing the word "HOPE", and donated all proceeds from the sale of reproductions of his image to Democrat Barack Obama’s presidential campaign, raising in excess of $1,000,000. A stainless steel sculpture of HOPE was unveiled outside Denver’s Pepsi Center during the 2008 Democratic National Convention. The Obama campaign sold T-shirts, pins, bumper stickers, posters, pins and other items adorned with HOPE. Editions of the sculpture have been released and sold internationally and the artist himself has called HOPE "Love’s close relative".

For Valentine’s Day 2011, Indiana created a similar variation on LOVE for Google, which was displayed in place of the search engine site’s normal logo.


In 1962, Eleanor Ward’s Stable Gallery hosted Robert Indiana’s first New York solo exhibition. He has since enjoyed solo exhibitions at over 30 museums and galleries worldwide. He is currently represented by Paul Kasmin Gallery in New York and Galerie Gmurzynska in Europe.

In 2013, the Whitney Museum of American Art mounted a retrospective of his work entitled "Robert Indiana: Beyond LOVE", this exhibition traveled to the McNay Museum in San Antonio, Texas.[14]


Millions of television viewers saw an orange, brown, and white version of Five, one of Indiana’s 1965 Cardinal Numbers series, featured in an episode of the Mary Tyler Moore Show during the 1971–1972 season, in which Rhoda Morgenstern redecorates Lou Grant’s dated living room. Lou, evidently not a fan of pop art, complains to Mary, "I bet she went through four other paintings before choosing this one!"


Indiana’s career took off in the early 1960s after Alfred H. Barr, Jr., bought THE AMERICAN DREAM, 1 FOR the Museum of Modern Art.

Today, his works are in the permanent collections of numerous museums, including Museum of Modern Art, New York; Whitney Museum of American Art, New York; Metropolitan Museum of Art, New York; Farnsworth Art Museum and Gallery, Rockland, Maine; Stedelijk Museum, Schiedam, The Netherlands; Carnegie Institute, Pittsburgh; Allentown Art Museum of the Lehigh Valley, Allentown, Pennsylvania; Delaware Art Museum, Wilmington; Detroit Institute of Art, Michigan; Baltimore Museum of Art, Maryland; Brandeis Museum, Waltham, Massachusetts; Albright-Knox Gallery, Buffalo, New York; San Francisco Museum of Modern Art, California; the Hirshhorn Museum in Washington, D.C.; Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania; the Indianapolis Museum of Art, Indiana; and the Los Angeles County Museum, California, among many others.

Posted by pedrosimoes7 on 2016-02-01 17:54:36

Tagged: , Robert Indiana , Belem , Berardo Collection , Centro Cultural de Belem , Lisbon , Portugal

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BMW F800 GS Review e Testdrive!

Esta é a versão aventura da GS800.
Fiquei algo surpreendido…

O Outro canal:

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Testdrive: Triumph Bonneville, Thruxton // GRIP – BIKE-EDITION

Erinnert ihr euch an die Bike-Präsentation von Triumph in London? Heute bekommt ihr den zweiten Teil der Geschichte: Jens Kuck hat die Triumph Bonneville und Triumph Thruxton für euch getestet. Viel Spaß!

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Granadas Mecanotecnia Custom Motorcycle

Granadas Mecanotecnia is a Custom Motorcycle Brand from Portugal.

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1954 Triumph Tiger T110 649cc OHV Twin Motorcycle, Vintage Triumph – KTM Duke 125 Laranjinha

The 1954 Triumph Tiger 110 is a British sports motorcycle that Triumph first made at their Coventry factory between 1953 and 1961. The T110 was developed from the Triumph Thunderbird and first appeared in 1954.

Manufacturer Triumph
Production 1953–1961
Engine 649 cc parallel twin OHV four-stroke
Transmission 4 speed / chain
Wheelbase 57 inches (140 cm)
Seat height 31 inches (79 cm)
Weight 420 lb (190 kg) (dry)
Fuel capacity 4 imp gal (18 l; 4.8 US gal)
Fuel consumption 70 mpg-imp (4.0 L/100 km; 58 mpg-US) at 60 mph (97 km/h)

Although it was supposed to be the sports model of the Triumph range, the Tiger 110 was later fitted with the rear paneling that was introduced with Triumph’s 350cc 3TA twin in 1959. This rear cowling earned it the nickname ‘bathtub’ from its shape and made the T110 look somewhat staid. In any event, from 1959, the T120 Bonneville was now Triumph’s leading sports model and before the introduction of Edward Turner’s unit construction 650cc twin in 1962, the T110 was dropped from Triumph’s range

The Triumph Tiger 110 650 cc OHV Twin was Triumph’s fastest production motorcycle to date because it was developed for the American market, which wanted more power. The T110 was first built in 1953 and introduced as a 1954 model. The originally cast iron cylinder block and head soon were replaced with a light alloy cylinder head with special airways to improve cooling and austenitic iron valve seat inserts. The external oil feed pipes were also replaced with internal oilways via the pushrod tubes.[1]

The Triumph Tiger 100 was named because it was capable of 100 mph (160 km/h), so it was an obvious marketing idea to call the new bike the Tiger 110 – although technically the best one way speed obtained by The Motor Cycle magazine in tests was 109 mph (175 km/h) – but the speedometer was reading 114 mph (183 km/h), so there was a margin of error.[1]

By 1959, the Tiger 110 was no longer Triumph’s fastest model, the dual carburettor Bonneville T120 having taken its mantle. Triumph added the enclosed panels from the Twenty One which, resembling an upside-down Victorian slipper bathtub, earned the bike the nickname ‘bathtub’.[2]
World Speed Record

On 6 September 1956, at Bonneville Salt Flats American racer Johnny Allen secured the motorcbike land-speed record on a heavily modified Triumph T110 with a top speed of 214.17 mph (344.67 km/h).[3] This success led to the development of the Tiger T110’s successor – the Triumph Bonneville.[4]
Vintage Triumph
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