exhibit highlighted an eclectic collection of iconoclasts--16 extraordinary women leaders, namely Carol Hanlon of Australia, Wendy Pye of New Zealand, Victoria Lennox of Canada, Janet Sape of Papua New Guinea, Andrea Irarrazaval of Chile, Rosario BazAaAaAeA n de ArangurAaAaAeA of Peru, Shao Jie of China, Leonarda Capuyan of Philippines, Reny Feby of Indonesia, Anna Nesterova of Russia, Lin Kobayashi of Japan, Mei-Ping Hasio of Chinese Taipei, Minjai Lee of Korea, Suwanna Jiwattanapaiboon of Thailand, Bhg Dato' Hazimah Zainuddin of Malaysia, and Julie Hanna of the United States--whose faces loomed large, etched in metal canvases, beside their powerful stories of achievements, each one as vivid and unique as Easter Island moai.
, set by the Center for International Trade Expositions and Missions (Citem) and unveiled at the upper lobby of the Philippine International Convention Center (PICC) featured sixteen extraordinary women from the Asia-Pacific Economic Cooperation (Apec) for helping lead their communities to economic sustainability.
It became more about finding a defining look that could sustain itself through the first act and had its own iconograph
V of decadence and extreme fashion--but at the same time, it was not literal.
(a) shows that there are two bands (i.
of Hemiptera-Heteroptera eggs in China.
Unconscious Came a Beauty," Swenson's finest iconograph
(see the inset below), at once shows and tells something vital.
See also Karen Orren & Stephen Skowronek, Beyond the Iconograph
of Order: Notes for a "New Institutionalism," in THE DYNAMICS OF AMERICAN POLITICS: APPROACHES & INTERPRETATIONS 311, 320 (Lawrence C.
Typical examples are displayed in the iconograph
of Figs, 3 and 4.
By means of a series of superb pairs and trios of art you will be able to observe the trail of the new iconographs
of devotion or the innovative ways of representing daily life and the intimacy of the family, all elaborated by Velzquez and Murillo, that will serve to reach the very essence of the human soul and connect directly with the observer.
The poem thus achieves the goal its author announces for all the pieces in her Iconographs
volume, namely, "an instant object-to-eye encounter with each poem even before it is read word-after-word" ("Note" 86).
first describes biblical and Ancient Near Eastern literary traditions that enrich our appreciation of the tree, and then discusses iconographs
from Palestine, Ugarit, Mari, and Nineveh, that lead him to speak of the Temple as God's garden.