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"Nicholas William Redfern Cummins (born 1973) is an Australian cricket administrator and is the current General Manager of the Melbourne Renegades and Melbourne Stars. Career Cummins began working in sports management in 1997 where he worked with Elite Sports Properties (ESP). As manager of the Communications Division, Cummins was involved in a number of major sporting events, including the 1998 Commonwealth Games, 2000 Summer Olympics, 2002 Winter Olympics, 2002 Commonwealth Games and 2003 Rugby World Cup. In 2004 Cummins moved into the corporate sector, holding sponsorship/marketing roles at Foster's Group, Ford Australia and Betfair before moving to Cricket Australia in 2013. In late 2013, Cummins was appointed General Manager of the Sydney Thunder, a team in the Big Bash League. Over four seasons, Cummins oversaw the club's evolution from perennial cellar dwellers to dual BBL and WBBL Champions in BBL05/WBBL01. At the start of 2017, Cummins was appointed CEO of Cricket Tasmania. During his tenure, the Tasmanian Tigers and Hobart Hurricanes reached the Sheffield Shield, JLT Cup and BBL Finals (twice). In December 2019, Cummins took up a new role as General Manager, Big Bash, Commercial and Marketing at Cricket Victoria, looking after commercial responsibilities as they relate to the two Big Bash League teams Melbourne Renegades and Melbourne Stars. References Living people 1973 births Cricket administration in Australia Australian cricket administrators "
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"Cathedral Square, Milan is a 1968 painting by Gerhard Richter. The photorealistic painting is one of Richter's largest figurative paintings at 2,75 m x 2,90 m. It depicts Milan's Catherdral Square between the Galleria Vittorio Emanuele and the Milan Cathedral. It was sold by Sotheby's in New York on 14 May 2013 for 37.1 Million dollars, breaking the record price for a Richter painting for Abstraktes Bild (809-1). History Cathedral Square, Milan was commissioned by Siemens Elettra and from 1968 to 1998 hung in their offices in Milan. In 1998 it was acquired by the Pritzker family and was on display for more than ten years the at the Park Hyatt Hotel in Chicago. In 2013 the Hyatt Hotels Corporation consigned it to Sotheby's to be auctioned. It was bought by Donald L. Bryant, a Californian art collector and the founder of the Bryant Family Vineyard in Napa County. Description The painting shows the northern part of the Milan cathedral square from a birds-eye view. The facade of the Galleria Vittorio Emanuele, an imposing structure from the 19th century, takes up most of the left half of the painting, while only a part of the northern transept and the front of the nave of the gothic cathedral Santa Maria Nascente are visible. Between the Galleria and the Cathedral Square, one can see parked cars, on the square itself, several candelabra and – blurred like in many early photographs – vague outlines of people and undetermined objects. The contours of the buildings are out of focus and blurry. The many greytones in which the painting has been executed are reminiscent of black-and-white photography. Richter did not place the cathedral, the best known tourist attraction in Milan, in the centre of the painting. Instead he directed his view to its immediate surrounding with the space between the Galleria and the cathedral at its centre. Richter had already painted the facade of the cathedral in 1964 with Mailand, Dom also in graytones but in a smaller format of 130 x 130 cm. Parallel to Domplatz, Mailand Richter created another painting that had Milan as its subject, based on an aerial photograph, also in graytones and blurry contours that Richter later cut up in pieces of 85x90 cm, and declared them individual images that are listed in the Catalogue Raisonné from 170/1 to 170/9. The source after which Richter executed Domplatz, Mailand was a newspaper photograph that was in focus, from which Richter clipped a section and modified it. Photography and cityscapes in the work of Gerhard Richter From the 1960s onward Richter increasingly dealt with the photographic medium by referring to photographs as his choice of pictorial motif. In 1962 he created the first representational paintings that were based on photographs. In interviews, Richter has spoken about his attitude to photography several times. The motives were never arbitrary, but he had difficulties "to find a suitable photo at all". Benjamin Buchloh: Interview mit Gerhard Richter. Über die Avantgarde. In: Gerhard Richter. Cat.Rais. Bd. 2. S. 86. Provocatively and contrary to established media theories, he naively considered photography "the only image that reports the absolute truth because it sees 'objectively'; it has primary credibility, even though it is technically deficient ". In a conversation with und Fridolin Reske he said: Richter continued to create work that was based on aerial photography, from the Stadtbild M series 170/1 to 170/9 from 1968 to the print series Bridge 14 FEB 45 (II) from 2000. After his gray pictures, which represent the rejection of everything creative and according to Richter are "the most welcome and only possible equivalence to indifference, meaninglessness, refusal to statement and formlessness", Gerhard Richter, zitiert nach Hans Ulrich Obrist: Gerhard Richter. Text, Frankfurt/M. 1993, S. 76. from 1976 he began dealing with colour in his "Abstrakten Bildern" (Abstract Pictures). See also * List of most expensive artworks by living artists References Bibliography * Angelika Thill u. a.: Gerhard Richter: A Catalogue Raisonné 1962-1993. Bd. 3. Ostfildern-Ruit, Hatje-Cantz, 1993. Kat. Nr. 169. * *Gerhard Richter. Fotografie und Malerei - Malerei als Fotografie. Acht Texte zu Gerhard Richters External links *Domplatz, Mailand, Beschreibung, www.gerhard-richter.com *Sotheby's, Catalogue Note *Sotheby's Katalog Mai 2013, Lot 64. * Teuerster lebender Maler: Richters "Domplatz, Mailand" erzielt 29 Millionen Paintings by Gerhard Richter 1968 paintings Churches in art Culture in Milan Cityscape paintings "