James, T.G.H. (1982). "A Wooden Figure of Wadjet with Two Painted Representations of Amasis". The Journal of Egyptian Archaeology. 68: 156–165. doi: 10.2307/3821635. JSTOR 3821635– via JSTOR. 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. Yayoi Kusama: Infinity Mirror Room-Phalli’s Field (London and Cambridge, Mass: Afterall and MIT Press, 2012) Las deserciones de Lee Lozano’ in Lee Lozano: Forza la Máquina (Madrid: Museo Nacional Centro de Arte Reina Sofia, 2017), 60-87.

Alice Adams: Woven Forms, Eccentric Objects’ in Alice Adams: Woven Forms and Post Minimal Sculpture 1959-1973 (Boston: David Hall Fine Art, 2018), 1-4. 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).

2017 re-election

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] There’s a Sculpture on My Shoulder: Bruce McLean and the Anxiety of Influence’ in Anglo-American Exchange in Post-War Sculpture, ed. Rebecca Peabody (Los Angeles: Getty Publishing, 2011), 76-89. Reprinted version of article in Sculpture Journal, 2008. Strange Encounters: Claes Oldenburg’s Proposed Monuments for New York and London’, Art History, 34:4, (September 2011), 838-857. 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. Eccentric Abstraction’, ‘Eva Hesse’, and ‘Louise Bourgeois’, entries for Elles font l’abstraction (Paris: Centre Pompidou, 2021), 236-240.

As we wrestle with climate change, energy crises and the threat of new global conflict, Conway shows why these substances matter more than ever before, and how the hidden battle to control them will shape our geopolitical future. This is the story of civilisation - our ambitions and glory, innovations and appetites - from a new perspective: literally from the ground up. C-Clamp Blues: Eva Hesse’s Relief Work’ in Eva Hesse 1965, ed. Barry Rosen (London: Yale University Press, 2013), 40-49. From the Temple of Kom Ombo an engraving depicts surgical equipment among which is a set of Wadjet eyes denoting it's uses as a medical item and Wadjet's role as a protector deity. Within the wider relief it's contains a depiction of a Roman pharaoh offering the Wadjet Eyes to Haroeris and Senetneferet (meaning the good sister), his consort. While only the lower portion of the relief remains it's inscription describes the pharaoh's desire for Haroeris to cleanse the eyes symbolizing the two halves of Egypt and in turn restore Egypt itself. Once again this denotes Wadjet's role as a protector and unifier of Egypt. [14] Etymology [ edit ] If I measure it must exist’ in Frances Richardson: If I measure it must exist (London: Karsten Schubert, 2021), 2-8 . 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.Towards a Haunted Art History?’ in Technologies of Intuition, ed. Jennifer Fisher (Toronto: YYZ Books, 2006), 247-260. The confidentiality of your financial information is important to us, and we're committed to keeping it secure. Davey’s intellectually flaccid flapping over this question points to the war raging within the Liberal Democrats – between those pushing for a return to reality and the party’s longstanding, vocal trans allies. These allies include self-described pansexual MP Layla Moran, who memorably claimed in parliament that she could see the gendered ‘souls’ of trans-identified people. Then there is Baroness Lynne Featherstone, who told ‘those who believe they can… exclude trans women from women-only spaces’ that their views ‘are not welcome in the Liberal Democrats’. And there is Baroness Liz Barker, who pushed for the removal of the word ‘mother’ from a maternity-leave bill. In Material World, Ed Conway travels the globe - from the sweltering depths of the deepest mine in Europe, to spotless silicon chip factories in Taiwan, to the eerie green pools where lithium originates - to uncover a secret world we rarely see. Revealing the true marvel of these substances, he follows the mind-boggling journeys, miraculous processes and little-known companies that turn the raw materials we all need into products of astonishing complexity. A Conversation on Carol Rama’, Jo Applin, Mark Godfrey, and Cristina Mundici in Carol Rama (Paris: LGDV, 2022), 14-35.

AB - 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. 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. Yayoi Kusama: Without Beginning, Middle, or End’ in Traumata, ed. Emma Baker (London: Sothebys S/2, 2017), 66-80. Eccentric Objects: Rethinking Sculpture in 1960s America (New Haven and London: Yale University Press, 2012)Decadent Islander: Richard Smith’ in This was Tomorrow: The Invention of Pop Art in Great Britain, ed. Uta Ruhkamp (Wolfsburg: Kunstmuseum, 2016), 351-358. Generational Objects: Ida Applebroog’s History of Feminism’, Oxford Art Journal, 40:1 (Spring 2017), 133-151. 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.

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.The name Wadjet [15] is derived from the term for the symbol of her domain, Lower Egypt, the papyrus. [16] Its hieroglyphs differ from those of the Green Crown or Deshret of Lower Egypt only by the determinative, which in the case of the crown was a picture of the Green Crown [17] and, in the case of the goddess, a rearing cobra. 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. 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. James Stevens Curl, The Egyptian Revival: Ancient Egypt as the Inspiration for Design Motifs in the West, Routledge 2005 Same Old: Ryman’s Repetitions’ in Robert Ryman, eds. Stephen Hoban and Courtney J. Martin (New Haven and London: Yale University Press and Dia Art Foundation, 2017), 311-321.