title: List of works by Maxime Real del Sarte

text:
This article is a list of public sculptures designed by Maxime Real del Sarte.

War Memorials using the composition entitled "Je t'ai cherché"

The plaster model entitled "Je t'ai cherché" was first exhibited in 1920 at the Salon des Artistes Français under reference number 3396, and the composition was used by Real del Sarte for five war memorials.  These are listed below.

"Je t'ai cherché" translates as "I looked/searched for you".  Sarte works the compositions beautifully and there are connotations of Mary covering Jesus' body with a shroud or winding sheet

War memorials using the composition "Terre de France"

Other war memorials

Works featuring Joan of Arc

Bust of Joan of Arc in the Basilique-Jeanne-d'Arc in Paris

Construction of this Basilique in honour of Joan of Arc was finished in 1964.  Apart from a bust of Joan of Arc by Real del Sarte inside the church, there is a statue of Joan of Arc outside the church by Félix Charpentier  The site of the church was chosen specifically as it is next to the church of Saint-Denys de la Chapelle where Joan of Arc was greeted in 1429.

Statue of Joan of Arc in Rouen

Perhaps the best known of Real del Sarte's sculptures of Joan of Arc, this stands in the place du Vieux-Marché by the Église Sainte-Jeanne-d'Arc in Rouen. The work was completed in 1929.  The church is relatively new having been constructed as part of the re-development of the area. The church was designed by Louis Arretche, and was finally consecrated on 29 April 1975. Real del Satre's work shows Joan at the stake with the flames starting to catch the bottom of her robe. The work is known as "Jeanne au bûcher" and there are copies of it in other locations in France and in Montréal and Buenos Aires.  See later entries.

Statue of Joan of Arc or The Angel of Peace in Poitiers

A statue by Real del Sarte stands in the square des Cordeliers in Poitiers.  The statue is known as "The Angel of Peace".

Statue of Joan of Arc in the church Saint-Philippe-du-Roule in Paris

The marble statue, installed in 1920, stands in the choir area of the church. Joan wears a suit of armour with "Gallia" inscribed on her shield.

Bust of Joan of Arc

This work is located in the Église Saint-Rémy in Domrémy-la-Pucelle in the Vosges district of Lorraine.  Real del Sarte carves the head of Joan in white marble. Her eyes are closed and she wears a bronze crown of thorns. The pedestal is of onyx and on the front Real del Sarte has carved a dove with open wings. The work was completed in 1929.

Statue of Joan of Arc in Marseilles

Another copy of the Rouen "Jeanne au bûcher"  stands in the Église Saint-Philippe, 121 rue Sylvabelle – 6e arrondissement of Marseilles. A work in stone, completed in 1937.

Statue of Joan of Arc in Nimes

The stone statue of Joan of Arc stands in the Place des Carmes in Nîmes in Gard. A committee to organize the erection of the statue was formed in 1942 and after a public subscription organised in 1943, the pedestal for the statue was erected in front of the church of Saint-Paul in May 1943.  The statue itself was delivered in April, 1944 and stored in a hangar near Beauclaire.  It was officially delivered to the town in December 1956 but the decision to erect it was delayed until 1964.  This work was also supplied to Limoges in 1942 and to Grenoble in 1945.  Experts have expressed the view that Real del Sarte had been inspired by the statue of Joan of Arc sculpted by Paul Dardé  for Montpellier in 1918. At the foot of the statue, and in bronze is a sculpture depicting a heart being consumed by flames.  The text, "Rouen 1431″ records the year and place of Joan's execution and there is also an inscription stating -"Ce coeur contient de la terre prelevee au lieu sacre du bûcher de Jeanne d'Arc".  This tells us that the heart contains soil from the spot where Joan was burnt at the stake".

Statue of Joan of Arc in Montréal

A replica of Real del Sarte's representation of Joan of Arc in Rouen. Her eyes are closed and she is praying, her feet on a stake and flames are beginning to envelop her. The work is carved from the hard stone of Poitou.  The work measures a little over 3 metres and weighs 4 tons. The work was a gift by the sculptor to the University of Montréal.  At the base of the statue Real del Sarte has carved the words This is one of five replicas of Real del Sarte's 1928 composition for Rouen known as "Jeanne au bûcher" and in 1950, Real del Sarte made a gift of the work to the then rector of Montréal University in recognition of Franco-Canadian friendship and the religious nature of the university at that time.

The work "Jeanne au bûcher" in Buenos Aires in Argentina

Another replica of the Rouen work can be seen in Buenos Aires in Argentine.  It is located near the entrance to the Club de los Pescadores facing Jorge Newberry airport by the Rio de la Plata. It carries the inscription It is recorded that this was a gift made in 1948 by Alberto Dodero of Compañía Argentina de Navegación Dodero S.A.

Statue of Joan of Arc in Vaucouleurs Castle

At the end of the Second World War, the US Congress commissioned a statue of Joan of Arc intended for the "Congressional Hall of Heroes".  Real del Sarte was the sculptor but when it was time to pay for the work, Congress refused to pay. It was purchased instead by the Department of the Meuse and was placed in the upper church of the Vaucouleurs castle, where it remains to this day. The upper church is closed to the general public but with special permission from the city it may be viewed.

Statue of Joan of Arc in Wissous in Essonne

Another copy of the Rouen  "Jeanne d'Arc au bûcher" composition, this time in plaster.

Other works- Those with a military theme

Monument to the Polish volunteers of the 1914-1918 war

This monument is dedicated to all the Polish volunteers who fought alongside the French army in the 1914-1918 war especially in May 1915 and the fighting at Souchez, Carency, and Neuville-Saint-Vaast. The erection of the monument was organised by members of the Polish community in France. It was inaugurated on 21 May 1933 by the Polish ambassador. The inscriptions read  which translates as "our liberty and yours" and

Tank Memorial at Berry-Au-Bac

The Tank Memorial (Mémorial des Chars d'Assaut) pays tribute to all those tank drivers who fell in the course of 1917–1918. It was erected following the efforts of a group of ex-infantrymen, and inaugurated on 2 July 1922 in the presence of both Marshals Foch and Pétain and Generals Mangin and Weygand, as well as General Estienne, the so-called "father of the tank".  The monument is situated at Choléra Farm from where a mass attack of French tanks was thrown in the direction of Juvincourt on 16 April 1917. A plaque to the rear of the memorial recalls that on 16 April 1917, the 151st Infantry Regiment continued to advance with the assistance of Bossut's tanks right up to Béliers Wood.  There are some tanks dating back to the 1950s on display near the memorial.

Monument to General Mangin in Paris

A monument to General Mangin was erected in the place Denys-Cochin in Paris, with sculptural work by Real del Sarte.  It was destroyed in October 1940 by the occupying Germans, one of the few memorials linked to the 1914-1918 war that was touched by them.  It is recorded that the instruction to destroy the monument came from Adolf Hitler himself.  The work was reconstructed after the war and re-erected by the church of Saint-François-Xavier in Paris' 7th arrondissement. There was another statue of Mangin in the "clairière de Rethondes" but this was also pulled down by the Germans. The Germans had not forgotten Mangin's record when he was the Governor of the occupied Rhineland in the 1920s.

Monument dedicated to the 106th French Infantry Regiment

It was by their efforts in the Battle of the Marne from 6 to 12 September 1914 that the Franco-British forces halted the German advance and by mid-September the front started to form.  The German Army took up position on the "Crête des Éparges" (Éparges ridge) about 20 kilometres east of Verdun. This ridge provided an excellent observation point to whoever held it and from February to April 1915,  the French attempted to dislodge the Germans from it. It was the 106th French Infantry that led the fighting under the command of sub-lieutenant Maurice Genevoix. The fighting was brutal with the area under constant artillery fire and conditions were amongst the hardest endured along the front-line.  Finally on 11 April 1915, whilst both sides were claiming victory,  the French had taken 80% of the ridge by not "Point X" which had been their objective. The fighting for the Éparges ridge was the precursor for the commencement of the fighting at Verdun in 1916.  Losses were substantial.  The style of fighting changed as the war progressed and in this and other areas much of it was now to take place underground. The war became a war of mines and it was not until 1918 that the ridge was finally taken, this with much assistance from colonial and American troops. It was at  Éparges that Real del Sarte fought and lost part of one arm, so it was fitting that he should carry out the sculpture for the regimental memorial erected in 1935. The work was supervised by Georges Ricome who had been an officer with the regiment. The words "Je crois" are inscribed on the front of the memorial and on one side there is a quotation from Maurice Genevoix- The bas-relief is said to be a metaphor portraying the descent from the Cross, with Mary being France itself and Christ a soldier who has sacrificed his life for the Motherland.

Statue of Maréchal Joffre

Real del Sarte's bronze statue shows Joffre on a horse and he appears to be pointing to the nearby Eiffel tower.  It is located on the Champ de Mars in Paris, just by the École Militaire. It was sculpted in 1939 by Real del Sarte.

The Ferme de Navarin Monument. Souhain in Oise

Maxime Real del Sarte's composition on the top of this monument's pyramid shape structure features a group of three soldiers in "attack" mode. Reportedly the soldier in the centre was meant to represent a likeness of General Gouraud. The soldier on the right was supposedly based on Quentin Roosevelt, the nephew of  Theodore Roosevelt who was killed near Cambrai on 14 July 1918, and the soldier on the left was said to be based on Maxime Real del Sarte's brother, killed in the Champagne during the war.  Del Sarte himself was injured fighting in the Éparges section of the Verdun front on 29 January 1916 and part of his left arm had to be amputated.  The monument remembers the efforts of the French army units who fought in the area.

Other works

Work entitled "Vendéen fidèle"

In this 1935 work hommage is paid to the population of the Vendée.  The work is 2.50 metres high.

Statue in the Église St Vaast in Béthune

A statue of St Michael slaying a dragon can be seen in the Église St Vaast in Béthune.

Monument aux Infirmières in Pierrefonds

This monument honours those nurses who lost their lives on the battlefields in the 1914–1918 war. It is located in the chaussée Defublé. Elisabeth Jalaguier, born in 1890, was active as a nurse in the 1914–1918 war and served at the Hôtel des Bains in Pierrefonds which was being used as a military hospital.  In 1918 she was struck during an aerial bombardment and died three months after the war ended.  In May 1919 she was awarded the Légion d'Honneur. A white stone was placed on the spot where Jalaguier was struck and in 1933 a public subscription was organised by another nurse called "Maman Perdon" and a Doctor Ferrand and in June 1955 the monument was erected in place of the white stone. The "Union Nationale des Combattants" had sold the monument to Pierrefonds and it was restored and erected in the town in 1996. The statue was cast in bronze based on a plaster model by Real del Sarte.

Sculptures on the tombs of Philippe d'Orléans (1869–1926) and Ferdinand d'Orléans (1884–1924)

These works by Real del Sarte are in the Chapelle royale Saint-Louis at Dreux in Eure-et-Loir

Sculpture of Mary and Child in Lausanne

This work is located in one of the two chapels of reconciliation in the parish church of St Joseph in Lausanne.

Monument dedicated to Edward VII

Real del Sarte was the sculptor of this monument in Biarritz. It was inaugurated in 1922.

Church of Saint-Louis in Port-Gentil

This church in Gabon was built between 1928 and 1936 and was given the name of Louis in honour of Monseigneur Louis Matron whose idea it was to build the church.  The church contains a statue of Saint Louis by Real Del Sarte (1888-1954).

The work "Le premier toit"

This Real del Sarte work is located in Le Parc Pasteur in  Orléans in Loiret.  It is on loan from the Louvre in Paris. It is recorded that Real del Sarte had started this piece in 1914 and before enlisting in the army and when he returned from fighting and recovered from his wound, he returned to it. It is a stark composition featuring a naked man and woman who face each other on their knees, each putting their arms on the other's shoulders.  The sculpture was awarded the Grand Prix National des Beaux-Arts in 1921.
 The description "Le premier toit" translates as "The first roof".

The sculpture entitled "Résistance" in Misérieux in Ain,  Rhône-Alpes

Sculpted in Sicilian stone in 1920.  Portrays a naked couple in combat.

The work La Femme au chat

Also in Buenos Aires, and another gift to the city by Alberto Dodero, is a marble work entitled "La Femme au chat". It measures 1.60 metres in height. It is located in the Palermo quarter of the city at "Las Canitas" on the avenue Chenaut et Arce.

Statue of Saint Maxime

This work in white painted stone is located in the Église paroissiale Saint-Maxime in Antony in Hauts-de-Seine in the Ile-de-France.  It is dated 1946. Del Sarte portrays Saint Maxime in the attire of a bishop. He stands over a dragon which he has just slain.  Originally the statue was placed inside the church but is now located outside.

Statue of Saint Sébastien

This small statue is located in the Saint-Nicolas parish church in the rue de l'Eglise, Baboeuf in the Oise region of Picardy. It is carved from a combination of wood and stone, the arrows piercing St Sébastien being in wood.

Various furnishings for the parish church of Saint-Jacques-le-Majeur in Courtavon in Haut-Rhin Alsace

For this church in the rue de la Chapelle, Sarte worked on an altar table, a cross, a war memorial and various statues and tombstones.

Two Inscribed tablets in remembrance of the dead of the 1914-1918 war

This Sarte work is located in the parish church of Saint-Melaine in La Chapelle-de-Brain in Ille-et-Vilaine in Brittany. It comprises two tablets with both being inscribed " AUX ENFANTS DE LA PAROISSE / MORTS POUR LA FRANCE / 1914 1918 / LA CHAPELLE SAINT MELAINE".  The tablet on the left hand side reads " MISERICORDIEUX JESUS / DONNEZ LEUR LE REPOS ETERNEL / CEUX QUI PIEUSEMENT SONT MORTS POUR LA PATRIE / ONT DROIT QU'A LEUR CERCUEIL LA FOULE VIENNE ET PRIE" whilst that on the right reads "VIERGE COMPATISSANTE / CONSOLEZ LES AFFLIGES / HEUREUX CEUX QUI SONT MORTS DANS LES GRANDES BATAILLES / COUCHES DESSUS LE SOL A LA FACE DE DIEU". The names of those honoured are listed in the order they died.

Monument to Alexander of Yugoslavia

This monument stands in the Place de Colombie in the 16e arrondissement of Paris.  It was completed in 1936. Cast in bronze by the foundry Durenne the inscriptions read  and in a bronze plaque at the rear another inscriptions read  and

Bust on the grave of Ernest Berger in the Cimetière de Vaugirard

The cemetery contains the graves of many members of the extreme right factions supporting the royalist cause in France. There are members of the "Camelots du roi" and of  "Action Française" buried here, many of whom were to suffer violent deaths.  Marius André, Pierre Juhel, Georges Calzant and Eugène Marsan are all buried here as well as Marius Plateau killed in 1923 and Marcel Langois killed in fights with communist agitators.  The grave of Ernest Berger, assassinated in 1925, is adorned by a bust by Real del Sarte.

Statue of Louise Bettignies in Lille

Real del Sarte was the sculptor of this statue in Lille. Bettignies had worked as a spy for the British in the 1914-1918 war, using the name Alice Dubois.

Statue of the Duke of Sicily

Real del Sarte was the sculptor of this statue in Hautville la Guichard. It was completed in 1934.

Stations of the Cross/Chemin des Croix in Saint Jean de Luz

Real del Sarte completed the Stations of the Cross for the church of Saint Jean de Luz in 1950.

References

Sculptures by artist


title: Khandubhai Kasanji Desai

text:
Khandubhai Kasanji Desai (23 October 1898 - 17 April 1975) was an Indian politician who served as Union Minister of Labour from 1954 to 1957 and as Governor of Andhra Pradesh between 11 April 1968 until 5 January 1975.

Life

Khandu Bhai Desai was born on 23 October 1898 in Valsad district of Gujarat.  After his early education in Valsad, he was admitted to the Wilson College in Mumbai.  But in 1920, Mahatma Gandhi came out after boycotting the college in the non-cooperation movement.  Later he completed his education at Gujarat Vidyapeeth, Ahmedabad, established by Gandhiji.

Labor movement

Khandu Bhai Desai soon joined the labor movement.  He took up the work of 'Mazur Mahajan', an organization of cotton mill workers of Ahmedabad.  Anusuya Ben Sarabhai, Shankarlal Banker, Gulzari Lal Nanda were his colleagues.  Khandu Bhai propagated the spirit of Swadeshi and self-respect of the workers.  Gradually the labor union began to expand.  As a result, the Indian National Trade Union Congress was established and in 1947 Khandubhai Desai was elected its first secretary.

He was also the president of this institution from 1950 to 1953.  In 1950, he represented the workers of India in the 'World Labor Union'.  In 1962, he was also the representative of India in the conference of independent trade unions of the world.

Political life

The activities of Khandu Bhai Desai were equally important in other areas as well.  In 1937, he was elected a member of the Bombay State Legislative Assembly.  In 1946, he was nominated as a member of the Constituent Assembly of the country.

From 1950 to 1952 he served as a member of the Provisional Parliament.  Khandubhai was elected a member of the Lok Sabha from the Mehsana-(West) parliamentary seat in the 1952 parliamentary elections as a Congress candidate.

From 1954 to 1957 he served as the Labor Minister in the central government of Jawaharlal Nehru.  After this (1959 to 1966) he was a member of the Rajya Sabha.

From 11 April 1968 to 25 January 1975 he served as the 5th Governor of Andhra Pradesh.  After retiring from the post of Governor, he started living in Ahmedabad, and he died on 17 April 1975.

References

1898 births
1975 deaths
People from Valsad district
Governors of Andhra Pradesh
Labour ministers of India
India MPs 1952–1957
Lok Sabha members from Gujarat
Indian independence activists from Gujarat
Indian National Congress politicians from Gujarat
Activists from Gujarat
Gujarati people
Gandhians
Indian trade unionists
Members of the Constituent Assembly of India


title: Stauber

text:
Stauber is a surname. Notable people with the surname include:
Allan Stauber (born 1944), American bridge player
Dalit Stauber (born 1959), Israeli educator
Dan Stauber, American ice hockey player and coach
Edith Stauber (born 1968), Austrian film director and illustrator
Emma Stauber (born 1993), American ice hockey player
Jack Stauber (born 1996), American musician, YouTuber and animator
Jaxson Stauber (born 1999), American ice hockey player
Jenny Stauber, Australian ecotoxicologist
John Stauber (born 1953), American writer and activist
Larry Stauber (born 1947), American judge
Pete Stauber (born 1966), American politician from Minnesota
Robb Stauber (born 1967), American ice hockey player
Roni Stauber, Israeli historian

See also
24547 Stauber, a main-belt minor planet


title: W. Grant Dahlstrom

text:
William Grant Dahlstrom (1922–2006) was an American psychologist who worked on the Minnesota Multiphasic Personality Inventory.

He received the APA Award for Distinguished Professional Contributions to Applied Research in 1991 and the Bruno Klopfer Award in 1994. In 1969 he won the Anisfield-Wolf Book Award with E. Earl Baughman for their study Negro and White Children: A Psychological Study in the Rural South.

References

20th-century American psychologists
1922 births
2006 deaths


title: Bangladeshi cricket team in Sri Lanka in 1985–86

text:
The Bangladeshi national cricket team toured Sri Lanka in March and April 1986 to play in a Limited Overs International (LOI) competition against the Sri Lankan and Pakistani national cricket teams, which was won by Sri Lanka. Bangladesh were captained by Gazi Ashraf.

References

1986 in Sri Lankan cricket
1986 in Bangladeshi cricket
Bangladeshi cricket tours of Sri Lanka
International cricket competitions from 1985–86 to 1988
Sri Lankan cricket seasons from 1972–73 to 1999–2000


title: Face Off (season 7)

text:
The seventh season of the Syfy reality television series Face Off premiered on July 22, 2014. The season features 16 prosthetic-makeup artists competing against each other to create makeup effects. This season will have a specific theme, 'Life and Death'.

In this season, the contestants faced a Sudden Death challenge, when, during the first episode, it was revealed that the contestants' first challenge is actually their final audition to be on the show.

Prizes for this season include US$100,000, a 2014 Fiat 500, and a VIP trip to one of Kryolan's makeup locations.  Dina Cimarusti of Chicago, Illinois won this season in the end.

Recurring people
 McKenzie Westmore - Host
 Michael Westmore - Mentor

Judges
 Lois Burwell
 Ve Neill appears as a judge in only three episodes due to The Hunger Games commitments.
 Glenn Hetrick
 Neville Page

Contestants

Contestant progress

Color key:

 The contestant won Face Off.
  The contestant was a runner-up.
 The contestant won a Spotlight Challenge.
 The contestant was part of a team that won the Spotlight Challenge.
 The contestant was in the top in the Spotlight Challenge.
 The contestant was declared one of the best in the Spotlight Challenge but was not in the running for the win.
 The contestant was in the bottom in the Spotlight Challenge.
 The contestant was a teammate of the eliminated contestant in the Spotlight Challenge.
 The contestant was eliminated.
 The contestant was deemed the least successful but was saved by the judges and was not eliminated.
‡ The contestant won the Foundation Challenge.

Episodes

References

External links

2014 American television seasons
Face Off (TV series)


The 2011 East Dorset District Council election took place on 5 May 2011 to elect members of East Dorset District Council in Dorset, England. The whole council was up for election and the Conservative Party stayed in overall control of the council.

Background
Before the election the Conservatives had a majority on the council with 25 seats, compared to 11 Liberal Democrats. Every seat was up for election, however 12 Conservative councillors, including the leader of the council Spencer Flower, faced no opposition at the election. The candidates at the election were 36 Conservatives, 18 Liberal Democrats, 10 UK Independence Party and 3 from Labour.

Election result
The Conservatives gained 5 seats from the Liberal Democrats to have 30 councillors, compared to 6 for the Liberal Democrats. Conservative gains including taking seats in West Moors and Corfe Mullen from the Liberal Democrats, with the margin in Corfe Mullen South ward being only 6 votes. Overall turnout at the election was 49.1%.

Ward results

By-elections between 2011 and 2015
A by-election was held in Colehill East ward on 17 July 2014 after the death of the Liberal Democrat councillor since 1973, Don Wallace. The seat was held for the Liberal Democrats by Barry Roberts with a majority of 416 votes over the Conservatives.

References

East Dorset District Council elections
2011 English local elections
2010s in Dorset


title: Ralph Peduto

text:
Ralph Peduto (March 9, 1942 – May 12, 2014) was an American actor, playwright, writer and director.  Peduto's film roles included Mrs. Doubtfire in 1993, The Rock in 1996, and Patch Adams in 1998, while his television credits included guest spots in Cheers and Hill Street Blues. He ultimately appeared in more than 100 film and television roles, as forty television commercials. An acting teacher as well as an actor, Peduto founded Acting On Camera, an acting school in Santa Cruz, California.

Life and career
Peduto was born on March 9. 1942, in Jersey City, New Jersey, to a working-class Italian American family. He was the eldest of three children of James and Helen Peduto. He attended James J. Ferris High School and graduated from William L. Dickinson High School in Jersey City (He was later inducted into Dickinson's Hall of Fame in 2000). Peduto enlisted in the U.S. Army and was stationed in South Korea during the Vietnam War era. He then attended Rutgers University after returning to the United States.

In 1973, Peduto moved from New Jersey to the Monterey Bay Area to accept a broadcasting position at KRML, an AM radio station in Carmel, California. He first began acting at Cabrillo College. He soon wrote and produced theater plays at Cabrillo, including "Root Rock," his autobiographical musical which debuted in 1979.

Peduto transitioned to roles in Hollywood films, television shows and commercials during the 1980s. He appeared in television and films from the 1980s to the 2000s. Peduto also had an extensive career in television commercials. His best known commercial work was as the "Midas Man", a character and spokesman for the Midas automotive centers, in which he urged consumers to depend on Midas.

Peduto was a longtime resident of Capitola, California.

Ralph Peduto died on May 12, 2014, just twelve days after being diagnosed with leukemia, at the age of 72. He was survived by his wife of 45 years, Laura Peduto, and their two children, Maro Peduto and Oceanna Ceja.

Filmography

References

External links

1942 births
2014 deaths
American male film actors
American male television actors
American male stage actors
James J. Ferris High School alumni
Male actors from California
American writers of Italian descent
Male actors from Santa Cruz, California
Male actors from Jersey City, New Jersey
Rutgers University alumni
Cabrillo College alumni
20th-century American male actors
21st-century American male actors
Deaths from leukemia
Deaths from cancer in California
20th-century American dramatists and playwrights
William L. Dickinson High School alumni
Writers from Jersey City, New Jersey
People from Capitola, California


title: FAILE (artist collaboration)

text:
FAILE (Pronounced "fail") is a Brooklyn-based artistic collaboration between Patrick McNeil (born 1975) and Patrick Miller (born 1976). Since its inception in 1999, FAILE has been known for a wide-ranging multimedia practice recognizable for its explorations of duality through a fragmented style of appropriation and collage.

While painting and printmaking remain central to their approach, over the past decade FAILE has adapted its signature mass culture-driven iconography to an array of materials and techniques, from wooden boxes and window pallets to more traditional canvas, prints, sculptures, stencils, installation, and prayer wheels. FAILE's work is constructed from found visual imagery, and blurs the line between "high" and "low" culture, but recent exhibitions demonstrate an emphasis on audience participation, a critique of consumerism, and the incorporation of religious media, architecture, and site-specific/archival research into their work.

Biographical
McNeil was born in 1975 in Edmonton, Alberta; Miller was born in 1976 in Minneapolis, Minnesota. McNeil and Miller met during their youth in Arizona. Separated in 1996 when Miller remained in art school in Minneapolis and McNeil continued to New York, by the end of the decade, the duo reconnected and, with the addition of then artist Aiko Nakagawa (born 1975, Tokyo, JP), "A Life" was conceived.  By early 2000, the trio contributed to the emergence of a nascent street art culture by circulating their screenprinted and painted work on city streets, usually using the subversive processes of wheatpasting and stenciling.  During the ensuing years McNeil, Miller, and Nakagawa solidified both their omnivorous style of pop-cultural collage, and changed their name to FAILE (an anagram of A Life). Nakagawa left FAILE in 2006, gaining success in her own right as AIKO aka Lady Aiko, while McNeil and Miller continued on to increased commercial and institutional visibility.

Career

Early years: 2000-2005
If FAILE's career can be viewed on a spectrum of "street art" and DIY-products to gallery-ready "fine art," then the first half of the aughts tilts more fully towards street practice.  Although FAILE has always shown in galleries in one form or another, and still puts work on the street, these early years were spent deploying work in cities around the world and honing a distinctive style of wheatpasted and stenciled work that recalls both the shredded commodity collage of midcentury décollagistes Mimmo Rotella and Jacques Villeglé, and the pulp-cultural appropriations and comic books sensibilities of sixties "pop" artists such as Richard Hamilton, Andy Warhol, and Roy Lichtenstein.  These influences were intensified in FAILE's work by the rapid fire splicing and re-assemblage of sampling, and the direct-to-audience urban raids specific to the golden age of graffiti.

Although FAILE's style can be located in these art historical legacies, their style and idiosyncratic vernacular make FAILE's work distinct and recognizable.  During the early years of their career, influenced by contemporaries Shepard Fairey, BAST, and WK Interact, FAILE generated both a process of assemblage and urban circulation, and consistent visual cues and themes.  One such example is the Challenger space shuttle, which crashed shortly after its launch in 1986.  Not only does the shuttle appear in various forms in much of FAILE's work, the year "1986" is appended to their pieces as a signature that both invokes their specific use of the shuttle image, and also a reminder to their audience of the event itself, of its role in their personal history.  "1986" is both indicative of a populist or dialogic impulse in much of FAILE's work, and also an example of the characteristic ambivalence or dualism in their practice. Recurring themes of binaries such as love/hate, peace/war, triumph/calamity, satiation/desire are all prevalent in work that seems to assimilate the global urban landscape but tenders only oblique opinions about that landscape.

During this period, FAILE produced several books in limited edition, including, by 2004, Orange, Death, Boredom, and Lavender.  The overlap between FAILE's art practice and design background was pronounced during this early period, and found them collaborating on clothing and shoe lines (including Paper Denim, Comme des Garcons, and Pro-Keds), and music projects, as well as work on the street. In 2004 McNeil reflected, "A lot of what inspires us and excites us is the opportunity to work with talented people and to work on projects that are a challenge. Having the chance to work on things of all different disciplines whether it is fashion, painting, shoe design, or making a toy. The ideas of getting locked in and known for one thing and having to repeat. It sounds like a dreadful situation to be in. Recently we got the opportunity to work on the new Duran Duran album with John Warwicker for Tomato."

This first phase of FAILE's career was markedly experimental and varied—constant travel, a lack of studio space, and a rapidly evolving process meant that work was made for (and usually at) specific sites, from Manhattan to London and Tokyo.  Commercial projects helped to finance this period of dissemination and revision.  By 2005, however, FAILE acquired a permanent studio space, and were able to commit fully to a more studio-driven practice that both adapted the entropic street aesthetic of FAILE's and others' work, and permitted FAILE to apply their practice to a wider array of media and socio-political themes.

Spank the Monkey (2006)
From 27 September 2006 to 7 January 2007, independent curator Pedro Alonszo's Spank the Monkey ran at the BALTIC Centre for Contemporary Art in Gateshead, UK.  The exhibition brought together twenty two internationally recognized street artists and investigated street art's growing artistic quality and popular appeal (particularly in the United Kingdom) and its rootedness in the realms of graphic design and global youth culture. The exhibition included celebrated "fine artists" such as Barry McGee, Takashi Murakami, and Ryan McGinness alongside noted graffiti, street, and design artists such as Os Gemeos, Shepard Fairey, Banksy, and FAILE.  Spank the Monkey was the first exhibition of its kind, and followed closely behind the commercial success of Fairey's Obey line, and Banksy's "Barely Legal" sale of his own work in Los Angeles.

The exhibition, which positioned works both inside the gallery and throughout Newcastle, received favorable reviews.  Speaking of the show, critic Guy Bird noted that "when the gallery takes the art seriously, avoiding condescension, or over-glamorisation, and the artists avoid 'sell-out' accusations by keeping control of their message...the results can be spectacular."  Spank the Monkey marked both the gradual institutional acceptance of street art, and FAILE’s regular display in high-profile fine-art institutions.  Indeed, FAILE used the venue to display some of their most somber work to date, in a series of twelve paintings titled "War Profitees," that incorporated harrowing photographs, newspaper text, and a dark color palette to bring to life the tragic 2006 Lebanon War, which killed 1,500 people, most of whom were civilians.  The invocation of political violence, and references to Israel and Hezbollah indicated an intensification of FAILE's work, and demonstrated how their technique could be brought to bear on the precarious global order of the 21st century.  The integration of form and content in the work, and sustained, critical attention to a political theme evident in FAILE's Spank the Monkey contribution was a harbinger.

Tate Modern (2008)
In response to the growing popularity—and commercial viability—of street art, the Tate Modern, located in London's Southwark, organized a show simply titled Street Art, that took place from 23 May to 25 August 2008, one week after Banksy's Cans show in a London railway tunnel. The exhibition, organized by curator Cedar Lewisohn, displayed work by six artists or collaborative projects in massive relief on the riverfront-facing wall of the museum's turbine room.  Street Art included Nunca and Os Gemeos from Brazil, [[
Blu (artist)|Blu]] from Italy, Sixeart from Spain, and JR from France.  FAILE was the only group to participate in both the Cans and the Tate shows, contributing to the latter a massive  image of a Native American in full regalia amidst a shredded collage of pulp images and found signage typical of FAILE's work in 2008, and constructed in pieces in the studio before being affixed to the Tate's exterior. Of the exhibition and the institutionalization of their work, FAILE argued "At least it’s no longer undermined as something on the street, something without value.  Money fuels interest—it’s an injection in the butt that fires people up and makes them realise they should pay attention."

While street art was, by 2008, an increasingly accepted and popular form overseas, in New York, graffiti's traditional home, street art was embraced by only a handful of galleries, such as Deitch Projects, an early champion of sometimes FAILE collaborator Swoon.  As FAILE noted at the time, "New York has such a history of this art, but institutions are waiting to see what happens before they open the doors to it.  The art is starting to surface in New York Sotheby's and Christie's, but it wouldn’t be if not for the excitement [in the UK]." Inclusion in the Tate show, which received widespread media attention and reached a large public, brought FAILE more fully into the international spotlight and further established them as one of the most recognizable names in an increasingly globalized and multi-platform art world.

Lost in Glimmering Shadows (2008)
On the heels of work in England for the Baltic Gallery and the Tate Modern, FAILE displayed a series of new work in November 2008 titled Lost in Glimmering Shadows, and thematically unified exploration of tension between consumer culture and spiritual fulfillment and the contradiction between America's sometimes bloody history and its democratic ideals.

Housed in the Lilian-Baylis Old School in conjunction with Lazarides Gallery in London, Lost in Glimmering Shadows occupied an ambiently lit circular gallery space in which large-scale prints and paintings surrounded sculptural elements in the interior ring. While the temple-like lighting and installation, life-size cast of a boy with rabbit, and large-scale painted work were familiar formal carryovers from earlier exhibitions (such as 2007's commercially successful From Brooklyn With Love at Lazarides, and Nothing Lasts Forever in New York's Chinatown) Lost in Glimmering Shadows notably introduced freestanding, functional prayer wheels, circular disc paintings, and stacks of multifaceted apple boxes, all emblazoned with brightly hued text and found imagery.  Moreover, the show introduced a leitmotif of heroic Native American figures in conflict with a consumption-mad America, their world "lost in glimmering shadows."

The work within the exhibition derived much of its force from ironic juxtapositions, such as a reworking of the American flag in the style of a Navajo ceramic in the acrylic on canvas Star Spangled Shadows, and the textual interplay on the prayer wheels of phrases like "In search of sacred" and roadside advertisements for "cold beer" and "snacks."  This irony is redoubled by the construction here of functional religious devices (the prayer wheel) overlaid by FAILE's own international brand.  At other times, the work is more explicit, depicting a suit-wearing kachina figure amidst the backdrop of a pulp serial promising "A Betrayal Story," in the painting of the same name, or implying an alternate America in It Could be Beautiful. Consistent FAILE themes such as the Challenger shuttle and urban signage were featured alongside new figures and decorative elements derived from traditional figurines and baskets, as well as appropriated 20th-century imagery and pictures from the American southwest.

Deluxx Fluxx (2010)
From 12 February to 27 March on Greek Street in London, and again from 30 April to 27 May 2010, on artist BAST to produce an installation dubbed Deluxx Fluxx, comprising custom-made, operational arcade games and a foosball table.  The entire salon at 158 Allen St. and the arcade cabinets therein were wheatpasted by FAILE and BAST, and blurred the line between the traditional "white cube" method of art display and the commercial operation of a gaming parlor. While audiences were invited to play the games for free, the works themselves were part canvas, part sculptural object, and part cabinet for interactive video art. The content of the cabinets, video work modeled on classic "games," were executed in collaboration with Adapted Studio and Seth Jabour of the band Les Savy Fav.

This New York installation updated an earlier version of the show with the Lazarides Gallery in London from earlier that spring, and featured recurring FAILE and BAST images, such as kissing women, Popeye, old time boxers, a barking dog, and commercial logos and signage for, among others, Chapstick and former airline TWA.  Most of the images, such as they were derived from threads within FAILE's visual archive no longer for sale as prints in their own right, while others, such as the "Fashion Chimp," may appear in future projects.  While the London show provided the blueprint for the New York iteration, the latter featured new games and images, and employed neon and blacklighting to generate a fully immersive experience.  The aim of Deluxx Fluxx was to bridge the DIY-sensibility and popular accessibility of street practice with the more permanent, gallery-style emphasis of FAILE's more recent work. According to the artists, "After doing the show in London, we learned a lot and had so much of the groundwork built to do the show again. There was a real sense of joy in seeing people interact with the work in this way and that was the whole point of the show from the beginning. We wanted to bring it to NYC and it was something we wanted to do on our own. Just to make it happen, much like our street art. We knew we wanted to create new machines here, to make it a new experience but the same style show."

In so doing, Deluxx Fluxx obscured the lines between artist and consumer, and viewer and participant in an attempt to recapture the recent history of the Lower East Side as a haven for anti-elitist art practices such as graffiti and punk rock.  While not reviewed heavily in art publications, Deluxx Fluxx received favorable reviews, with Stephen Heyman of the New York Times arguing that "art can be diverting, but people sometimes need winners and losers to get in the game."

In 2014 Deluxx Fluxx was also exhibited at Edinburgh, Scotland's Summerhall as part of the Edinburgh Festival - alongside the Vestige Board paintings; large canvases created initially in the studio from the artists and assistants cleaning their screens and brushes on the surfaces and then later completed by Faile with the addition of recognisable "Faile" iconography on the surface. The exhibitions were a critical and popular success.

Temple (2010)
From 16 July to 5 August 2010, FAILE displayed Temple a full-scale church in ruins in Praça dos Restauradores Square in Lisbon, Portugal. The installation was made in conjunction with the Portugal Arte 10 Festival and is slated for touring abroad.  Temple brought together a variety of earlier motifs—street art vernacular, prayer wheels, and a dualistic interest in the globalization of commerce and new forms of spiritual immanence—with the site specific concerns of working in an historically Catholic country.  The piece itself is a building in ruins fabricated with components, such as iron gating, ceramic relief work, and painted ceramic tiles from local and foreign manufacturers.  Familiar FAILE images appear in relief (an update on 15th-century Florentine sculptor Luca Della Robia), the previously 2-D "Scuba Horse" was realized as a sculptural fountain, and the white, blue, and gold color palette was a nod towards the Portuguese landscape. Temple marked FAILE's first contribution to the international festival circuit, and brought their practice full circle, taking high concept studio art back to an accessible, urban setting.

Temple received strong critical and viewer attention, and was successful at blending seamlessly into its temporary environment even as it expanded and augmented FAILE's idiosyncratic leitmotifs. According to Interview, "Faile's site-specific work seems to be the hit of the biennial. It's a shining ruin, an open-air dialogue between the sacred past and the secular present. And it's an easy match for the historical architecture encircling the busy Praça dos Restauradores, which is probably why your average cab driver likes it–and why foreign tourists passing by have been trying to look it up in their guidebooks." In its ability to blur the boundaries between art and architecture, object and display environment, Temple further amplified underlying currents in FAILE's work, such as an emphasis on openness and participation, the porousness of cultural and institutional boundaries, and the fluid integration of visual culture and the built environment.

Bedtime Stories (2010)
This exhibition of works on wood was something of a return to fundamentals, clearly emphasizing form and process, and ran From 4 November to 23 December 2010 at the Perry Rubenstein gallery in New York. Each of the twelve works' compositions were created from individually painted wooden blocks that came together in "puzzle-box" format as unified paintings. According to the text accompanying the show, the paintings on wood "reveal FAILE’s relentless assimilation and refinement of the vast visual vocabularies of both the urban environment and their own decade-long practice. The grids of these paintings are at once modular and fixed, tactile and graphic. On their surfaces, iconoclastic characters fluidly intermingle with adroit deconstructions of commodity culture. The re-combinations of carefully constructed texts and images provide a glimpse into FAILE’s rigorous and organic process, and draw attention to painting’s inherent materiality."

Fragments of FAILE (2011)
For the late fall of 2011, FAILE made a series of new paintings for a solo show at the Lazarides Gallery in London.  The new work marked a period of experimentation and a pronounced return to painting and folk tradition.  While all of the pieces for Fragments of FAILE were built from existing FAILE motifs, images, and text, their formats referenced a wide array of new formal approaches, including monochromatic abstraction, figuration and portraiture, American quilting, Native American textiles, and Tibetan Mandalas.  Fragments of FAILE showcased work made during an intensive phase of studio work between larger outdoor commissions.  Some elements, such as the use of wood and a modular or "quilted" structure would factor prominently into subsequent installations.

The Wolf Within (2012)
In the fall of 2012, FAILE worked with the Tiger Translate program to construct a massive (15 ft. high) public sculpture at the National Garden Park complex on the outskirts of Ulaanbaatar, the capitol of Mongolia.  For the commission, FAILE selected a figure drawn from their Lost in Glimmering Shadows show, a corporate-styled man seemingly in transition to a wolf-like form.  Constructed at twice human scale, the original image (Eat With the Wolf)—conceived on the brink of the 2008 financial crisis—was given a new context and new associations.  Wolf Within can, for example, be read as a cautionary tale for a nation in the midst of a massive mineral resource boom and in the process of rapid urbanization.  It is also a reminder of the delicate balance between progress and tradition, and the persistence and resilience of the natural world.  Wolf Within is a permanent installation, rather than a gallery or museum show, and marked FAILE's increasing engagement with commissioned, large-scale outdoor projects.

Les Ballets de FAILE (2013)
FAILE was commissioned by the New York City Ballet to build a new installation in the five-story atrium space of the David H. Koch Theater at the Lincoln Center for the Performing Arts on New York's Upper West Side, to be displayed during the winter and spring of 2013.  In addition to a series of new paintings, FAILE also produced hundreds of individually painted wooden blocks to be given to audience members at two of the NYCB's performances.  The centerpiece of the project, however, was a forty foot high tower dubbed Tower of FAILE, constructed using wooden boxes atop a wooden plinth to form an obelisk screen printed and painted with familiar FAILE imagery, and new materials drawn from research in the NYCB's archives.  This tower was an outgrowth of FAILE's longer-term experimentation with wood and hybrid-sculptural forms, but was FAILE's largest constructed object to date.  It took advantage of the Theater's multiple vantages and high ceilings in order to create encounters with the work that go beyond the single-perspective of a wall-mounted or wheatpasted work.  In this way, the tower arguably built on earlier theories of minimalism in artmaking, and contemporary installation formats, such as Maurizio Cattelan's 2012 retrospective at the Guggenheim in New York.  Of the installation, the Village Voice argued that the project signaled the emergence of the internet generation into a bastion of elite culture, and that it effectively connected "relatable populist imagery with the most rigid of bourgeois arts." In May 2013, FAILE reprised their collaboration with the NYCB, installing twenty one of their signature prayer wheels in the Koch atrium space.  This installation also featured a performance by the ballet that was developed in dialogue with the art.

Where Wild Won't Break (2013)
In 2013, FAILE's first solo American museum show was held from 21 September to 22 December at Dallas Contemporary.  The show featured a suite of paintings on wood with metal armatures, and a range of mixed-media works drawing on classic Americana, such as T-shirts and racing coveralls.  For Where Wild Won't Break FAILE incorporated a range of imagery associated with the American west, including cowboys, bandana clad outlaws. horses, eagles, and desert landscapes.  Another motif within the show was muscle car racing and associated iconography, such as patches and decals, all reworked with FAILE's by-then signature approaches of digital decollage and multimedia assemblage. The publication Artnews argued that "the adventurous, impulsive nature of the West lent itself well to FAILE’s artwork because, as their name suggests, the duo embraces fallibility and spontaneity. [Citing Miller] "No matter how well you try to tame something wild, chaos will always be a part of it." While installing the Dallas Contemporary show, FAILE completed a large mural on the city's Singleton Boulevard, which reflected imagery from FAILE's archive, including the wolf man and bunny boy, juxtaposed with newer material made for the exhibition, including a bandit driving a hot rod.

Savage/Sacred Young Minds (2015)

FAILE's work returned to New York for a major retrospective at the Brooklyn Museum, running from 10 July to 4 October.  The exhibition, organized by curator Sharon Matt Atkins, featured a return of the Temple, which first appeared outdoors in Lisbon, Portugal.  Here, it was reconstituted in an interior gallery of the museum amid two large-scale, hand-carved sculptures, and more recent paintings and works on wood.  FAILE also prepared a new arcade for the occasion, drawing on the black-lit, all-over aesthetic of its earlier pop-up Deluxx Fluxx installations with Bäst.  At the Brooklyn Museum, signature arcade cabinets were complemented by new FAILE-designed pinball machines that were (like their digital counterparts) fully interactive and cultivated a sense of play and leisure within the otherwise "white cube" space of the gallery.  Reviews for the show were mixed, with the Huffington Post's Jaime Rojo and Steven Harrington noting the punk rock and Dada motifs within the arcade, and praising the democratic sensibility of the installation.  They argued that Savage/Sacred Young Minds offered "a full immersion and opportunity for titillating interaction, this show provides an unambiguous sense of the industry that is backing the FAILE fantasy. Throughout their work and your imagination and assumed role, you may be villain, distressed damsel, wolfman, fairey, vandal, wrestler, hot-rodder, madonna, whore, supplicant, avenger, surfing horse or simply an arcade hero who is whiling away windowless hours punching buttons, popping flippers and pumping FAILE tokens into tantalizing art machines." Others, such as Ken Johnson of the New York Times, did not see the broader implications of the show, finding it instead unfocused.  He noted that, "while some other parts of the temple are amusing, intense vibes of savagery, sacredness or insanity are absent. How those psychic states might be related is obscured by Faile’s bewilderingly overwrought and unfocused magpie appropriation of graphic signifiers from many times and places, from ancient Egypt to 20th-century comic books." Time Out New York, in turn, marked FAILE's movement into the museum context, and their connection to an earlier legacy in the New York avant-garde.  They suggested that, "as the careers of Keith Haring and Jean-Michel Basquiat show, the street can often be an avenue into the art world, something certainly true for Patrick McNeil and Patrick Miller. Two Brooklyn artists collaborating under the all-caps name of FAILE, they’ve jumped from plastering walls around Williamsburg to exhibiting in galleries and museums."

Wishing on You (2015)

Throughout the summer of 2015, visitors to New York's Times Square encountered a large-scale FAILE installation titled Wishing on You.  This seven-foot-high kinetic sculpture expanded on the prayer wheels that FAILE placed both inside and outside the gallery in earlier years.  Wishing on You blended old and new FAILE motifs, and was built into a flat-roofed, pagoda-like shelter.  Audiences climbed two steps and passed through green and red columns bearing seemingly south Asian decorative motifs.  The vividly chromatic and textured wheel not only turned, but also powered neon lights in the ceiling of the structure.  In this way Wishing on You paid homage not only to the traditional larger prayer wheels of Bhutan, but also the public square's history of arcades, nickelodeons, and garish advertising.  Of the installation, FAILE noted that "while Wishing on You really builds on Times Square’s storied past...we are also aware of how it has served for so long as a truly American place of celebration and commemoration." For his part, Times Square Alliance president Tim Tompkins remarked of Wishing on You that, "rituals that wish for hope are central to the character of our city, but especially to the character of Times Square."

Strong Currents (2016) and Meet Me Halfway (2017)

2016 marked the first FAILE show with Gordon Gallery, a contemporary art space in Tel Aviv. Hung salon style, Strong Currents brought together a range of studio-based works, and featured familiar motifs such as the reclining "wolf man" and the geometric American flag from the Lost in Glimmering Shadows era. On the whole, the show was notable for its spare compositions and looser handling. In contrast to the intricacy of the wood-block assemblages that preceded them, the works in Strong Currents had a notably graphic feel. In them, FAILE emphasized vibrant color, broad expanses, and more evident brushwork, as in a multihued bouquet of flowers on a white background, or the show's centerpiece, a woman and her horse at rest in an open field.

This line of inquiry continued into 2017 with the Paris exhibition of Meet Me Halfway. As in previous FAILE work, the process of layering and bricolage was fundamental to the multimedia works on display. But here, FAILE pressed the color-blocked sensibility of Strong Currents further, building up figural shapes using cut paper, then overpainting a neutral tone to create negative space or a ground for the composition. This process lent the figures an abstract quality reminiscent of early-20th century posters, and modernist painters like Henri Matisse. The cut paper works were displayed with a survey of recent studio-based works, including assemblages of wood blocks, copper plates, and mosaic or tile-styled arrays of smaller modules. In conjunction with this show, FAILE translated one of the smaller works into a ten-story mural on the side of a building in the city's 13th arrondissement, with a text in French that translates to "and I held my breath."

Stages (2018)

From its inception, FAILE has worked on a range of surfaces, from canvases and wood blocks to city walls. Since at least the Lost in Glimmering Shadows show, they have also attempted to turn galleries into immersive environments, building platforms, painting on display spaces, and encouraging audience participation. In 2010, they turned their attention more fully to questions of sound and lighting as well. The Stages show in Berlin brought many of these elements together, showcasing a broad spectrum of approaches to painting from the previous decade (e.g. gestural abstraction, interlocking "blocks", and fragmented collage). For this exhibition, FAILE also applied black-and-white pieces directly to the walls of the Springmann Gallery, and created a literal stage marked off by a diamond-shaped portal that framed a woman in a bandanna strumming a guitar. During the show's run, the space was carefully lighted in purples and blue and used by a variety of performers. This "environment" seemed to build on earlier experiments, and set the tone for later versions of the Deluxx Fluxx project.

From the Air We Share (2018–19)

In 2018, FAILE took on several large-scale commissions in the city of Strasbourg in northeastern France. Each of these was public facing, and focussed on a more sequential or narrative quality. In 2017, FAILE visited Strasbourg and studied its local lore, ultimately writing a poem to be illustrated by a series of massive black-and-white panels on the exterior of the Musée d’Art moderne et contemporain. The museum's site notes that text and images are epic in tone and rich in metaphor but connect to local luminaries from Marie-Antoinette to Hans Arp, as well as important geographical features like the Rhine River. Relatedly, FAILE also created a massive color mural, "Little by Little", spanning several thousand feet of the central train station overlooking the Place de la Gare. Decorative and representational fragments of FAILE paintings (e.g. the race-car driving cowboy, the surf horse, and women as both damsel and cat burglar) appear in the commission in a monumental format. As part of this project, FAILE also painted a streetcar in bright pastel tones (again, both abstract and figurative). Although the station commission ends in 2019, the "FAILE Train" will be in service for several years.

Public Tile Installations (Ongoing)

2010's Temple project in Portugal found FAILE working in ceramic on a large scale, developing cast sculptural forms and drawing inspiration from accretions of urban tiling. This process complemented FAILE's interest in vernacular architecture and American textile traditions and opened on to a new way of working in the city using ceramics. The first example of this type of work was the 104 North 7th Street project in Williamsburg, Brooklyn. For this "Casa de los Azulejos", FAILE designed an array of signature tiles in striking patterns that were then handmade and fired in a wood-burning kiln. The building, formerly a nondescript light industrial space, was clad by hand over the course of several days. According to FAILE, North 7th was a natural extension of their earlier street-based projects. Miller noted that, in creating the mosaic, "we see almost the process of how graffiti gets built up, the way it gets buffed, these sort of geometric colorfield, abstract paintings."

FAILE's work with tile murals is ongoing, and they have executed a range of custom projects in Southern California, including a home in Venice (2017) and a low-slung building in the downtown Arts District, Los Angeles (2018). This and other work in the city responds in a site-specific fashion to the local context. For example, for a public installation in Orange County's Playa District (2018), FAILE created a slate of bespoke patterns suited to the area, tessellated layouts derived from film reels, the coastal landscape, deco design, and indigenous craft. Similarly, a 2019 commission in Culver City plays on the Lantana flower and local institutions such as the Gemological Institute of America and the famed Rollerdrome.

Deluxx Fluxx Detroit (Ongoing)

The Deluxx Fluxx collaboration with Bäst is a pop-up arcade space that has appeared in multiple locations since 2010. In the summer of 2018 FAILE opened a more permanent version of the project in downtown Detroit near the "Belt", an alley between Library and Broadway Streets. The corridor features an exhibition space and is centered on a series of public arts interventions by contemporaries like Nina Chanel Abney, Carlos Rolón, and Shepard Fairey. FAILE had already shown work the year before in this area with Library Street Collective. That show, The Size of the Fight, assembled many instances of FAILE's practice, including pinball machines, works on wood, and mandala-like paintings. Many of these featured Detroit-specific motifs, as in a "Detroit Tiger" and racing logos that call out to the city. The title of the exhibition references the Mark Twain adage about the "size of the fight in the dog", and Detroit's simultaneous status as an underdog, and place of resilience and rebirth. Overall, FAILE was inspired by the energy of Detroit, and made plans for a more permanent project there.

Like earlier versions, the Detroit Deluxx Fluxx blends elements from the golden age of arcades, 80s-era basements, and the visual culture of nightclubs. It features the arcade's signature day-glo palette and ten custom video game installations. Made in collaboration with Matthew Cooley, the latter are based on Detroit-specific themes, including Robocop and the city's Eastern Market. Built out from a raw space, FAILE lined the walls with their own poster-inspired work and developed a lighting system with Andi Watson, a designer best known as creative director for the band Radiohead. According to the Detroit Free Press, "the result is a venue that’s intimate (240-person capacity) and loaded with details. Its elements will be adjusted over time to create a sense of constant evolution."
In this sense, Deluxx Fluxx is simultaneously an interactive art project and an active performance venue, the space hosts DJ nights focused on Detroit genres (soul, techno) and national acts (e.g. Avey Tare, Chromeo).

Process
Although FAILE's completed works are iconographically and stylistically distinctive, their process of creation owes much to chance, improvisation, and openness to outside source material. This is true of both FAILE's relationship to form and content—the visual elements of their work is continuously adapted to heterogeneous materials, from grocery store sign paper to wooden boxes and painted ceramics.  During the early years of their career, FAILE's primary laboratories were urban streets.  On the one hand, their practice, at its most basic, consisted of painting with stencils on the built environment.  On the other, from the outset FAILE developed work in the studio that drew from a wide array of international cultural influences, both sacred and profane, that were then wheatpasted in the outside world. These latter works demanded reproducibility and rapid availability for circulation, and were thus well suited to the printmaking process.  After experimenting with more graphically centered black and white images, and the intensive process of layer-by-layer color transfer, FAILE introduced an element of immediacy to these prints by painting the paper prior to printing, yielding prints that were loose and chromatically expressive.

Each of these tendencies were amplified by FAILE's consistent travel and limited permanent studio space.  By necessity, work was adapted to its location of display, by virtue of its inherent "site specificity," as well as the group's absorption of forms, imagery, and usable materials wherever they happened to be.  Once those materials were exhausted, stencils could be used to provide a constant template in lieu of prints.  This early phase was one of dynamism and experimentation, and much of FAILE's early work was left to deteriorate and interact with its environment. By 2005, when FAILE established a larger studio space, this ad hoc approach was supplemented with a more traditional approach to painting and print editions that drew on these earlier priorities (inter-cultural permutation, use of found images and signifiers, and an expressive, playful approach to execution), while taking the entropy and dynamism of the street as an object of investigation.

Although street art is a consistent aspect of FAILE's practice (in concrete terms and as a source of inspiration), the post-2005 period has permitted them to work more slowly, generating thematically driven suites (War Profitees; Lost in Glimmering Shadows), small print runs, and increasingly three-dimensional media, from arcade cabinets, salvaged wood, and large-scale casting.  Each of FAILE's projects is unified, however, by a consistent openness to chance, external cultural influences, audience interactivity, and the organic rhythms of the street.

More recently, found wood and apple boxes figured into FAILE's development in their studio practice of hybrid forms of painting that blur the boundaries between religious, folk, artisanal, and sculptural forms.  The histories of abstraction and quilting, as well as the modular form of the puzzle box, for example, were foundational for the suites of paintings in 2010's Bedtime Stories and 2011's Fragments of FAILE.  At the same time, architectural forms and Iberian ornamental tradition were essential in constructing 2010's Temple project, a ruin featuring prayer wheels and cast relief work in Lisbon.  Both elements—projects in wood, and building environments—were fused in producing an "obelisk" of printed/painted boxes in the atrium of the Koch Auditorium in New York's Lincoln Center in 2013. For much of the past decade, FAILE's work has been iterative, with outdoor and public installations informing studio-based work in an apparently dialogic way. Many of their gallery shows, for example, draw on the technical procedures developed for site-specific commissions and vice versa. While FAILE's projects are known for their high degree of finish, many seem to suggest the artistic process itself as a kind of content.  As of 2019, FAILE consistently worked in a wide variety of formats, from European streetcars to tile-clad buildings in California.

FAILE has also consistently produced artist's books (typically in partnership with German publisher Gestalten Verlag) including FAILE: Prints + Originals, 1999–2009 (2010), FAILE Temple (2012), and FAILE: Works on Wood: Process, Paintings, and Sculpture (2014).

Cultural impact
FAILE, like many of their contemporaries in the street art community, emphasize art making over indirect political statements or sloganeering, but their work often contains both passive and overt messages, usually cloaked in ambivalence.  On the one hand, FAILE emerged from a graphic design sensibility and historically functions as a recognizable graphic presence as well as an artistic identity.  Similarly, graffiti and street art have typically operated as a counterpublic artistic practice and means of garnering fame or status for "writers" and artmakers. While there is not an explicitly partisan or anti-capitalist edge to this type of work, it is structurally a political act in its flouting of laws, embrace of punk-rock and hip-hop aesthetics, and function as a means of populist or direct to the masses expression.  There also exists in graffiti and street art a deeper anti-establishment trend in its attempt to beautify and reclaim the urban environment, and blur the line between the elite art gallery systems and the "outside" world of the streets.

FAILE certainly works in this tradition.  Although they are not graffiti writers as such, their work originated in the streets, and their studio work bears the stylistic hallmarks of both wheatpasting/stenciling and the vernacular of the global urban environment.  FAILE argues that, "our process has always resembled this loose and fast critique on society, whether it be literal or figurative. Our image-making has at times been very methodical and researched, other times it's been experimental and dirty. Street art at its roots is 'punk.' It set out to critique and comment on a world it felt outside of." Such a critique is sometimes ambivalent, as FAILE’s work is marked by the consistent juxtaposition of dualities.  Other times, it is more direct, as in the seemingly explicit pictures in the Lost in Glimmering Shadows exhibition, or in the public wheatpasting in 2010 of images of kissing women amid the text "No Change Will My Heart Fear."  The latter echoes the ambivalent prompting of Banksy's noted "Kissing Coppers" wall painting, and is indicative of FAILE's consistent prioritization of ambivalence and open-endedness over more explicitly prescriptiveness.

There are both socially and institution-critical strands in FAILE's work and its public or alternative-space staging and execution.  FAILE's work is overarchingly characterized by an open approach that allows the interpretation and meaning of their work to ramify once it enters the public sphere.  Of their outdoor work, FAILE argues that "it gives a person the sense that it is there just for them.  That they've stumbled across this great little gem amidst the chaos of daily life that can really speak to them.  We try to build in a certain ambiguity that leaves the door open for the viewer to find themselves within the story." The openness of meaning and emphasis on the experience of the viewer marks a shared affinity with both the anti-elitist impulses of recent street art, and the more institutional ideas of site specificity and relational aesthetics.  In 2010, FAILE expanded their painting and printing into the realm of reconstructed sculptural and architectural elements, religious artifacts (such as prayer wheels) and the 2010 Temple project in Lisbon.  These projects reflect FAILE's concern that "everything that requires skill is disappearing from the world," and that the Temple is "an expression of the crumbling beauty of this disappearing world." This focus on public works was further developed in 2012 with the Eat With the Wolf sculpture in Ulaanbaatar; on the streets of Brooklyn and Los Angeles with the 104 N. 7th and other tile-based projects; in Times Square, Manhattan, with the large-scale, interactive prayer wheel (Wishing on You); and in a series interactive arcades that became a music venue in Detroit.

Solo exhibitions
City Lights Millennium Iconoclast Museum of Art Belgium (2021)
From the Air We Share, Musée d’Art moderne et contemporain, Strasbourg, FR (2019)
Where the Ends Meet, Gordon Gallery, Tel Aviv, IL (2019)
Stages, Galerie Henrik Springmann, Berlin, Germany (2017)
The Size of the Fight, Library Street Collective, Detroit, MI (2017)
Meet Me Halfway, Magda Danysz Gallery, Paris, FR (2017)
Strong Currents, Gordon Gallery, Tel Aviv, IL (2016)
Wishing on You, Times Square (Public Installation), New York, NY (2015)
Savage/Sacred Young Minds, The Brooklyn Museum, New York, NY (2015)
Where Wild Won't Break, Dallas Contemporary, Dallas, TX (2013)
Les Ballets de Faile, New York City Ballet Art Series, David H. Koch Theater at Lincoln Center, New York, NY (2013)
The Wolf Within, Commissioned Public Sculpture by Mongolian Arts Council, UlaanBaatar, MN (2012)
104 N. 7th Mural, Brooklyn, NY (2012)
Fragments of Faile, Lazarides Gallery, London, UK (2011)
Faile: "A Decade of Prints and Originals", Post No Bills, Venice Beach, CA (2011)
Bedtime Stories, Perry Rubenstein Gallery, New York, NY (2010)
Lost in Glimmering Shadows, Lilian Baylis School-Lazarides Gallery, London, UK (2008)
From Brooklyn with Love, Lazarides Gallery, London, UK (2007)
Nothing Lasts Forever, 201 Chrystie Street, New York, NY (2007)
Faile Prints, Fifty24, Portland, OR (2006)
The Room NYC, New York, NY (2005)

Selected group exhibition history

2018
Beyond the Streets, Los Angeles, CA
Art From the Streets, Art Science Museum, Singapore, SG

2017
Eastern Skies, Condition Publique, Roubaix, FR

2016
Love Me, Love Me Not, NYC Parks Department, Transmitter Park, Brooklyn, NY
City Lights, MIMA Museum, Brussels, BE
Street Art: A Global View, Central Academy of Fine Art Museum, Beijing, CN
Commission Art Fair, Bronx, NY
Et J'ai Retenu Mon Souffle, Street Art 13, Paris, FR

2014
Inaugural Exhibition, Allouche Gallery, New York, NY
FAILE & BÄST, Deluxx Fluxx Arcade Edinburgh, Summerhall Museum, Scotland, UK
The Provocateurs, Art Alliance, Chicago, IL
RE:DEFINE: MTV's Staying Alive Foundation Art Benefit, Dallas, TX
Juxtapoz 20th Anniversary Show, Jonathan Levine Gallery, New York, NY
Darren Aronofsky's Foundations of the Deep: Visions of Noah and the Flood, New York, NY
Cat Art Show, 101/Exhibit, Los Angeles, CA

2013
FAILE & BÄST, Deluxx Fluxx Arcade Miami Beach, Miami, FL
 Ten Years of Wooster Collective, Jonathan LeVine Gallery, New York, NY
 Cash, Cans & Candy, Galerie Ernst Hilger, Vienna, AU

2012

Damien Hirst's Murderme Private Collection, Pinacoteca Giovanni e Marella Agnelli, Turin, IT
The Boneyard Project, Pima Air and Space Museum, Tucson, AZ
Sotheby's Sick Children's Trust Benefit Sale, London, UK
Tonight We Won't Be Bored, V1 Gallery, Copenhagen, DE

2011

Underbelly Show, Art Basel Miami, Miami, FL
On Every Street, Samuel Owen Gallery, Greenwich, CT
T&J Artwalk for Human Rights Watch, Oslo, NO
RE:DEFINE MTV's Staying Alive Foundation Art Benefit, Dallas, TX
Art Mère / Art Père Auction LIVESTRONG Benefit, Los Angeles, CA

2010

FAILE & BÄST, Deluxx Fluxx Arcade, Allen Street, New York, NY; Greek Street, London, UK
Temple, Portugal Arte 10, Lisbon, PT
Meet Me Inside, Gagosian Gallery, Los Angeles, CA
Viva La Revolucion: A Dialogue with the Urban Landscape, Museum of Contemporary Art, San Diego, CA
Underbelly Project, Brooklyn, NY

2008

Poster Resistance 2, New Image Art Gallery, Los Angeles, CA
Street Art, Tate Modern, London, UK
Outsiders, The New Art Gallery Walsall, Walsall, UK; Houston and Bowery, Lazarides, New York, NY

2007

The Burning House (Faile, Dave Ellis, and Swoon), Museum Hetdomein, Sittard, ND; New Image Art Gallery, Los Angeles, CA

2006

Spank the Monkey, Baltic Centre for Contemporary Arts, Newcastle-Gateshead, UK
Tiger Translate, Shanghai Sculpture Space, Shanghai, CN
Animalia, Irvine Contemporary, Washington, DC
Mural Commission, Weiden+Kennedy, Portland, OR
Wall Snatchers, Washington Project for the Arts, Washington, DC
Swish, Lazarides Gallery, London, UK

2005

Untitled, Fifty24SF, San Francisco, CA
Ridiculousnessofitallshow, New Image Art Gallery, Los Angeles, CA
Design Edge, IdN, Singapore, SG
Denver Show, Andenken Gallery, Denver, CO
The Pony Show, New York, NY
ROJO Golden, Stay Gold Gallery, Brooklyn, NY; Urbis Artium Gallery, San Francisco, CA
The First LA Weekly Biennial, Track 16 Gallery, Los Angeles, CA
Supreme Trading N8 Gallery, Brooklyn, NY

2004

Weiden + Kennedy, Amsterdam, ND
Espai Pupu, Barcelona, SP
Lab 101, Los Angeles, CA
Break Beat Science Showroom, Tokyo, JP
X-Girl, New York, NY
Les Complices, Zurich, CH
One Eye Space, Los Angeles, CA
Lavender, Transplant Gallery, New York, NY
Mural, Diesel Store, Austin, TX
Pictures on Walls, Diesel Denim Gallery, New York, NY

2003

Battle Graphics, McCaig-Welles, New York, NY
Secret Party, Bob's, New York, NY
Hasta Pronto, Centre Cultural Es Jonquet, Majorca, SP
Back Jumps Live Issue, Bethanien Kreuzberg, Berlin, DE
Jungle LP Show, Rocket Gallery, Tokyo, JP
Broken Sunshine (curated by FAILE), Firehouse 87 Lafayette Street, New York, NY
Fancy Faile and Bast, Neurotitam Haus Schwarzenberg, Berlin, DE
Transplant Gallery, New York, NY
M3projects, New York, NY

2002

The Big Group Show, M3Projects, New York, NY
Faile Presents Boredom Project, V1 Gallery, Copenhagen, DE
Surface 2 Air, Paris, FR
Dragon Bar, London, UK
Max Fish Gallery, New York, NY
Gas Experiment, Tokyo, JP
Supersonic & Alien, Galleria S.A.L.E.S., Rome, IT

References

Further reading
Official Site: FAILE
Gallery Site: Opera
Google Cultural Institute/ Brooklyn Museum Online Exhibition: "A Summer of FAILE in New York City"
Examples of Faile Art: Cinque Collective

American graffiti artists
American printmakers
Canadian printmakers
American poster artists
Canadian poster artists
American artist groups and collectives
Canadian artist groups and collectives


title: Sabato (surname)

text:
Sabato is an Italian surname. Notable people with the surname include:
Aaron Sabato (born 1999), American baseball player
Antonio Sabàto Sr. (1943–2021), Italian actor
Antonio Sabato (footballer) (born 1958), Italian football player
Antonio Sabàto Jr. (born 1972), American actor and model
Ernesto Sabato (1911–2011), Argentine writer
Haim Sabato (born 1952), Israeli rabbi and writer
Jorge Sabato (1924–1983), Argentine metallurgist
Larry Sabato (born 1952), political analyst
Mario Sabato (1945–2023), Argentine film director and screenplay writer
Rocco Sabato (born 1982), Italian football player

Italian-language surnames


title: H. maculata

text:
H. maculata may refer to:

 Haemanota maculata, a South American moth
 Haplonerita maculata, a Venezuelan moth
 Heteroscodra maculata, an African tarantula
 Hippobosca maculata, a parasitic fly
 Holbrookia maculata, a phrynosomid lizard
 Horia maculata, a blister beetle
 Hydroptila maculata, a purse-case caddisfly
 Hygrobia maculata, an aquatic beetle
 Hyla maculata, a tree frog
 Hyperplatys maculata, a longhorn beetle
 Hypochaeris maculata, a cat's ear


title: Reading (surname)

text:
Reading is a surname. Notable people with the surname include:

Anya Reading, Australian geophysicist
Arnold Reading (1896–1975), English cricketer and major-general
Arthur Kenneth Reading (1887–1971), American politician
Bertice Reading (1933–1991), American singer
Brendon Reading (born 1989), Australian racewalker
Burnet Reading (1749–1838), English engraver
Fanny Reading (1884–1974), Jewish Australian medical practitioner
Geoff Reading (born 1968), American drummer
John Reading (disambiguation), several people of the name
Kate Reading, alias of Jennifer Mendenhall (born 1960), American audiobook narrator
Mario Reading (1953–2017), British author
Patrick Reading (born 1999), Scottish footballer
Peter Reading (1946–2011), English poet
Pierson B. Reading (1816–1868), American pioneer
Richard Reading (1882–1952), Mayor of Detroit
Richard Reading, CdeG(B) (1876–1929), English journalist
Robert Reading (c. 1640–c. 1689), Irish Baronet and lighthouse builder
Tony Reading, British art director
William Reading (1674–1744), English clergyman and librarian
Wilma Reading, Australian singer

English-language surnames
English toponymic surnames


title: Žan Žužek

text:
Žan Žužek (born 26 January 1997) is a Slovenian footballer who plays for Italian  side Bari as a centre-back.

Club career
On 23 August 2022, Žužek signed a three-year contract with Bari in Italy.

References

External links
NZS profile

1997 births
Living people
Footballers from Ljubljana
Slovenian men's footballers
Men's association football defenders
Men's association football midfielders
NK Domžale players
FC Koper players
SSC Bari players
Slovenian PrvaLiga players
Slovenian Second League players
Serie B players
Slovenian expatriate men's footballers
Slovenian expatriate sportspeople in Italy
Expatriate men's footballers in Italy
Slovenia men's youth international footballers
Slovenia men's under-21 international footballers


title: Shoja Azari

text:
Shoja Azari () is an Iranian-born visual artist and filmmaker based in New York City. He is known for his films and multimedia installations.

Early life and education
Azari was born in Shiraz, Iran. Azari trained as a filmmaker in New York in the 1970s before returning to Iran during the Iranian Revolution in 1979. He then permanently returned to the U.S. In 1997, he first met artist Shirin Neshat when she was assembling a team to create her first video, “Turbulent”. Azari and Neshat became artistic and romantic partners. He is divorced and has one son, Johnny B. Azari, a musician.

Film
Azari is known for films such as Women Without Men (2009), Windows (2006), and K (2002). These were based on three of Franz Kafka's short stories: "The Married Couple", "In the Penal Colony", and "A Fratricide", respectively. He co-directed with Neshat the film Land of Dreams (2021), which won  the Golden Peacock Award at the 52nd International Film Festival of India.

Multimedia installations and art
According to Carol Kino of The New York Times, Azari's "multimedia installations have been increasingly showcased in galleries and museums around the world." His first solo exhibition in New York occurred in 2010 at the Leila Taghinia-Milani Heller Gallery. His video installation work, Idyllic Life (2012), was part of the exhibition In the Fields of Empty Days: The Intersection of Past and Present in Iranian Art (2018) at the Los Angeles County Museum of Art.

See also
 Iranian modern and contemporary art
 List of Iranian Americans
 List of Iranian artists

References

External links
 Shoja Azari at the Leila Heller Gallery

1957 births
Living people
Iranian contemporary artists
Iranian film directors
Iranian emigrants to the United States


title: Arup (name)

text:
Arup is a Dano-Norwegian surname and an Indian given name. Notable people with the name include:

Erik Arup (Erik Ipsen Arup), Danish historian
Jens Lauritz Arup, Norwegian bishop and politician
Katie Arup, British fencer
Ove Arup (Sir Ove Nyquist Arup), Anglo-Danish engineer and founder of Arup Group
Arup Bose, Indian Professor of Theoretical Statistics and Mathematics.
Arup Chattopadhyay, Indian tabla player
Arup Ratan Choudhury, Bangladeshi dental specialist and media personality
Arup Debnath, Indian footballer
Jens Arup Seip (Jens Lauritz Arup Seip), Norwegian historian
Arup Raha (Air Marshal Arup Raha), Indian Air Force officer
Arup Roy, Indian politician and Minister for Agricultural Marketing in the Government of West Bengal
Didrik Arup Seip, professor of North Germanic languages at the University of Oslo


title: John Louth

text:
The Venerable John Louth (also Lowth and Lowthe) (d. 5 August 1590) was Archdeacon of Nottingham from 1565 to 1590.

He was the son of Edmund Louth of Sawtry, Huntingdonshire.

He was educated at Winchester College and converted to Protestantism when reading the Disputation of Purgatory by John Frith.

He was educated at New College, Oxford 1538-1543 and matriculated from Corpus Christi College, Oxford 1545.

He was an eyewitness to the execution of Anne Askew in 1546. His narrative of the events was sent to John Foxe for printing in his Reminiscences.

He was appointed
Vicar of St. James Church, Louth in 1549.
Vicar of St Andrew's Church, Chew Magna in Somerset in 1553
Surrogate of the Chancellor of Bristol 1559 - 1562
Prebendary of Lincoln in 1560
Prebendary of Lichfield in 1561
Incumbent of the Hospital of Bath, with the Chapel of St Michael in 1562
Chancellor of the Diocese of Gloucester 1562 - 1565
Rector of St Lawrence's Church, Gotham in 1567
Vicar of St Mary's Church, Nottingham from 1568 - 1572
Prebendary of Wells Cathedral 1570
Rector of All Saints' Church, Hawton, 1574 - 1589.
Archdeacon of Nottingham 1565 - 1590

He was buried in St Mary's Church, Nottingham.

Notes

1590 deaths
Archdeacons of Nottingham
People educated at Winchester College
Alumni of New College, Oxford
Alumni of Corpus Christi College, Oxford
Vicars of St Mary's Church, Nottingham
Burials in Nottinghamshire
Year of birth missing


title: James Usilton

text:
James A. Usilton Sr. (June 10, 1895 – March 13, 1939) was an American college basketball coach at Temple University between 1926–27 and 1938–39. He won 205 games as the Owls' coach, including one National Invitation Tournament (NIT) during the 1937–38 season. That Temple squad won the first-ever NIT. His 1937–38 team was also retroactively named the national champion by the Helms Athletic Foundation and the Premo-Porretta Power Poll. His 1935–36 team reached the finals of the 1936 Olympic Trials.

Head coaching record

References

External links

1895 births
1939 deaths
Basketball coaches from Pennsylvania
High school basketball coaches in Pennsylvania
Sportspeople from Philadelphia
Temple Owls men's basketball coaches
Temple University alumni


title: Roy Rudonja

text:
Roy Rudonja (born 26 February 1995) is a Slovenian footballer who plays as a forward for Italian club AC Geraci.

Personal life
He is the son of Mladen Rudonja, a former Slovenian international who represented the national team at the UEFA Euro 2000 and 2002 FIFA World Cup tournaments. After ending his professional football career in 2022, he became a rapper under the stage name BigRoy.

References

External links

Roy Rudonja at NZS

1995 births
Living people
Footballers from Koper
Slovenian men's footballers
Men's association football forwards
Slovenian expatriate men's footballers
Slovenia men's youth international footballers
Leicester City F.C. players
Sheffield Wednesday F.C. players
NK Domžale players
NK Ankaran players
NK Krško players
RKC Waalwijk players
NK Brežice 1919 players
FC Drava Ptuj players
Senglea Athletic F.C. players
Slovenian Second League players
Slovenian PrvaLiga players
Eerste Divisie players
Expatriate men's footballers in England
Expatriate men's footballers in the Netherlands
Expatriate men's footballers in Austria
Expatriate men's footballers in Malta
Expatriate men's footballers in Italy
Slovenian expatriate sportspeople in England
Slovenian expatriate sportspeople in the Netherlands
Slovenian expatriate sportspeople in Austria
Slovenian expatriate sportspeople in Italy


title: Ledol

text:
Ledol is a poisonous sesquiterpene that can cause cramps, paralysis, and delirium. Caucasian peasants used Rhododendron plants for these effects in shamanistic rituals.

Sources
Ledol is found in labrador tea, an herbal tea (not a true tea) made from three closely related species:
 Rhododendron tomentosum – Northern Labrador tea, previously Ledum palustre
 Rhododendron groenlandicum – Bog Labrador tea, previously Ledum groenlandicum or Ledum latifolium
 Rhododendron columbianum – Western Labrador tea, or trapper's tea, previously Ledum glandulosum

Ledol is also found in the essential oil of priprioca at a concentration of around 4%.

Ledol is also found to varying concentrations in the following plants:

References

Entheogens
Deliriants
Plant toxins
Sesquiterpenes
Cyclopropanes


title: Morell (name)

text:
Morell is both a surname and a given name. Notable people with the name include:

Surname
 Abelardo Morell (born 1948), Boston-based photographer
 Alvin Morell Bentley (1918-1969), politician from the U.S. state of Michigan
 André Morell (1909–1978), British actor
 Barry Morell (1927-2003), American operatic tenor
 Curdin Morell (born 1963), Swiss bobsledder
 George Morell (Michigan jurist) (1786–1845), American jurist
 George W. Morell (1815–1883), civil engineer, lawyer, farmer, and a Union general in the American Civil War
 Gladys Morrell (1888–1969) was a Bermudian suffragette leade
 John Daniel Morell (1816–1891), British educationalist
 José Abreu Morell (1864–1889), Cuban painter
 Juliana Morell (1594–1653), Spanish Dominican nun
 Marty Morell (born 1944), drummer, percussionist, vibraphonist and producer
 Mayo Fuster Morell (born 1975), Spanish social researcher
 Michael Morell (born 1958), former Deputy Director of the Central Intelligence Agency
 Monica Morell (1953-2008), Swiss singer
 Peter Andreas Amundsen Morell (1868–1948), Norwegian Minister of Social Affairs
 Theodor Morell (1886–1948), Adolf Hitler's personal physician
 Raquel Morell (born 1959), Mexican actress
 Roy Morell (1889-1961), Australian wool broker, grazier and stockbroker
 Thomas Morell (1703-1784), English librettist, classical scholar and Fellow of the Royal Society

Given name
 Alvin Morell Bentley (1918–1969), American diplomat
 Morell Mackenzie (1837–1892), British physician

Characters
 Rowanne Morell, a fictional police officer on the television police procedural The Bill

See also
 Morel (surname)


title: John G. Schwarz

text:
John G. Schwarz. is a business executive and entrepreneur. He is the founder and CEO of Visier Inc. and on the board of directors of Synopsys, Teradata, and Avast Software.

Life
John G. Schwarz attended the University of Manitoba where he received a BA in political science and a BSc in computer science. He also holds an executive MBA from the University of Toronto.
Schwarz was at IBM Corporation from about 1975 to 2000, where he became a general manager of a service unit.
Schwarz was CEO of Reciprocal Inc., a private e-commerce service provider to the media industry from January 2000 to November 2001 (mi2n.com, WSJ, Buffalo News).
Schwarz was president and chief operating officer of Symantec Corporation from December 2001 through September 2005.
In May 2004, Schwarz received an honorary doctorate of law from Dalhousie University.

Business Objects
Schwarz was CEO of Business Objects S.A., a business intelligence software company, through its acquisition by SAP for $6.8 billion in January 2008. He began his tenure at Business Objects in September 2005  and remained CEO of the SAP Business Objects stand-alone unit through early 2010 when he resigned.

After the acquisition by SAP, he also served as a member of the executive board of SAP from March 2008  to February 2010.

Visier, Inc.
In 2010, Schwarz co-founded Visier, a cloud-based software provider, with Ryan Wong (former senior vice president of engineering for the business intelligence platform at SAP SE) and sons Jan and Brett Schwarz.

Visier's workforce analytics and planning products were included in the Gartner "Cool Vendors in Human Capital Management Software, 2012"  and the Branham 300 - Top Technology Companies in Canada in the "Top 25 Canadian UP and Coming ICT Companies" list. Visier was also a finalist in the Cloudbeat 2011 Showdown, a competition for start-up companies during the cloud-technologies focused conference.

On March 15, 2017, Visier completed their largest funding round to date, securing $45M USD from U.S. venture capital firm Sorenson Capital, joined by Foundation Capital, Summit Partners and Adams Street Partners.

On June 11, 2014, Visier announced $25.5 million in Series C financing led by Adams Street Partners and repeat investment from Foundational Capital and Summit Partners.

In 2013, Visier secured $15 million in Series B funding. Series B was led by investor group Summit Partners. Prior to that, Visier raised $6 million in its Series A round in 2011 using the funds to turn the self-financed prototype into a fully functional software product. Series A was led by investor group Foundational Capital.

Other roles

Schwarz served on the board of directors of Synopsys, Inc. since May 2007, Teradata since September 2010, and Avast since December 2011. He is also a member of the Advisory Council at Dalhousie University in Halifax, Nova Scotia, Canada.

References

Living people
University of Manitoba alumni
Canadian business executives
Teradata
Year of birth missing (living people)
Gen Digital people


title: Rufino (given name)

text:
Rufino is a given name. Notable people with the name include:

Rufino Jiao Santos, Filipino Cardinal of the Roman Catholic Church
Rufino Jose Cuervo, Colombian writer
Rufino Segovia del Burgo, Spanish football player
Rufino Tamayo, Mexican painter
Fladimir Rufino Piazzi Júnior, (born 1978), Brazilian footballer
Rufino R. Ansara, Carleton University Professor

Spanish masculine given names
Masculine given names


title: Swimming at the 2003 World Aquatics Championships – Women's 400 metre individual medley

text:
The Women's 400m Individual Medley event at the 10th FINA World Aquatics Championships swam 27 July 2003 in Barcelona, Spain. Preliminary heats swam in the morning session, with the top-8 finishers advancing to swim again in the Final that evening.

At the start of the event, the World (WR) and Championship (CR) records were:
WR: 4:33.59 swum by Yana Klochkova (Ukraine) on September 16, 2000 in Sydney, Australia.
CR: 4:36.10 swum by Petra Schneider (East Germany) on August 1, 1982 in Guayaquil, Ecuador

Results

Final

Preliminaries

References

World Aquatics Championships
Swimming at the 2003 World Aquatics Championships
2003 in women's swimming


title: I. maculata

text:
I. maculata may refer to:

 Idioptera maculata, a crane fly
 Ilisia maculata, a crane fly
 Inocybe maculata, a brown mushroom
 Iphinoe maculata, a hooded shrimp
 Isosillago maculata, a marine fish
 Ixia maculata, an iris native to South Africa


title: Ulf Styren

text:
Ulf Styren (4 April 1890 – 20 December 1974) was a Norwegian businessperson.

He was born in Kristiania as a son of treasurer M. H. Styren (1846–1917) and Inga Othilie Johannessen (1866–1946). In 1916 he married Laila Elisabeth Camilla Gulbranson, a daughter of Hans Peter Francis Gulbranson and Ellen Gulbranson (née Norgren).

He graduated as a machine engineer. He manager the glass works Drammens Glasverk from 1915 to 1930 and Oxelösund Glasbruk from 1930 to 1933. In 1933 he became chief executive of Askim Gummivarefabrik, and from 1937 Den Norske Kalosje- og Gummivarefabrik and Vestlandske Gummivarefabrik. In 1947 he became chief executive of Norsk Jernverk, serving as director-general from 1955 to 1958.

He chaired the board of Grand Hotel and was a board member of Emaljeverket, Goodwill Produkter, Pallas
Norsk Forsikringsselskap, Radioindustri and Automatindustri. He chaired the supervisory council of Pallas Norsk Forsikringsselskap and was a supervisory council member of Bergens Privatbank. From 1957 to 1966 he was the president of the Norwegian Red Cross. Upon leaving he was proclaimed an honorary member.

He was decorated as a Knight, First Class of Order of St. Olav (1958) and the Order of the Yugoslav Flag, Knight of the Order of the Lion of Finland, the Order of Vasa, and also received the Order of Merit of Austria. He died in December 1974 and was buried at Vestre gravlund.

References

1890 births
1974 deaths
Businesspeople from Oslo
Norwegian people of Swedish descent
20th-century Norwegian businesspeople
Presidents of the Norwegian Red Cross
Knights of the Order of the Lion of Finland
Knights of the Order of Vasa
Burials at Vestre gravlund


title: John C. McManus

text:
John Coyne McManus (born 1965) is a military historian, author, and professor of military history at the Missouri University of Science and Technology from St. Louis, Missouri. McManus has published thirteen books on numerous American military history topics, including: the Allied invasion of Normandy, American infantry soldiers, and the 7th Infantry Regiment.

Education
McManus graduated from the University of Missouri with a degree in sports journalism. After a short career in advertising and sports broadcasting, he earned a Master of Arts degree in American history from the University of Missouri. Soon after, he completed his Ph.D. in American and military history at the University of Tennessee. While working on his Ph.D., McManus participated in the university's Normandy Scholars program, where he studied the Normandy battlefields firsthand.

Career
McManus served as the assistant director of the Center for the Study of War and Society at the University of Tennessee. In 2000, he accepted a position as an assistant professor of U.S. military history at the Missouri University of Science and Technology. McManus currently serves on the editorial advisory board for World War II magazine and World War II quarterly. He is also the official historian of the 7th Infantry Regiment Association.

McManus was also a guest on The Diane Rehm Show in a broad discussion on the continued significance of D-Day.

Reception
Some of McManus's works are composed of several personal stories of common footsoldiers on the battlefield, often facing insurmountable challenges, as demonstrated in Grunts and The Dead and Those About to Die.

Reviews of his work have been favorable. His years of research and analysis concerning specific battles such as the Normandy landings has been called "excellent," and that his scenic descriptions are vivid.

Works
The Deadly Brotherhood : The American Combat Soldier in World War II, Novato, CA: Presidio (1998)
The Americans at Normandy: The Summer of 1944 — The American War from the Normandy Beaches to Falaise, New York: Forge (2004)
The Americans at D-Day: The American Experience at the Normandy Invasion, New York: Forge (2005)
Alamo in the Ardennes: The Untold Story of the American Soldiers Who Made the Defense of Bastogne, Hoboken, N.J. : J. Wiley (2007)
U.S. Military History For Dummies, Hoboken, N.J. : J. Wiley (2008)
The 7th Infantry Regiment: Combat in an Age of Terror: The Korean War Through the Present, New York: Forge (2008)
American Courage, American Carnage: 7th Infantry Chronicles: The 7th Infantry Regiment’s Combat Experience, 1812 Through World War II, New York: Forge (2009)
Grunts: Inside the American Infantry Combat Experience, World War II Through Iraq, New York: NAL Caliber (2010)
September Hope: The American Side of a Bridge Too Far, New York: New American Library (2012)
The Dead and Those About to Die: D-Day : The Big Red One at Omaha Beach, New York: NAL Caliber (2014)
Fire and Fortitude: The U.S. Army in the Pacific War, 1941 - 1943, New York: Dutton Caliber (2019)

References

External links
 Presentation of Grunts: Inside the American Infantry Combat Experience, World War II Through Iraq at the Pritzker Military Museum and Library
 "The Man Who Took Omaha Beach" article by John C McManus
 Interview with John C. McManus regarding The Dead and Those About to Die at the Pritzker Military Museum and Library
 The Big Red One on D-Day: Televised discussion at the Pritzker Military Museum & Library
  McManus' Facebook Page
  McManus' Faculty Page at Missouri S&T

American military writers
American military historians
American male non-fiction writers
University of Tennessee alumni
University of Missouri alumni
Missouri University of Science and Technology faculty
Writers from St. Louis
Living people
1965 births


title: List of Irish MPs 1639–1649

text:
This is a list of members of the Irish House of Commons between 1639 and 1649. There were almost 300 MPs at a time in this period.

References

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