text:
Posts Tagged 'News'
Ceramics on track
Among the common questions I've heard, since I closed our public exhibition program, is this one: "Who will show ceramics in Los Angeles?" To answer that, it's time to count the number of current or upcoming shows:
I'm very proud to see that our friends at Latin American Masters have already selected a survey titled Cerámica Contemporánea, an exhibition of twenty-six ceramic works of art by Mexican artist Gustavo Pérez. Their press release states, "Despite a modesty of means and scale, Gustavo Pérez's ceramics have achieved worldwide recognition, including a 2012 retrospective at Museo Palacio de Bellas Artes, Mexico City."
Just reviewed in the Los Angeles Times, an exhibit at Acme is titled "Hard and Soft", and includes the work of four women artists, all demonstrating the flexibility and form of clay, that most plastic of materials. Selected by Vicki Phung Smith, it was characterized by Leah Ollman as a show where "Fluidity and fixity serve as the primary poles between which all of these works dance and tease and strike their own marvelously precarious balances."
In fact, ceramics shows are all over the galleries. Keep in mind that Shoshanna Wayne Gallery still represents the work of Kathy Butterly and Arlene Schechet. Over at Edward Cella, who is moving to a new location on South La Cienega soon, there is the work of Adam Silverman and Brad Miller. L. A. Louver has, for a long time, presented various artists working in clay. Their sculptor Richard Deacon makes major works in fired clay, and the younger Matt Wedel is prominently featured.
An upcoming show at AMOCA will present approximately 300 works from the permanent collection of the museum. Curated by Jo Lauria, it marks the 10th anniversary of the AMOCA, and presents the wide array of possibilities of the medium.
There are many more, and there will be dozens—if not hundreds—to follow! It's a great time to see ceramics, from the finely crafted to the freely formed, in Los Angeles. Don't mourn the loss of our program, just get out and see the art!
Tagged with ACME., Adam Silverman, AMOCA, Arlene Schechet, Art, Artists, Brad Miller, Cerámica Contemporánea, Edward Cella, Gustavo Pérez, Hard and Soft, Jo Lauria, Kathy Butterly, L.A. Louver, Latin American Masters, Leah Ollman, Los Angeles Times, Matt Wedel, News, Richard Deacon, Shoshanna Wayne Gallery, Vicki Phung Smith
Closing a gallery
This week, the Frank Lloyd Gallery announced the closing of the public exhibition program at Bergamot Station. As of February 14, the gallery will close its doors, and move to a private space in Pasadena. The current show, of Peter Voulkos and Craig Kauffman, will be the last. After a long and successful program of over 190 exhibitions, the founder and director, Frank Lloyd, sat down to talk with Kelly Boyd and answer a few questions:
Q.: Why would you want to leave the gallery business?
A.: Well, after nineteen years of exhibitions, publications, and sales, I am finally moving on. I consider it more of a transition. I have to leave behind this accomplishment, and forge ahead with another job, as the full-time representative of an artist's estate. I also have very personal reasons for the move, since I need to be close to my 91-year-old mother.
Q.: But what about your artists? What will happen to them?
A.: When I started the gallery, I had a specific mission of presenting ceramic artwork in a fine art context. The gallery functioned on three levels: as a commercial venue for individual artists, as an educational resource for the community of Southern California. I wanted to preserve a legacy of ceramics in Los Angeles. Finally, the gallery served as a forum for dialogue among artists, collectors and critics. I think it succeeded on all those goals.
Later, as the gallery expanded, I showed artists from other countries, including England, Mexico, France, Holland and especially Japan. Then, I further expanded the program to include contemporary painters and sculptors, because I thought they all came out of the same time period in L.A., the innovative post-war period. In many ways, ceramics, along with assemblage, led the way back then. Voulkos, Mason and Price were examples of fearless leadership and grew out of a common bond.
Q.: But the artists, what will happen to them? You didn't answer my question.
A.: Oh, you're right! I'm pleased to say that, for several reasons, ceramics has regained its rightful spot in the mainstream. Just today I had the pleasure of reading a review in the Boston Globe about an exhibition of 200 years of American ceramics at the Museum of Fine Arts, Boston. Featured were Cheryl Ann Thomas and Adrian Saxe. Also, an artist that I represented for 16 years, John Mason, has now regained his position in the art world, with shows like the Getty's Pacific Standard Time, the recent Whitney Biennial, and his representation by David Kordansky.
I'm proud of showing Larry Bell since 2006, and now he's with an international powerhouse gallery, White Cube. Even a less well-known ceramic artist from Japan, Satoru Hoshino, is having a show with Dominique Levy. Others that I've shown, like Betty Woodman and Ken Price, both had retrospective exhibits at the Metropolitan. Back in 2003, Dave Hickey for Artforum named Ron Nagle's show at my gallery one of the top shows in the world. Now, he's been in the Venice Bienniale and had a survey at the San Diego Museum of Contemporary Art. Adrian Saxe continues to win awards and recognition from critics and organizations.
Q.: Is that because of what you did? Do you take credit for that?
A.: No, I think the artists should get all the credit, I've always thought that. But the art world is increasingly aware of these artists, now, and there is a feeling of some vindication. I get some satisfaction out of seeing these artists, who I showed and believed in, get the change in visibility. I think it's due to several factors, actually. I just felt it was going to happen, twenty years ago when I started the gallery. The exhibition program was all about the place of these artists and that history.
Q.: What exactly are the factors you're referring to?
A.: First is the obvious trend: Young artists have been using the ceramic medium, and they have no real material hierarchy. That's a major factor. Younger artists will use anything; they are, quite fortunately, not bound to the old prejudices against clay. Critics have been champions of this use by young artists as well as the use by recognized artists. And curators have recognized the value of the work—look at the tremendous reception for the retrospective of Ken Price, for instance. The curators at major museums are making a big difference in the public's perception.
Q.: What other examples?
A.: Well, the gallery showed the ceramic work of a major woman sculptor, Lynda Benglis. We had two quite visible and successful shows of Betty Woodman's work, well in advance of the retrospective at the Met. We've shown a significant number of women, including the early group like Vivika Heino, Laura Andreson and Beatrice Wood, then more contemporary artists like Cindy Kolodziejski, Jennifer Lee, Marilyn Levine, Betty Woodman, and Elizabeth Fritsch, as well as sculptors like Lynda. Cheryl Ann Thomas is another example. We didn't just show the men!
Q.: What part of the gallery are you most proud of?
A.: Oh, that's easy: the publications. I've taken that job seriously, working with writers and a legendary graphic designer. In many ways, I was lucky to work with a superb graphic designer, the late Joe Molloy, and he mentored me through the process of publishing. I still have a huge stash of our publications, in which we published the writing of Kristine McKenna, Hunter Drohojowska-Philp, and the art historian Frances Colpitt.
I'd also have to say that every day in my gallery was enhanced by the architecture, designed by Fred Fisher. It's a sad thing to leave this space, so perfectly designed.
Q.: So, that's a regret. What was your biggest disappointment?
A.: Lack of attendance. We work our butts off, and then the attendance is poor.
Q.: Were there shows that drew in the audience?
A.: Yes, and it's a great memory. The big crowd pleasers were clearly deserving: Adrian Saxe's shows—any of them! And then, we had people return again with their family, just to see the stunning and heartfelt works of French sculptor Georges Jeanclos. The first show of Peter Voulkos in 1999, that had people lined up just to get in. All were extremely gratifying to present. But lately, the attention has shifted and we are working on other projects.
Q.: Will you be busy? Is there enough work in your new job to keep you busy? Or are you retiring?
A.: This is a common question. The truth is, with an artist of this significance, Craig Kauffman, there is more than enough research, conservation, and publication to keep a full staff busy for a decade. The representatives of artist's estates, and many foundations, are dedicated to the job of preserving and protecting the legacy and work of an artist. We'll have plenty to do.
Q.: Won't you miss the gallery business?
A.: I'll miss the people. I have a number of passionate colleagues. That's something I learned: many art dealers are passionate and committed individuals. We are fortunate to have them. I must say that there should be more recognition for the patrons and the dealers. I started by coming from the artists' side—and now I've learned more about the collectors and the dealers. Art world news is often about hot young artists, the big money that is spent, and the connections to celebrity, all of it coming in a steady stream on new portal sites, traditional news media, and social media. But the thing that sustains it all is the hard work and passion of the artists, dealers, and patrons. I'd hate to see an art world without art galleries.
Q.: How would you sum up the last 19 years?
A.: In five words or less? A lot of hard work. But seriously, when I started, I wanted to make a statement: a gallery with a sense of history, that presents itself as a strong and relevant component of the contemporary art world. Although it was originally media-specific and became known as a specialty gallery, everything we exhibited had a relationship to painting and sculpture. We presented ceramics as a vital part of the regional and national scene and we also proposed links between historical precedents and contemporary ceramics. That was the reason for the expanded program, and it succeeded in many ways. I think the last show is a good way to finish the statement, and I'll continue to try to set the record straight.
Posted in Art, Artists, Collectors, Museums
Tagged with Adrian Saxe, Adrian Saxe artwork, Art Forum, Beatrice Wood, Betty Woodman, Boston Globe, Cheryl Ann Thomas, Cindy Kolodziejski, Craig Kauffman, Craig Kauffman artwork, Dave Hickey, Dominique Levy, Elizabeth Fritsch, Francis Colpitt, Frank Lloyd, Frank Lloyd Gallery, Fred Fisher, Georges Jeanclos, Hunter Drohojowska-Philp, Jennifer Lee, Joe Molloy, John Mason, John Mason artwork, Kelly Boyd, Ken Price, Kristine McKenna, Larry Bell, Larry Bell artwork, Laura Andreson, Lynda Benglis, Marilyn Levine, Museum of Fine Arts Boston, News, Peter Voulkos, Ron Nagle, San Diego Museum of Contemporary Art, Satoru Hoshino, The Metropolitan Museum of Art, Venice Bienniale, Vivika Heino, White Cube
Nature, Sculpture, Abstraction, and Clay
Last week I received some gratifying news in the form of a very positive review of the Museum of Fine Art, Boston's current exhibition, Nature, Sculpture, Abstraction, and Clay: One Hundred Years of American Ceramics. Sebastian Smee, writing for the Boston Globe, reviewed the show, which presents gifts from the Daphne Farago Collection and the Philip Aarons and Shelley Fox Aarons Collection, in addition to other new acquisitions.
In a show of more than 70 pieces, several artists represented by the Frank Lloyd Gallery were singled out for praise. For example, while describing Adrian Saxe's 1989 work Float/Aloft, Smee writes that, "Purely formal and aesthetic concerns were overtaken by a new sense of self-aware play, extending into the realms of language, pop culture, and politics." Ken Price and Ralph Bacerra are also identified as artists of particular stature, represented by works engaged in creative dialogue with the historical pieces on display.
The review closes with the MFA Boston's newly acquired work by Cheryl Ann Thomas, December. Calling it "A highlight — and a great note to end on," Smee goes on to say that the piece "is truly something to behold."
Tagged with Abstraction, Adrian Saxe, Adrian Saxe artwork, and Clay: One Hundred Years of American Ceramics, Art, Artists, Boston Globe, Cheryl Ann Thomas, Cheryl Ann Thomas artwork, Daphne Farago Collection, December, Float/Aloft, Frank Lloyd Gallery, Ken Price, Museum of Fine Art Boston, Museums, Nature, News, Philip Aarons and Shelley Fox Aarons Collection, Ralph Bacerra, Sculpture, Sebastian Smee
At Year's End
My inbox is filled with year-end lists and 2014 top ten rankings and rants. Should I add to that clutter? In a year that was filled with accomplishments for the artists and the gallery, it's at least time to take a moment and make note of some things. I was reminded of the winter ritual by my friend Jennifer Lee's photo.
Starting with the gallery's blog, it's amazing to see just how far-reaching the digital world has taken us. As I wrote in a previous blog post, I wonder: How does mobile computing affect the way that the public interacts with museum shows? How does the rise of corporate-owned art news aggregators affect the perception of art and the way that people see exhibitions? When people "share" art on social media, is that an effective way to communicate? Which media translate the best in the new digital age?
This blog was viewed in 102 different countries in just the past year. Most of our visitors were from the U.S., but the U.K. and France were not far behind. But, what did the viewers comment on the most? A post titled "The Two Californias", in which I talked about the oft-cited but misunderstood division between the northern and southern regions of the state. The post was popular, for a while. But, an older post, about the mid-century architecture of the Pasadena area and Richard Neutra, continues to draw an on-line audience.
All told, over 16,000 people viewed the blog! Among the things they read about: Cheryl Ann Thomas and her exhibits and museum acquisitions, the incredibly intricate and highly humorous work of Adrian Saxe, and the continued efforts of the gallery on behalf of the Estate of Craig Kauffman. We've had a full year and are ready to turn the page. Please keep following us!
Tagged with Adrian Saxe, Art, Artists, Cheryl Ann Thomas, Craig Kauffman, Estate of Craig Kauffman, Frank Lloyd Gallery, Jennifer Lee, News, Richard Neutra
Cheryl Ann Thomas: Hap
As I mentioned in my last post, the artist Cheryl Ann Thomas will be opening a solo exhibition at Danese Corey Gallery in New York on Friday, November 21st, 2014. The exhibition, titled Hap, will present Cheryl's hand-coiled and pinched porcelain sculptures. After building tall, vertical cylinders of clay, Cheryl allows her pieces to collapse unpredictably in the kiln, creating works of haunting, graceful delicacy.
It has been a pleasure collaborating with Danese Corey Gallery on this show. As the opening day draws near, their staff produced an exhibition catalogue, which can be viewed online or purchased as a traditional publication. The catalogue includes beautiful color images of Cheryl's work and a studio portrait by Donna Granata.
Hap will be on view at the Danese Corey Gallery November 21, 2014 – December 20, 2014. If you will be in New York, I encourage you to take advantage of the opportunity to see these works in person.
Tagged with Art, Artists, Cheryl Ann Thomas, Cheryl Ann Thomas artwork, Danese Corey Gallery, Hap, News
A Busy Season for Cheryl Ann Thomas
One of the most rewarding aspects of working with artists over time is the opportunity to witness the development of their work, and help them to grow professionally and creatively. Cheryl Ann Thomas joined the gallery in 2006, and I've enjoyed watching the evolution of her work since then.
This fall is shaping up to be a busy season for Cheryl, with lots of exciting news. I'm happy to announce that the Museum of Fine Arts, Boston, has recently acquired a work of hers titled December, 2009-2013. Museum placements are an important part of the work we do here at the gallery, and Cheryl's work is now represented at 13 major institutions in the United States and Canada.
Cheryl will also be presenting work in her first solo exhibition in New York at the Danese Corey Gallery. The show, titled Hap, will be on view from November 21 – December 20, 2014. In her artist's statement, Cheryl writes "Change comes slowly. The forms were singular for six years before I began grouping them. I worked only in black, white and gray for ten years. The new interest in subtle color represents a relaxation of the adherence to pure process and a move toward the intuitive."
Tagged with Art, Artists, Cheryl Ann Thomas, Cheryl Ann Thomas artwork, Danese Corey Gallery, Frank Lloyd Gallery, Hap, Museum of Fine Arts Boston, Museums, News
Chinati Weekend with Larry Bell
This week, I'm packing my bags to fly out to Marfa, Texas where Larry Bell will present a site responsive exhibition titled 6 x 6 an improvisation for the Chinati Foundation's upcoming "Chinati Weekend." A large-scale glass installation, the environmental work will absorb, transmit, and reflect light, calling into question the nature of physical and visual space. A program of special events will take place alongside the presentation of this work on October 11th and 12th, including a talk by curator Robin Clark, and a discussion between the artist and Chinati Foundation director Marianne Stockebrand. I'm looking forward to seeing Larry there! Here's a great portrait of him, shot by Anthony Friedkin at the opening reception of the 2006 exhibition Cubes.
Tagged with Anthony Friedkin, Art, Artists, Chinati Foundation, Chinati Weekend, Larry Bell, Larry Bell artwork, Marianne Stockebrand, Museums, News, Robin Clark


Fondly referred to as the "old Bells Building", by the locals . Vintage Charm & Co. Prides Its Self on its southern hospitality and down home charm. Over 40 different booths and many more people on consignment from all over south central Texas. Antiques, Uniques, Collectibles and More!! Many Handmade, Hand Crafted, One of a Kind items that will make you want to come back again.


text:
Ariaramna I. (altpersisch Aryau-ramna, babylonisch Ariaramna, elamisch Harriyaraumna, griechisch Ariaramnes; * 7. Jahrhundert v. Chr.) war ein König in der Ahnenlinie des achämenidischen Königs Dareios I. Sein Name könnte Der den Frieden der Arier schafft bedeuten.

Quellenlage
Ariaramna I. hat keine eigenen Quellen hinterlassen. Seine Name ist über die Behistun-Inschrift von Dareios I. bekannt, der ihn als seinen Urgroßvater bezeichnet (DB §2). Die nicht-authentische Inschrift AmHa aus dem 4. Jahrhundert v. Chr. bezeichnet ihn als Sohn des Teispes und König von Persien. In den Verwaltungsarchiven von Persepolis taucht der Name als Bezeichnung eines Berges auf, für den ein Mager drei Getreiderationen erhielt. Ariaramna I. wird bei Herodot erwähnt. Dieser lässt Xerxes I. in seiner Ahnenreihe Ariaramna I. als Sohn des Teispes bezeichnen.

Forschungsgeschichte
Wegen der dünnen Quellenlage wurden schon früh Informationen aus Inschriften und archäologischen Quellen miteinander verknüpft, um Aussagen über den 3. Herrscher der Ahnenlinie von Dareios I. machen zu können.

Von der Behistun-Inschrift ist bekannt, dass Ariaramna I. der Sohn des Teispes war. Vom Kyros-Zylinder erfährt man, dass Teispes einen zweiten Sohn mit dem Namen Kyros (I.) hatte, der König der Stadt Anschan war. Mit der Übersetzung von Franz Heinrich Weißbach von 1911 liest man in der Behistun-Inschrift (DB $3 und $4), dass von alters her das Geschlecht von Dareios I. über zwei Linien adelig und königlich gewesen sei. Diese Information wurde mit derjenigen der Inschrift AmHa verknüpft, nach der Ariaramna I.  Herrscher von Persien war. Mit den Bezeichnungen von Kyros (I.) als König von Aschan und Ariaramna I. als König von Persien, folgerte man, dass Teispes sein Reich unter seine zwei Söhne geteilt hatte. Die These von der Reichsteilung geht auf Franz Heinrich Weißbach zurück und fand danach eine allgemeine Akzeptanz.

Da Anschan von den antiken Schriftstellern nicht erwähnt wird und die Stadt wegen fehlenden archäologischen Quellen lange Zeit nicht lokalisierbar war, konnte man sich kein richtiges Bild von diesem Ort machen. Deshalb wurde Kyros I. als König von Anschan als der jüngere Bruder eingeschätzt. Ariaramna I. dagegen erbte als älterer Bruder die bedeutendere Region im Südwesten, Persien.

In den letzten Jahrzehnten setzte sich eine neue Sichtweise der Wissenschaft durch. Die Inschrift AmHa wurde als nicht-authentisch eingestuft und verlor dadurch an historischem Wert. Der Teil der Behistun-Inschrift mit der ursprünglichen Information von den zwei Königslinien wurde mit einem einfachen "nach wie vor" übersetzt. Mit den Korrekturen bei der Interpretation der Inschriften fehlten wichtige Voraussetzungen für die Theorie der Teilung des Reichs, der Zuordnung von Herrschaftsgebieten sowie der Rangordnung unter den Söhnen des Teispes.

Der historische Standort von Anschan konnte dank neueren archäologischen Funden im Gebiet von Persien festgelegt werden. Mit der Entdeckung in den 1970er Jahren, dass seit der Mitte des 7./6. Jahrhunderts v. Chr. Parsumas/Parsa identisch mit dem ursprünglichen, traditionellen und feierlichen Namen der vormaligen elamischen Provinz von Anschan war, fiel der letzte Baustein für die Theorie der Reichsteilung, da sich nun die beiden Herrschaftsgebiete der Söhne von Teispes überlappten.

In einem neuen Ansatz meint Muhammad Dandamayev, dass es durchaus möglich sei, dass Ariaramna I. und sein Sohn Könige von unbedeutenden Gebieten in der Persis gewesen sein könnten. Alireza Shapour Shahbazi weist zur Unterstützung dieser Annahme auf eine Entsprechung zur Zeit der Vorherrschaft der Parther hin, unter denen verschiedene Regionen ihre eigenen Könige hatten. Dass aber Ariaramna I. und sein Sohn Könige von Persien gewesen seien, dafür gibt es bis heute keine Beweise.

Stammbaum

Literatur

 David Stronach: Achaemenid Village I at Susa and the Persian Migration to Fars (=Iraq. Band 36, Nr. 1/2). London 1974, S. 239–248, hier 248. (jstor.org)
 Muhammad Dandamayev: The Dynasty of the Achaemenids in the Early Period (=Acta Antiqua. Band 25). Budapest 1977, S. 39–42. ( orientalstudies.ru)
 Manfred Mayrhofer: Iranisches Personennamenbuch. Band 1, Die altiranischen Namen. Wien 1979. ISBN 3 7001 0300 X. S. II/11–12.
 Pierre Briant: Histoire de l'Empire Perse. De Cyrus à Alexandre. Fayard, Paris 1996. ISBN 2-213-59667-0, S. 26–27, 122.
 .
 .
 Rüdiger Schmitt: Die altpersischen Inschriften der Achaimeniden. Editio minor mit deutscher Übersetzung. Wiesbaden 2009. (Digitalisat)

Anmerkungen

König (Achämenidenreich)
Geboren im 7. Jahrhundert v. Chr.
Gestorben im 7. Jahrhundert v. Chr.
Mann

redpajama_set_name: RedPajamaWikipedia


text:
Frank Lampard not worried about getting sacked and remains confident he can turn things around
4 January 2023, 1:52 am ·2-min read
A catastrophic seven-minute spell at the start of the second half in which they conceded three soft goals to Evan Ferguson, Solly March and Pascal Gross to add to Kaoru Mitoma's early first-half strike did the damage but their performance up to that point had only been delaying the inevitable. Demarai Gray's added-time penalty consolation merely prompted yet more chants of 'sack the board'. Lampard, who did not emerge from the dressing room area for his media interviews until more than 45 minutes after the final whistle, was asked whether he feared for his job after just one win and seven defeats in the last 10 Premier League matches. "Since I've been here we've been in this situation of fighting relegation," he said. "It's not a case of fear, I can't control the talk or the decision when you are around this area of the table. When you lose a game like this I absolutely understand any reaction. "I am very confident in myself and will work to turn it around. The only concern you can have is the work you do the next day. I arrived in a relegation battle and you have to focus on going again." On his players being booed, he added: "It's difficult, you have to understand human nature at that time. It is what it is." Owner Farhad Moshiri has sacked five managers in almost seven years since becoming the majority shareholder and Lampard now has a win ratio lower than the man he replaced, the hugely unpopular Rafael Benitez, as he approaches his first-year anniversary at the end of the month. To compound a miserable night Nathan Patterson left Goodison on crutches with his right knee in a brace and Lampard confirmed the defender had sustained a medial ligament injury. Brighton head coach Roberto De Zerbi has guided the Seagulls to eighth in the league having taken over from Graham Potter in September and his side were organised and effective - everything Everton were not. "We have to improve. We have to ask ourselves for more. In the second half it was a different quality of play, the second half was amazing," he said. "We played with more energy to score more goals and I'm sad only for the Everton goal. Our improvement is to find the right mentality. "We can't concede the goal of Everton in that moment. The goal changed nothing today but it can change in the end of the season for example."
The article Frank Lampard not worried about getting sacked and remains confident he can turn things around appeared first on Planetsport.com.
Six Nations 2023: Fixtures, kick-off times, how to watch and latest odds
Aston Villa tee up late bid for star Emery loves with 'very good financial offer' on table
Sean Dyche to kickstart Everton relegation battle with signing of influential Southampton ace
Dyche is already identifying potential targets for when he becomes the new Everton boss and is looking at signing a Southampton man, as per a report
Grizzlies 'still trying to grapple' the Tyre Nichols news - head coach Jenkins
Grizzlies head coach Taylor Jenkins said the team is 'together' with the city following shocking video.
New Zealand: Former prop Campbell Johnstone becomes the first openly gay All Black
Former All Black prop Campbell Johnstone has received support from the rugby community, as well as the wider society, after revealing that he is gay.
Forest Green Rovers sack Ian Burchnall with club rooted to the bottom of League One
The former Ostersunds and Notts County manager was appointed last May to steer Rovers through their debut season in the third tier, but won just five of his 28 league games to prompt owner and chairman Dale Vince to make a change. "I'm grateful to Ian for all his hard work this season, it's definitely not been easy," Vince said in a statement on the club's website. Burchnall, who managed Viking in Norway before replacing Graham Potter at Swedish side Ostersunds in 2018, led Notts County to the Vanarama National League play-offs last season before agreeing to replace Watford-bound Rob Edwards at Forest Green.
Eagles ease through to Super Bowl LVII after luckless 49ers lose two more QBs
Brock Purdy's fairytale run reached a dissatisfying conclusion as his injury contributed to the 49ers' defeat to the Eagles in Philadelphia.
Rafael Nadal gives fitness and comeback update following latest injury setback
Rafael Nadal to miss Dubai event while there are doubts over his participation in Sunshine Double.

redpajama_set_name: RedPajamaCommonCrawl


text:
Brander Matthews
1852-02-21 United States, New Orleans
1929-03-31 New York City, United States
Professor of Dramatic Literature
James Brander Matthews (February 21, 1852 – March 31, 1929) was an American writer and educator. He was the first full-time professor of dramatic literature at an American university and played a significant role in establishing theater as a subject worthy of formal study in the academic world. His interests ranged from Shakespeare, Molière, and Ibsen to French boulevard comedies, folk theater, and the new realism of his own day.
Items by Brander Matthews
[1 lettre de Brander Matthews à Charles Nuitter, 16 juin 1887] (manuscrit autographe) (1886) | Brander Matthews
Lui adresse un article de "The Nation" dans lequel il a parlé du dernier livre de Nuitter. L'informe qu'il recherche une vue de l'Opéra ou de la Comédie-Française en 1703 pour un élément de décor. - Papier à en-tête: "121 East 18th St. New York"
View at Bibliothèque nationale de France


get extra savings when shop. Go To Golfbox, now you dont have to miss the bargain if you check our site first for Golfbox e most popular Golfbox Coupon Codes Vouchers for February 2019. The latest Coupons and Coupon Codes of Perisher can be found here: 15 Off Hire. Discounts average 37 off with a McKissock promo code or coupon. 46 McKissock coupons now. Perisher is the best place for you to save. The latest Coupons and. Coupon, codes of Perisher can be found here: 15 Off Hire. Receive 10 off-90 off when. Save up to 10 off-90 off off with Golfbox.
He knew he could not easily free the nose lease, but he was pretty sure when Delores left that he could lever his body forward over the bar. "I am not going to put your pony boots back on for a couple of days. Somehow I don't see that happening anytime soon. He knew it aahar ottawa coupon was almost time to take a breath. He knew that his body would not willingly submit to drowning this way. Leashed to the rail they could only stand and wait whatever their owner desired. He could also hear a loud thump as the calf hit the ground. He had learned that it was not the pony's job to think about where they were going or where they had been. He almost fell over. Check chains were attached from the rings that held his bit to rings on the forward face of the shoulder of the saddle. As he jumped forward in response to her irresistible urging the last of the stream returned to his leg. Jacob understood what she was doing, and found that he was doing his best to be as still as possible.


The Students' Union Student Led Supervisor Awards, run in collaboration with the Doctoral School, celebrate the best supervision and support for research students at Sussex. These are annual awards celebrating the inspirational and transformative contributions individual members of staff make to the experience of the University's research students.
If successful, your supervisor will be presented with their award at the Sussex Research and Impact Awards in June.
Nominations close on 1st June 2017.
Key contacts for these awards are Rose Taylor (pgeducation@sussexstudent.com) and Paul Roberts (P.E.Roberts@sussex.ac.uk).
Section 1 - Who do you want to nominate?
You can use up to 300 words below to explain your nomination. Take a look at successful nominations from previous years of Student Led Teaching Awards at the bottom of this page. Please note that you *must* add supporting comments for your nomination to be considered. You can provide evidence in support of the application, but the only evidence that will be considered by the awarding panels is the evidence given on the nomination form.
If you are submitting a nomination on behalf of other students please ensure you have their permission to do so.
300 words maximum – you must give supporting comments for the nomination to be considered.
* 2. Why are you nominating them for an award?
By entering their names in the box above, you are confirming that all named students have consented to support this nomination. For verification, please also enter their email addresses in the box below.
The email addresses are used to verify that the nomination form has been submitted by eligible students. Please include the email addresses of all students named above.


text:
Climate-smart solutions
China: ramping up investment in African agriculture
Chinese firms investing overseas receive strong financial support from the Chinese government, which sees Africa and agriculture as important to China's 'Go Global' drive
© Alamy
by Helen Castell
As China's government pledges to help funnel more aid, development finance and private-sector capital into African agriculture, what's motivating the flow and is it having a positive impact?
The flow of Chinese money into Africa is growing fast, with agriculture attracting a sizeable chunk. In 2014, Africa received around 12% of China's overseas agricultural investment and the proportion continues to grow, according to a 2018 USDA report, which based its calculations on Chinese government data.
At the 7th Forum on China-Africa Co-operation (FOCAC) held in Beijing September 2018, Chinese President Xi Jinping pledged €52 billion in financing for projects across Africa over the following 3 years. This will include €13 billion in grants and interest-free or concessional loans – three times the amount pledged at the previous FOCAC in 2015 – €17 billion in credit lines, a €9 billion development finance fund and €4 billion to finance imports from Africa.
While Jinping did not detail the projects, he said agricultural modernisation would be a key focus, with the investment including funding for 50 agricultural assistance programmes and to send 500 agricultural experts to Africa to train entrepreneurs and agricultural scientists. Chinese firms would also be encouraged to invest at least another €9 billion in Africa over the period, Jinping added.
While the Chinese government is the main driver for investment in African agriculture, it is increasingly seeking to involve private-sector companies through public-private partnerships, notes Cathy Xi Cao, an independent agricultural analyst at the time of writing. She predicts that this will likely accelerate as China's huge Belt and Road Initiative (BRI) – which seeks to build trade routes across Europe and Africa – gains momentum. And, while many BRI investments will focus on hard infrastructure, like roads and ports, these should theoretically support agriculture, improving logistics as well as helping farmers reach domestic and overseas markets.
Agricultural technology demonstration centres, typically operated by private Chinese companies with financial support from China's Ministry of Commerce (MOFCOM), represent China's most high-profile investment in African agriculture. There are now 23 centres across the continent offering farmers Chinese seeds for rice and other crops, as well as technology and training on cultivating everything from mushrooms to maize and rearing livestock such as cows or poultry. Proponents of this model include the Bill and Melinda Gates Foundation, which has partnered with MOFCOM to support two centres in Mozambique and Zambia and says that China has valuable technologies to share with Africa, as well as expertise gained during its own agricultural transformation.
Big private-sector Chinese players in African agriculture that have wrapped technical assistance around their investments include Tian Ze, a subsidiary of China Tobacco Co. Since 2005, it has used a contract farming model to expand across Zimbabwe – where, by 2014, it had 387 tobacco farmers in its network – and also into Malawi, Tanzania and Zambia, according to USDA. Tian Ze's investments reportedly include the provision of low- or no-interest finance to farmers, although exact figures are not available.
Chinese firms investing overseas receive strong financial support from the Chinese government, which sees Africa and agriculture as important to China's 'Go Global' drive. For example, when the Agriculture Development Bank of China and the country's Ministry of Agriculture agreed in 2016 to provide €390 billion in agricultural lending, supporting Chinese agricultural companies' overseas investments was cited as one of 10 targets for the money.
Commercial motives
Beijing's main motivation for supporting investments in African agriculture is widely assumed to be securing food supplies for China but this is not supported by data. Africa supplied only 2% of China's agricultural imports during 2010-15, according to Chinese customs figures, the USDA report notes. And, while much of its technical assistance and aid focuses on rice, China does not import rice or any other grains from Africa. Indeed, FOCAC stressed in its action plan the importance of helping Africa to achieve food security by 2030.
Rather, aid flows appear to be designed to build goodwill in African countries, facilitating the entry and profitability of Chinese firms, and building markets for Chinese inputs such as rice seeds. For example, investments by Chinese animal feed supplier New Hope Group, including in Egypt and South Africa, focus on building markets in those countries for its feed.
Indeterminate impact
With multiple media reports accuse Chinese entities of 'land grabbing' some 6 million ha of land across the continent, the impact of Chinese investments in African agriculture is a sensitive topic. However, the reports appear to have been greatly exaggerated, with the China Africa Research Initiative at John Hopkins University stating that barely 4% of this figure – 252,901 ha – can be confirmed.
China's readiness to lend to African governments – Kenya, for example, owes around €4.6 billion to China, equivalent to around a fifth of its total external debt – has also raised concerns, with critics alleging it is a way of China gaining political influence, particularly when borrowers struggle to repay. This may or may not be true, but much of this government-to-government lending is focused on energy or transport infrastructure rather than agriculture, where Chinese development and commercial bank lending is directed at Chinese firms.
On an individual farmer level, the impact of Chinese investment has been mixed. For example, while Zimbabwe's tobacco board has credited Tian Ze's contract farming model for helping the sector thrive at a time when international sanctions kept investors from other nations away, the Chinese firm reportedly demanded loan repayments from tobacco farmers in 2016 when they could not deliver the crop due to drought and crop failure. And, while Chinese agricultural technology is cheaper than that from the West, some media reports quote farmers as saying that it is still too expensive and that they have learned little of use at Chinese demonstration centres.
CIDCA: a new era?
In April 2018, it was hoped with the launch of the China International Development Cooperation Agency (CIDCA) that Beijing was ushering in a more transparent and collaborative approach to its aid flows in areas including African agriculture and a willingness to acknowledge mistakes. Less than 6 months later, the publication of a joint report by CIDCA and UNDP assessing the impact and effectiveness of two Chinese projects – the Agricultural Technical Cooperation Project in Guinea-Bissau and the Agricultural Technology Demonstration Center in Mozambique – appeared to represent a step in that direction. The report made several recommendations, including that Chinese technical experts stay in-country for longer and engage more with local partners such as farmer cooperatives and NGOs.
Biggest offer on the table
Nevertheless, within the continent and abroad, China's investment in African agriculture remains controversial. The unusually strong ties between the state and private sector in China are regularly criticised by western governments and companies, who argue cheap funding gives Chinese firms an unfair advantage in markets, including agriculture, and hands Beijing a worrying level of influence over African leaders. Others argue that African farmers will not gain in the long term from a model that is geared towards Chinese commercial interests. For the moment, however, China's offer remains, if not always the best, by far the biggest offer on the table for African agriculture. Only when rival governments up their own commitments to the sector will this change.
Development banks
This document has been produced with the financial assistance of the European Union. The contents of this document are the sole responsibility of CTA and can under no circumstances be regarded as reflecting the position of the European Union.
Helen Castell
Helen has nearly 20 years' experience as a financial journalist, specialising in trade finance, commodities, energy and international development.
12 November 2019 in Spore
Looking to the future for credit and finance solutions
Smallholder farmers in Africa continue to face numerous hurdles accessing credit or loans to increase their production. Amongst other factors, partnerships are key to addressing this, but governments need to take the lead, state experts from the sector.
27 August 2019 in Spore
Making index-based insurance profitable
Tech firms, brokers and insurers are working to make index-based insurance profitable and sustainable without subsidies, by cutting costs, sharing data and improving efficiency.
23 April 2019 in Spore
Reducing risk: Technologies safeguarding commodities in agricultural supply chains
As agri-tech firms and other innovators turn their attention to the protection, tracking and last-mile delivery of agricultural commodities, their apps and services are helping to reduce the risk associated with lending to farmers.
19 February 2019 in Spore
Blockchain builds trust in agricultural commodity trade
Distributed ledger technology promises to help plug a trust gap in agricultural commodities trade and finance, with new platforms offering farmers a bigger pool of buyers for their harvests.
Be sure you don't miss our latest updates.
Disclaimer Copyrights Privacy statement
Work with CTA