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A Revolution in the Arts
Art Styles in 20th century Art Map
The Great Avant-garde Movements
Rayonism - 1912
Cubo-Futurism - 1913
Constructivism - 1913
Vladimir Tatlin
Lyubov Popova
El Lissitzky
Antoine Pevsner
Universal Flowering - 1913
Artists Groups 1913-1914
Neo-primitivism. Russian movement, 1913
Synchromism - Style of painting, 1913
London Group - English exhibiting society, 1913
Rebel Art Centre - group of British artists, 1914
Vorticism - 1914
Edward Wadsworth
David Bomberg
William Roberts
Christopher Nevinson
Activists - Hungarian artistic group, 1914
Cumberland Market Group - British group of painters, 1914
Nikakai - Society of Japanese artists, 1914
Grass and Earth Society - Japanese group, 1915
Ready-made - term applied from 1915
Amsterdam school - 1915
Suprematism [Rus.: Suprematizm] - 1915
Kasimir Malevich
Artists Groups 1916
Society of Independent Artists - Group of artists, New York, 1916
De Sphinx - Dutch artists' society founded in Leiden on 31 May 1916
MA group - Hungarian group of artists and writers, 1916
Early Russian Avant-garde Movements
During the first two decades of the 20th century. Cubism and Futurism were adopted and developed by Russian artists who. except for those living outside Russia, had not previously been involved in the European avant-garde movements. From 1905 until the outbreak of World War I and, subsequently, from the time of the October Revolution until the mid-1920s, three important initiatives were launched in succession: Rayonism, Suprematism, and Constructivism. Founded on intellectual discipline and geometry, these modes entailed original theoretical and pictorial developments, along the lines of Abstractionism. Although aware of its legacy in painting and literature, young Russian artists felt burdened by the cultural tradition of realism and rejected it in favour of the new developments in France. They were mesmerized by the collections of Post-Impressionist works by Cezanne, Matisse, and Picasso, which were brought to Russia by wealthy merchants such as Shchukin and Morozov. who allowed public viewings.
Russian artists also admired Italian Futurism, avidly reading translations of the manifestos and attending Marinetti's lectures, held in Moscow from 1910 onwards. The Golden Fleece exhibitions of 1908 and 1909 included works by Natalia Goncharova and Mikhail Larionov (1882-1964) that recalled national tradition in robust primitivist scenes. In 1912. however, work presented at the so-called "Donkey's Tail" exhibition showed that these two artists had already started to embark upon a modernization of Russian painting. Although independent and critical of Western culture, these painters set great store by the Cubo-Futurists' experiments in the use of colour, dynamism of line, and the liberation of art from naturalistic representation.
In his "Manifesto of Rayonism" (published in April 1912 and revised in 1913 for the Target exhibition in Moscow), Larionov defined his new artistic theories as "a synthesis of Cubism, Futurism, and Orphism". Rayonism is said to have drawn its inspiration and name from the scientific discoveries of radioactivity and ultraviolet rays, which revealed the sum of rays derived from an object and the dynamic and simultaneous transmission of light. The movement was promoted in Western Europe throughout 1913 and 1914, and was taken up zealously in Rome during 1917, but failed to survive the upheavals of war. Its main protagonist, Larionov, moved to France to concentrate on stage designs for the Ballets Russes.
The works shown by Kasimir Malevich (1878-1935) at "0.10. The Last Futurist Exhibition", held in St Petersburg in 1915, represented an important move towards nonrepresentational art. He had sought to "liberate art from the dead-weight of objectivity" in 1913 by painting a single black square on a white ground, the sole content of which was "the sensitivity of nonobjectivity". The aim of this new movement, which Malevich named Suprematism, was to express the absolute supremacy of sensitivity in the creative arts. The goals of his manifesto, produced in collaboration with the poet Maiakovsky, were to liberate painting from the shackles of naturalistic or symbolic references; to divest it of any practical purpose; and to ensure that it existed only as pure aesthetic sensibility. This involved the composition of elementary geometric shapes, usually squares, which were initially painted black, but were later produced in several colours. The quest for purity and immateriality of form reached its logical conclusion in 1918 with a white square on a white ground. Vladimir Tatlin (1885-1953) exhibited at the St Petersburg shows held in 1915 and was a pupil of Larionov. His work evolved from the Neo-Primitive style towards more abstract compositions. His stormy friendship with Malevich ended when theoretical disagreements arose between them in 1917. Malevich continued to reject any connection between the "pure plastic sensibility' of art and the problems of practical life, whereas the Constructivists, led by Tatlin, held that art had to abandon individual aesthetic stances if it was to help emancipate modern society.
Rayonism [ Rus. Luchizm].
Term derived from the word for 'ray' (Rus. luch), used to refer to an abstract style of painting developed by the Russian artist Mikhail Larionov. Larionov himself claimed that he had painted his first Rayist work in 1909, but modern scholarship has shown his first Rayist works to date from the latter half of 1912. These included Glass: Rayist Method (New York, Guggenheim) and Rayist Sausage and Mackerel (Cologne, Mus. Ludwig). In 1913 Larionov began to expound and elaborate his theory in a series of manifestos.
Rayonism
Russian Luchism (Rayism) Russian art movement founded by Mikhail F. Larionov, representing one of the first steps toward the development of abstract art in Russia. Larionov exhibited one of the first Rayonist works, Glass, in 1912 and wrote the movement's manifesto that same year (though it was not published until 1913). Explaining the new style, which was a synthesis of Cubism, Futurism, and Orphism, Larionov said that it "is concerned with spatial forms which areobtained through the crossing of reflected rays from various objects."
The raylike lines appearing in the works of Larionov and Natalya Goncharova bear strong similarities to the lines of force in Futurist paintings. Rayonism apparently ended after 1914, when Larionov and Goncharova departed for Paris.
Russian Avant-garde Movements
After the Bolshevik revolution and World War I, a new-artistic trend emerged in Europe. Unlike Dadaism's nihilistic stance, the aesthetic individualism of Suprematism, or Mondrian's abstract mysticism, which rejected all political and social value for art, this new movement stressed the need for artists to become actively involved in reshaping society. It declared that the combined forces of art, craftsmanship, and industry could help build a better world. In post-Tsarist Russia, the first Commissar of Education, Anatoly Lunacharsky, was broadly sympathetic towards modern artistic movements, and permitted avant-garde artists to play a role in cultural activity and teaching. Considered useful to society, art was expected to concentrate on architecture, the design of manifestos and household objects, and printing. Known as Constructivism, this movement sought to put these revolutionary aims and ideals into practice. It rejected any creativity that did not have a purpose and categorized it as a specific, purely aesthetic activity. From 1915 to 1916, Tatlin (1885-1953) and Rodchenko (1891-1956) made utensils and household objects in iron, glass, and other industrial materials. They were joined by two brothers. Antoine Pevsner (1886-1962) and Naum Gabo (1890-1977). and the Mayakovsky group, organized by LEV (the Left Front) whose manifesto was published in 1923.
After the first flush of shared enthusiasm among the artists, differences soon emerged over methods and results. Following the subsequent schism in the Constructivist group, Pevsner and Gabo espoused the virtues of realism, which, as expounded in their "Realistic Manifesto" of 1920, supported the absolute value of art and its independence from the structure of society, be it capitalist or communist. Immediately, Rodchenko and his wife Varvara Stepanova delivered their riposte in the "Programme of the Productivist Group", airing extreme utilitarian and "functional" views and ending with the exhortation:
"Down with art! Up with technology! Down with tradition! Up with Constructivist technical progress!" The art produced by Moscow artists who had emigrated, many of them before World War I, was much more in tune with international movements. Artists such as Larionov, Sonia Delaunay, Goncharova, Chagall, and Soutine settled in Paris, where they found the artistic climate more congenial than in their native country.
Cubo-Futurism
Vladimir Mayakovsky, Moscow, 1924
Term first used in 1913 in a lecture, later published, by the Russian art critic Korney Chukovsky (1882–1969) in reference to a group of Russian avant-garde poets whose work was seen to relate to French Cubism and Italian Futurism; it was subsequently adopted by painters and is now used by art historians to refer to Russian art works of the period 1912–15 that combine aspects of both styles. Initially the term was applied to the work of the poets Vladimir Mayakovsky, Aleksey Kruchonykh, Velimir Khlebnikov, Benedikt Livshits (1886–1939) and Vasily Kamensky (1864–1961), who were grouped around the painter David Burlyuk. Their raucous poetry recitals, public clowning, painted faces and ridiculous clothes emulated the activities of the Italians and earned them the name of Russian Futurists. In poetic output, however, only Mayakovsky could be compared with the Italians; his poem 'Along the Echoes of the City', for example, which describes various street noises, is reminiscent of Luigi Russolo's manifesto L'arte dei rumori (Milan, 1913).
born July 7 [July 19, New Style], 1893, Bagdadi, Georgia, Russian Empire
died April 14, 1930, Moscow, Russia, U.S.S.R.
the leading poet of the Russian Revolution of 1917 and of the early Soviet period.
At the age of 15 Mayakovsky joined the Russian Social-Democratic Workers' Party and was repeatedly jailed for subversive activity. He started to write poetry during solitary confinement in 1909. On his release he attended the MoscowArt School and joined, with David Burlyuk and a few others, the Russian Futurist group and soon became its leading spokesman. In 1912 the group published a manifesto, Poshchochina obshchestvennomu vkusu ("A Slap in the Faceof Public Taste"), and Mayakovsky's poetry became conspicuously self-assertive and defiant in form and content. His poetic monodrama Vladimir Mayakovsky was performed in St. Petersburg in 1913.
Between 1914 and 1916 Mayakovsky completed two majorpoems, "Oblako v shtanakh" (1915; "A Cloud in Trousers") and "Fleytapozvonochnik" (written 1915, published 1916; "The Backbone Flute"). Both record a tragedy of unrequited love and express the author's discontent with the world in which he lived. Mayakovsky sought to "depoetize" poetry, adopting the language of the streets and using daring technical innovations. Above all, his poetry is declamatory, for mass audiences.
When the Russian Revolution broke out, Mayakovsky was wholeheartedly for the Bolsheviks. Such poems as "Oda revolutsi" (1918; "Ode to Revolution") and "Levy marsh" (1919; "Left March") became very popular. So too did his Misteriya buff (first performed 1921; Mystery Bouffe), a drama representing a universal flood and the subsequent joyful triumph of the "Unclean" (the proletarians) over the "Clean" (the bourgeoisie).
As a vigorous spokesman for the Communist Party, Mayakovsky expressed himself in many ways. From 1919 to 1921 he worked in the Russian Telegraph Agency as a painter of posters and cartoons, which he provided with apt rhymes and slogans. He poured out topical poems of propaganda and wrote didactic booklets for children while lecturing and reciting all over Russia. In 1924 he composed a 3,000-line elegy on the death of Vladimir Ilich Lenin. After 1925 he traveled in Europe, the United States, Mexico, and Cuba, recording his impressions in poems and in a booklet of caustic sketches, Moye otkrytiye Ameriki (1926; "My Discovery of America"). He also found time to write scripts for motion pictures, in some of which he acted. In his last three years he completed two satirical plays: Klop (performed 1929; The Bedbug), lampooning the type of philistine that emerged with the New Economic Policy in the Soviet Union, and Banya (performed in Leningrad on January 30, 1930; The Bathhouse), a satire of bureaucratic stupidity and opportunism under Joseph Stalin.
Mayakovsky's poetry was saturated with politics, but no amount of social propaganda could stifle his personal need for love, which burst out again and again because of repeated romantic frustrations. After his early lyrics this need came out particularly strongly in two poems, "Lyublyu"(1922; "I Love") and "Pro eto" (1923; "About This"). To makethings worse, during a stay in Paris in 1928, he fell in love with a refugee, Tatyana Yakovleva, whom he wanted to marry but who refused him. At the same time, he had misunderstandings with the dogmatic Russian Association of Proletarian Writers and with Soviet authorities. Nor was the production of his Banya a success. Disappointed in love, increasingly alienated from Soviet reality, and denied a visa to travel abroad, he committed suicide in Moscow.
Mayakovsky was, in his lifetime, the most dynamic figure of the Soviet literary scene, but much of his utilitarian and topical poetry is now out of date. His predominantly lyrical poems and his technical innovations, however, influenced a number of Soviet poets, and outside Russia his impress has been strong, especially in the 1930s, after Stalin declared him the "best and most talented poet of our Soviet epoch."
Photomontage for rear cover of Mayakovsky's "Razgovor c fininspektorom o poezii"
("A Conversation with a Tax-collector about Poetry"), 1926.
Founded in 1913 by Vladimir Tatlin, the Russian Constructivist movement developed from Cubism, Italian Futurism, and Suprematism in Russia, Neo Plasticism in Holland, and the Bauhaus School in Germany. The term Constructivism is used to define non-representational relief construction, sculpture, kinetics, and painting. As a response to changes in technology and contemporary life, it advocated a change in the art scene, aiming to create a new order in art and architecture that referenced social and economic problems. Brothers Naum Gabo and Antoine Pevsner also supported the movement, infusing sculptural elements from cubism and futurism with an allusion to architecture, machinery, and technology. The movements first Constructivist manifesto was written in 1921 when the First Working Group of Constructivists was formed in Moscow. The movement later spread to Holland and Germany before gaining international popularity. The style was initially supported by the Soviet Regime, but later was deemed unsuitable for mass propaganda reasons. Following this decree, Gabo and Pevsner went into exile while Tatlin, Popova and El Lissitzky stayed in Russia. The Constructivist movement was also prominent in theatrical scene design, mostly spread by the efforts of Vsevolod Meyerhold.
Avant-garde tendency in 20th-century painting, sculpture, photography, design and architecture, with associated developments in literature, theatre and film. The term was first coined by artists in Russia in early 1921 and achieved wide international currency in the 1920s. Russian Constructivism refers specifically to a group of artists who sought to move beyond the autonomous art object, extending the formal language of abstract art into practical design work. This development was prompted by the Utopian climate following the October Revolution of 1917, which led artists to seek to create a new visual environment, embodying the social needs and values of the new Communist order. The concept of International Constructivism defines a broader current in Western art, most vital from around 1922 until the end of the 1920s, that was centred primarily in Germany. International Constructivists were inspired by the Russian example, both artistically and politically. They continued, however, to work in the traditional artistic media of painting and sculpture, while also experimenting with film and photography and recognizing the potential of the new formal language for utilitarian design. The term Constructivism has frequently been used since the 1920s, in a looser fashion, to evoke a continuing tradition of geometric abstract art that is 'constructed' from autonomous visual elements such as lines and planes, and characterized by such qualities as precision, impersonality, a clear formal order, simplicity and economy of organization and the use of contemporary materials such as plastic and metal.
Russian artistic and architectural movement that was first influenced by Cubism and Futurism and is generally considered to have been initiated in 1913 with the "painting reliefs"—abstract geometric constructions—of Vladimir Tatlin. The expatriate Russian sculptors Antoine Pevsner and Naum Gabo joined Tatlin and his followers in Moscow, and upon publication of their jointly written Realist Manifesto in 1920 they became the spokesmen of the movement. It is from the manifesto that the name Constructivism was derived; one of the directives that it contained was "to construct" art. Because of their admiration for machines and technology, functionalism, and modern industrial materials such as plastic, steel, and glass, members of the movement were also called artist-engineers.
Other important figures associated with Constructivism were Alexander Rodchenko and El Lissitzky. Soviet opposition to the Constructivists' aesthetic radicalism resulted in the group's dispersion. Tatlin and Rodchenko remained in the Soviet Union, but Gabo and Pevsner went first to Germany and then to Paris, where they influenced the Abstract-Creation group with Constructivist theory, and laterin the 1930s Gabo spread Constructivism to England and in the 1940s to the United States. Lissitzky's combination of Constructivism and Suprematism influenced the de Stijl artists and architects whom he met in Berlin, as well as the Hungarian László Moholy-Nagy, who was a professor at the Bauhaus. In both Dessau and Chicago, where because of Naziinterference the New Bauhaus was established in 1937, Moholy-Nagy disseminated Constructivist principles.
(b Oryol, 18 Jan 1886; d Paris, 12 April 1962).
French painter and sculptor of Russian birth. Son of an industrialist and brother of the sculptor NAUM GABO, he grew up in Bryansk. He studied at the School of Art in Kiev (1902–9), where according to Gabo he first met Alexander Archipenko, and then spent a three-month probationary period at the Academy of Arts in St Petersburg. Among his early paintings, The Giant (1907) shows the influence of the Symbolist painter Mikhail Vrubel, but Pevsner was also impressed by the Russian Byzantine tradition.
Vision spectrale
Construction dans l'espace
Fresco, Fauna of the Ocean
Universal Flowering
Universal Flowering (Mirovoi rastsvet)
Universal Flowering is the name given by Pavel Filonov to his system of analytical art. The system arose from cubo-futurist experiments and works that he undertook from 1913-1915. It is characterized by very dense, minutely facetted, and relatively flat surfaces created by working from the particular to the general, using the smallest of brushes and the sharpest of pencils. The images have both Cubism's multiple vantage points and Futurism's representation of a figure over time. A number of the paintings, while having a given orientation, are painted as though they could be oriented in a variety of ways. Filonov's philosophy was originally formalized in written form in 1915, which was revised and published as The Declaration of Universal Flowering in 1923 when Filonov was a professor at the (then) Petrograd Academy of Arts. Filonov's main theoretical work The Ideology of Analytical Art (Ideologia analiticheskogo iskusstva) was published in 1930.
Neo-primitivism
Russian movement that took its name from Aleksandr Shevchenko's Neo-primitivizm (1913). This book describes a crude style of painting practised by members of the DONKEY'S TAIL group. Mikhail Larionov, Natalia Goncharova, Kazimir Malevich and Shevchenko himself all adopted the style, which was based on the conventions of traditional Russian art forms such as the lubok, the icon and peasant arts and crafts. The term Neo-primitivism is now used to describe a general aspiration towards primitivism in the work of the wider Russian avant-garde during the period 1910–14. It embraces the work of such disparate painters as Chagall, David Burlyuk and Pavel Filonov, and poets such as Velimir Khlebnikov and Aleksey Kruchonykh.
Russian artists associated with Neo-primitivism include: David Burlyuk, Marc Chagall, Pavel Filonov, Natalia Goncharova, Mikhail Larionov, Kasimir Malevich, Aleksandr Shevchenko.
Aleksandr Shevchenko
Cubist Composition (Man with Guitar).
Synchromism
Style of painting based on the theory that colour provides the basis for both form and content. It was conceived in Paris shortly before World War I by Morgan Russell and Stanton MacDonald-Wright. It was Russell's idea that paintings could be created based on sculptural forms interpreted two-dimensionally through a knowledge of colour properties. Synchromist paintings, stressing an emphasis on colour rhythms, were composed of abstract shapes, often concealing the submerged forms of figures, for example Synchromy in Blue (1916; New York, Whitney) by Macdonald-Wright. The two artists first attracted attention at the Neue Kunstsalon in Munich in June 1913. Their second exhibition of Synchromist painting was at the Bernheim-Jeune gallery in Paris from October to November 1913.
Morgan Russell
Cosmic Synchromy
Synchromy in Blue-Violet
Stanton MacDonald-Wright
Airplane Synchromy in Yellow-Orange
Califronia Landscape
Yin Synchromy No. 2
Oriental Synchromy
The Jade Flute No. 2
Still Life wit Cyclamen and Fruit
London Group
English exhibiting society founded in November 1913. On its foundation it absorbed many members of the CAMDEN TOWN GROUP and also incorporated the more avant-garde artists influenced by Cubism and Futurism, some of whom afterwards joined the Vorticist movement. Among the founder-members were David Bomberg, Henri Gaudier-Brzeska, Jacob Epstein, Harold Gilman (the group's first president until his death in 1919), Charles Ginner, Spencer Gore, Percy Wyndham Lewis, John Nash, Christopher Nevinson and Edward Wadsworth. The group was organized in opposition to the conservatism of the Royal Academy and the stagnation of the formerly radical New English Art Club. Though, as can be judged from the names of its founders, it had no homogeneous style or aesthetic, it acted as a focal point for the more progressive elements in British art at that time.
Harold Gilman
Canal Bridge, Flekkefjord
Edwardian Interior
Rebel Art Centre [Cubist Centre].
Meeting-place for a group of British artists. It was founded and managed by Wyndham Lewis in March 1914 at 38 Great Ormond Street, London, and was intended to rival Roger Fry's OMEGA WORKSHOPS in the cooperative production of abstract fine and applied art. It was also planned as a club for the discussion of revolutionary art ideas and as a teaching studio for non-representational art. The original members, Lewis, Frederick Etchells, Cuthbert Hamilton and Edward Wadsworth, were a group of painters who had recently resigned from the Omega Workshops and had signed a well-circulated round robin condemning Fry. They adopted a militant Futurist stance and decided to meet on Saturday afternoons to discuss their mutual art ambitions. These meetings led to the birth and development of VORTICISM.
Vorticism
A radical English art movement, led by Wyndham Lewis and named by the poet Ezra Pound in 1914. Lewis, EdwarWadsworth, Gaudier-Brzeska and others exhibited together in Brighton in 1913, presenting their work as and in 'The Cubist Room'. In 1914 they published their first polemical year-book, BLAST, and in 1915 they showed in London the Vorticist Exhibition which included several large paintings that are now lost. Essentially urban in its taste for hard, clear forms, Vorticism expressed great impatience with all Victorianism and all revivalism and sought to out-do the Post-Impressionist and Fauve modernism propagated by Roger Fry and his friends. Lewis met his associates when working in Fry's Omega Workshops; leaving with them after a disagreement with Fry, he adopted the vehemence and rhetoric of the Futurists in his onslaughts on Fry and made the Futurists' attempt to embrace industrial dynamism as the central concern of their art the concern also of Vorticism. Nevinson joined the group in 1913 but was the only one to call himself a Futurist. Epstein and Bomberg exhibited with them but did not become Vorticists. Though the war seemed an apt echo for their initially openly aggressive style and rhetoric - the subjects they used were neither necessarily aggressive nor even modern, though they shunned the French tendency to nudes, still lifes, domestic interiors and landscapes, preferring actions, even if the sources were classical antiquity or the Bible, rendered in varying degrees of abstraction — only Nevinson used his Vorticist art to make powerful images of it. The war and its aftermath also broke the group up and found alternative pursuits for its members. There is no exact end date for the movement. The June 1915 Vorticist Exhibition was the only one they put on, and the second and last BLAST came out in July 1915. That, in effect, was the end of Vorticist group activity.
Vorticism include:
Jacob Epstein, Wyndham Lewis, Wadsworth Edward, William Roberts, David Bomberg,
Henri Gaudier-Brzeska, Christopher Nevinson, Frederick Etchells, Cuthbert Hamilton,
Lawrence Atkinson, Jessica Dismorr, Helen Saunders.
(Canadian/British Writer and Painter, 1882-1957)
Dancing Figures
Wadsworth Edward
(English Painter, 1889-1949)
Vorticist Landscape: Forest Scene, Lewes, Sussex
(English Painter, 1889–1946)
(British Painter, 1895-1980)
The interval before Round Ten
Vision of Ezekiel
(1891–1915, French sculptor)
Femme assise
Red Stone Dancer
Activists [Hung. Aktivizmus]
Hungarian artistic, literary and political group that emerged c. 1914, after the disintegration of the group THE EIGHT in 1912. Though not a cohesive group, the Activists were stylistically united by their reaction to the predominantly Post-Impressionist aesthetic of the Eight. Instead they turned for inspiration to Cubism, Expressionism, Futurism, Dada and Constructivism, and although some of these had previously influenced the Eight, the Activists made most consistent and profound use of these modern movements. The most notable Activists were Sándor Bortnyik, Péter Dobrovic (b 1890), János Kmetty, János Máttis Teutsch, László Moholy-Nagy, Jószef Nemes Lampérth, Lajos Tihanyi and Béla Uitz, of whom only Tihanyi had previously been a member of the Eight. Many Activists were at some time members of the MA GROUP, which revolved around the writer and artist Lajos Kassák, the main theoretical, and later artistic, driving force behind Hungarian Activism.
Sandor Bortnyik
19MA21 Album, (Vienna 1921)
Cumberland Market Group
British group of painters. They took their subject-matter from everyday life, particularly that of north-west London, where Robert Bevan had his studio and held 'At Homes' for artist-friends. These formalized in late 1914 when Bevan, Charles Ginner and Harold Gilman established the group, joined in 1915 by John Nash. Christopher Nevinson and E. McKnight Kauffer attended meetings and compared works, although they did not exhibit with the group. Members consciously embraced the style called 'Neo-Realism', exploring the spirit of their age through the shapes and colours of daily life. Their intentions were proclaimed in Ginner's manifesto in New Age (1 Jan 1914), which was also used as the preface to Gilman and Ginner's two-man exhibition that year: it attacked the academic and warned against the 'decorative' aspect of imitators of Post-Impressionism.
Charles Ginner
The Cafe Royal
Victoria Embankment Gardens
Nikakai [Second Division Society].
Society of progressive Japanese artists. It was founded in 1914 by the painters Halentei Ishi, Shinto Yamashita and Honjiro Sakamoto, among others. The name is a reference to the divisions of Japanese government exhibitions, the First Division covering traditional work and the Second, the new school of art. Nikakai was seen as a breakaway movement from the official selection process. The first exhibition was held in 1914 with annual presentations thereafter. Sculpture was included from 1919. After World War II, exhibitions covered painting, sculpture, commercial art, photography and art theory.
Grass and Earth Society [Sodosha].
Japanese group of Western-style (Yoga) painters, active between c. 1915 and 1922 in Tokyo. Its principal member was the painter Ryusei Kishida, who was said to have thought up the group's name when he saw grass growing by the roadside as he walked along a Tokyo street. Other founder-members were Kazumasa Nakagawa (1893–1991) and Shohachi Kimura (1893–1958). Although Kishida was interested in the realistic depiction of nature, the group did not have a uniform style and concentrated on organizing exhibitions. In October 1915 the group held its first exhibition, sponsored by the Society of Contemporary Art, at the premises of the Yomiuri newspaper in Tokyo. The show comprised 172 works by 23 artists including the group's founders. In the second exhibition in 1916 were 118 works shown by 13 artists, including Kishida's Sketch of a Road Cut Through a Hill (1915; Tokyo, N. Mus. Mod. A.). A total of nine exhibitions were organized by the group, the last being held in 1922.
Amsterdam school
Group of Expressionist architects and craftsworkers active mainly in Amsterdam from c. 1915 to c. 1930. The term was first used in 1916 by Jan Gratama in an article in a Festschrift for H. P. Berlage. From 1918 the group was loosely centred around the periodical Wendingen (1918–31). They were closely involved in attempts to provide architectural solutions for the social and economic problems in Amsterdam during this period.
Term applied from 1915 to a commonplace prefabricated object isolated from its functional context and elevated to the status of art by the mere act of an artist's selection. Unlike most types of OBJET TROUVÉ, of which it can be considered a sub-category, it is generally a product of modern mass production, and it tends to be presented on its own without mediation. In its strictest sense it is applied exclusively to works produced by Marcel Duchamp, who borrowed the term from the clothing industry while living in New York, and especially to works dating from 1913 to 1921. Duchamp envisaged the ready-made as the product of an aesthetically provocative act, one that denied the importance of taste and which questioned the meaning of art itself. According to Duchamp, the artist's choice of a ready-made should be governed not by the beauty of the object but by his indifference towards it; to these ends it could be selected by chance methods, for example by a predetermined weight or at a predetermined time.
Suprematism [Rus.: Suprematizm].
Term coined in 1915 by Kasimir Malevich for a new system of art, explained in his booklet Ot kubizma i futurizma k suprematizmu: Novyy zhivopisnyy realizm ('From Cubism and Futurism to Suprematism: the new realism in painting'). The term itself implied the supremacy of this new art in relation to the past. Malevich saw it as purely aesthetic and concerned only with form, free from any political or social meaning. He stressed the purity of shape, particularly of the square, and he regarded Suprematism as primarily an exploration of visual language comparable to contemporary developments in writing. Suprematist paintings were first displayed at the exhibition Poslednyaya futuristicheskaya vystavka kartin: 0.10 ('The last Futurist exhibition of paintings: 0.10') held in Petrograd (now St Petersburg) in December 1915; they comprised geometric forms which appeared to float against a white background. While Suprematism began before the Revolution of 1917, its influence, and the influence of Malevich's radical approach to art, was pervasive in the early Soviet period.
Suprematist Painting
Russian Suprematism, first movement of pure geometrical abstraction in painting, originated by Kazimir S. Malevich in Russia in about 1913. In his first Suprematist work, a pencil drawing of a black square on a white field, all the elements of objective representation that had characterized his earlier, Cubist-Futurist style, had been eliminated. Malevich explained that "the appropriate means of representation is always the one which gives fullest possible expression to feeling as such and which ignores the familiar appearance of objects." Referring to his first Suprematist work, he identified the black square with feeling and the white background with expressing "the void beyond this feeling."
Although his early Suprematist compositions most likely date from 1913, they were not exhibited until 1915, the year he edited the Suprematist manifesto, with the assistance of several writers, most notably the poet Vladimir Mayakovsky. In these first Suprematist works—consisting of simple geometrical forms such as squares, circles, and crosses—he limited his palette to black, white, red, green, and blue. By 1916–17 he was presenting more complex shapes (fragments of circles, tiny triangles); extending his colour range to include brown, pink, and mauve; increasing the complexity of spatial relationships; and introducing the illusion of the three-dimensional into his painting. His experiments culminated in the "White on White" paintings of1917–18, in which colour was eliminated, and the faintly outlined square barely emerged from its background. Finally, at a one-man exhibition of his work in 1919, Malevich announced the end of the Suprematist movement.
Suprematism had a few adherents among lesser known artists, such as Ivan Kliun, Ivan Puni, and Olga Rosanova. While not affiliated with the movement, the distinguished Russian painter Wassily Kandinsky showed the influence of Suprematism in the geometrization of his forms after 1920. This geometrical style, together with other abstract trends in Russian art, was transmitted by way of Kandinsky and the Russian artist El Lissitzky to Germany, particularly to the Bauhaus (q.v.), in the early 1920s.
Society of Independent Artists [SIA].
Group of American and European artists founded in New York in December 1916 to sponsor regular exhibitions of contemporary art without juries or prizes. Among the most important artist-founders of the SIA were Katherine S. Dreier, Marcel Duchamp, William J. Glackens, Albert Gleizes, John Marin, Walter Pach, Man Ray, John Sloan and Joseph Stella. The managing director was Walter Arensberg (1878–1954). Modelled on the French Société des Artistes Indépendants, a group founded in 1884 that exhibited until World War I as a kind of institutionalized Salon des Refusés, the SIA held its first exhibition, The Big Show, in April 1917. This offered artists an opportunity to exhibit for a small yearly fee, regardless of style or subject-matter. This exhibition, held at the Grand Central Palace in New York, was not only the largest exhibition in American history (about 2500 paintings and sculptures by 1200 artists) but one of the most controversial: it drew criticism for its no-jury policy and its innovative alphabetical installation, adopted to preclude judgements of a hanging committee. The exhibition coincided with the entry of the USA into World War I, a context that underlined the SIA's dedication to democratic principles as part of a larger struggle. The SIA's commitment extended to all of the arts; film screenings, lectures, poetry readings and concerts supplemented the exhibitions. Although none was as sensational as the first, exhibitions accompanied by catalogues continued on an annual basis under Sloan's long tenure as president from 1918 until 1944 when the last exhibition was held.
Katherine S. Dreier
Abstract Portrait of Marcel Duchamp
John Marin
Saint Martin's in the Field
De Sphinx
Dutch artists' society founded in Leiden on 31 May 1916 as a continuation of De Anderen (The Others), the artists' society that had collapsed as a result of conflicts between the 'bewusten' ('conscious') and the 'intuïtieven' ('intuitives'). J. J. P. Oud was appointed chairman, and Theo van Doesburg became the second secretary. De Sphinx wanted more cooperation with architects and practitioners of other art forms. Cultural evenings were organized, at which van Doesburg read his poetry.
MA group
Hungarian group of artists and writers, active c. 1916 to 1926. It was associated with the journal MA, whose name was derived from the Hungarian for 'today', but it also refers to the movement Hungarian Activism (Hung.: Magyar Aktivizmus). Founded by the writer and artist Lajos Kassak, MA first appeared in November 1916, and from then until it was banned on 14 July 1919 it was published in Budapest, at first edited solely by Kassák and by 1917 by Béla Uitz also. From 1 May 1920 until its demise in mid-1926 it was published in Vienna under Kassák's sole editorship. It was the most important forum for Hungarian Activism, and over the years its members included Sándor Bortnyik, Péter Dobrovic (1890–1942), Lajos Gulácsy, János Kmetty, János Máttis Teutsch, László Moholy-Nagy, Jószef Nemes Lampérth, Béla Uitz among others. The first issue had a Cubist cover by the Czech artist Vincenc Benes and an article by Kassák entitled 'A plakát es az uj festészet' ('The poster and the new painting', MA), which set the revolutionary tone of the group. The article suggested that painting should aspire to the same aggressive power as that achieved by posters: 'The new painter is a moral individual, full of faith and a desire for unity! And his pictures are weapons of war!.' Many members of the MA group did in fact produce posters during the short Communist regime under Béla Kun in 1919; Uitz, for example, designed Red Soldiers, Forward! (1919; Budapest, N.G.).
Lajos Kassak
Bela Uitz
Sitting woman
Janos Mattis Teutsch
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The principles of accountability and delegation are relevant to all members of the nursing team. Whether you're a nurse, HCA, AP or student, this page tells you what you need to know.
An RCN guide to accountability and delegation in the workplace for the nursing team.
Health service providers are accountable to the criminal and civil courts to make sure their activities meet legal requirements. In addition, employees are accountable to their employer to follow their contract of duty. Registered practitioners are also accountable to regulatory bodies in terms of standards of practice and patient care. Registered nurses and midwives are professionally accountable to the Nursing and Midwifery Council (NMC).
The law imposes a duty of care on practitioners, whether they are HCAs, APs, students, registered nurses, doctors or others. The duty of care applies whether they are performing straightforward activities such as bathing patients or undertaking complex surgery.
All practitioners must ensure that they perform competently and that they don't work beyond their level of competence. They must inform a senior member of staff when they are unable to perform competently.
have the authority to perform the activity, through delegation and the policies and protocols of the organisation.
Registered nurses have a duty of care and a legal liability to their patients. When delegating an activity, for example to an HCA or AP, they must ensure that it has been appropriately delegated.
The NMC code says registrants must be accountable for their decisions to delegate tasks and duties to other people.
Employers have responsibilities too. They must ensure their staff are trained and supervised properly until they are competent.
Employers accept vicarious liability for their employees. This means that if their employees are working within their sphere of competence and in connection with their employment, the employer is also accountable for their actions.
Delegation must always be in the best interest of the patient and not performed simply to save time or money.
The support worker must have been suitably trained to perform the intervention.
Full records of training given, including dates, should be kept.
Evidence that support workers' competence has been assessed should be recorded, preferably against recognised standards such as National Occupational Standards.
There should be clear guidelines and protocols in place so that the support worker is not required to make a standalone clinical judgement.
The role should be within the support worker's job description.
The team and any support staff need to be informed that the activity has been delegated.
The person who delegates the activity must ensure that an appropriate level of supervision is available and that the support worker has the opportunity for mentorship. The level of supervision and feedback needed depends on the recorded knowledge and competence of the support worker, the needs of the patient/client, the service setting and the activities assigned.
Support workers must have ongoing development to make sure their competency is maintained.
The whole process must be assessed to identify any risks.


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text:
The Last Weekend
By Gary Indiana
Essays — Nov 14, 2012
Jean-Luc Godard's Weekend (1967) is a key film of the late sixties, a premonition of the political explosion of May '68 and its chaotic aftermath, a comedy of brilliant set pieces that cumulatively stage the collapse of Western civilization. Its acid depiction of consumer society and the middle class is exemplary of a complex, multilayered cinema of ideas that flourished in the sixties and seventies in the films of Godard, Pier Paolo Pasolini, Alexander Kluge, Luis Buñuel, Robert Bresson, and many other directors, comparable to literature in artistic ambition and scope. What sets Godard's film apart is its sheer velocity, its outrageousness, and its exuberant disdain for almost everything.
With its pop art color scheme and two-dimensional characters, Weekend is less like a novel than a pamphlet, and more like a fairy tale than either. The presiding trope is Alice's tumble down the rabbit hole. Weekend opens conventionally enough, like a Chabrol movie or a Balzac novel: a married couple, Corinne (Mireille Darc) and Roland (Jean Yanne), are planning each other's demise with their respective lovers, and plotting together to help Corinne's ailing father into the afterlife— maybe her mother as well, if she refuses to split the inheritance. But any illusion of melodramatic realism is quickly punctured in a scene where Corinne's lover assumes the role of psychiatrist, sitting at a desk in a darkened office while Corinne sits on the desk in her bra and panties and describes a recent three-way with a different lover and his girlfriend, an orgy, involving eggs and a bowl of milk, loosely borrowed from Bataille's Histoire de l'œil. The episode is a parody of Bibi Andersson's emotionally overwrought "orgy monologue" in Ingmar Bergman's Persona, rendered flat and passionless by Corinne's bored delivery, the camera's slow zooming in and out in near darkness on the barely distinguishable figures, and swelling, "ominous" B-movie theme music that occasionally drowns out her voice. Godard establishes here an atmosphere of neurotic apprehension and narrative unreliability sustained throughout the rest of the film. "Is this a dream or did it really happen?" "I don't know."
All but three brief scenes in Weekend take place out of doors, in meadows and woods, on roadways and farms. The protagonists are removed from their usual urban reality and observed in something like a state of nature, in high relief, where Godard's camera examines them like insect specimens. En route to Corinne's family's house in the countryside, the couple pass through a landscape that resembles a projection of their predatory unconscious. France's rural heart is depicted as a debris field of wrecked and burning cars, dead bodies, free-ranging historical personalities and characters from literature, philosophical garbage collectors, and marauding revolutionaries.
After bullying their way through an epic traffic jam that serves as a cross section of the French middle class, the sullen, perpetually bickering couple proceed with rapacious single-mindedness into a Wonderland that mocks them at every turn. Like a venomous consumer id, obsessed with clothes and cars and cash, they treat every stranger as an obstacle or an opportunity, oblivious to the unlikelihood of encountering Saint-Just in a sheep meadow or Emily Brontë on a country lane. If the past is there to teach us things, Corinne and Roland aren't prepared to keep on learning; it takes only a drop of bewilderment or a line of "useless" poetry to unleash their inner beastliness.
For a film whose lead characters are utterly vacuous and driven by primitive instinct, Weekend is overblessed with ideas, allusions to high culture, showstopping longueurs of political theater. The ideas come from Karl Marx and Lewis Carroll, Francis Ponge and Norman O. Brown, MGM and Jacques Lacan—Godard seizes choice fragments from the sixties intellectual zeitgeist and layers them into an abrasive, strangely compelling collage.
The technique of Weekend, however, comes from Brecht. The film excludes any emotional identification with its protagonists. They have no inner lives. Corinne's only emotional moment occurs when her Hermès pocketbook is incinerated in a head-on collision. Moreover, she and Roland are conscious of being characters in a movie. Weekend's fistfights, shootings, stabbings, and highway carnage don't simulate violence so much as transmit an idea of violence. The bloodshed is so deliberately fake that a scene where a real pig has its throat cut comes as a powerful shock.
Godard repeatedly fractures the narrative with flash cuts and intertitles, and generally tries the audience's patience with scenes that carry on well beyond any reasonable length—the initial traffic jam, for instance, but also the barnyard recital of Mozart's Piano Sonata no. 18, played partway through and then started again, as the camera three times inscribes a circle around the pianist and his listeners. Most pointedly, a later scene where two garbagemen eat sandwiches while staring into the camera stops everything dead to deliver a protracted theoretical voice-over monologue about colonialism and exploitation. The scene is essential for understanding the overall premise of Weekend, and at the same time so excruciatingly static that critics of the time advised the audience to go out for a coffee as soon as it started.
Weekend is structured like a problem in logic or a mathematical theorem. Virtually every scene reflects the unraveling of Rousseau's social contract and points to an inevitable disintegration into tribal atavism. Godard, who trained as an ethnologist, adapted the film's structure from Friedrich Engels's The Origin of the Family, Private Property, and the State (1884). Engels developed his ideas from the anthropologist Lewis Morgan's study of the Iroquois and Seneca tribes, which posits that, "according to the materialist conception, the determining factor in history is . . . the production and reproduction of the immediate essentials of life." Engels describes the emergence of civilization from barbarism, and barbarism from savagery, as marked by stages in the development of articulate speech, the invention of weaponry, and the transition from migratory hunting and gathering to fixed communities based on agriculture.
In Weekend, these stages are set in reverse: a dominant class, alienated from "the production . . . of the immediate essentials of life" and devoted to mindless consumerism, is shown regressing to a state of savagery. Even Morgan's Indians, alluded to at the outset by a little brat in a headdress, turn up in the form of revolutionary cannibals, declaiming the poetry of Lautréamont while frying up English tourists.
The film's internal chronology blurs as it goes along. Social disintegration is charted by red, blue, and white titles that at first display, with excessive frequency, the exact time and day of the passing weekend, or mimic the car's speedometer, or identify an upcoming scene or a scene already in progress ("The Exterminating Angel," "Scene of Provincial Life"), but later simply add sardonic commentary with allusive and fragmented phrases ("Totem and Taboo," "FLSO," "August Light"), or suggest a greater passage of time than we actually sense passing on-screen, by posting months of the French Revolutionary Calendar ("Thermidor," "Pluviôse")—as if time had mysteriously dilated, or frozen into the postapocalyptic synchrony of history's end.
Weekend reflects a period of gathering crisis in most of the developed world, a time of intense politicization among young people in revolt against the inequalities of capitalism, America's neocolonial war in Vietnam, middle-class materialism, and sexual hypocrisy, among other things; widespread disgust with both American imperialism and the sclerotic communism of the Soviet Union produced a highly energized revolutionary movement, strongly influenced by the Chinese Cultural Revolution and less remarkable for any legible goals than for its bloody-minded rejection of the status quo. "The horror of the bourgeoisie can only be overcome with more horror," someone says near the end of the film, providing a belated raison d'être for everything we've already seen. The revolutionary future Godard introduces, spearheaded by armed hippies identified as the Seine- et-Oise Liberation Front (FLSO), is arguably as repulsive as anything else in Weekend, but Godard withholds judgment. Obviously, the piratical forest dwellers represent what would soon be known as "the generation of May '68," as do the members of the Maoist commune in Godard's preceding film, La Chinoise (1967); Godard presents them as the inevitable outcome of a historical process, and surrenders the last part of his film to an endless tribal massacre. But he also indicates the absurdity of the romantic apocalypse on-screen. Life is a tragedy for those who feel, a comedy for those who think; in Weekend, Godard is definitely opting for comedy.
Godard is said to have told his usual crew to look for other work after wrapping Weekend; he was finished with most of what movies were expected to look and sound like, and devoted much of the next decade to ideologically oversaturated films that were more like Marxist-Leninist slide lectures than movies. The final title card announces the "end of cinema." Weekend was the last "real" movie Godard made for several years, until Tout va bien (1972)—"real" in the sense that it relies on cinematic illusion, however thin, to move from point A to point B, relates a story one can summarize coherently, and could, conceivably, be viewed with pleasure even by an audience indifferent to its sociological and political didacticism. But how much richer Weekend is for its didacticism, which gives this film its historical prescience while inviting us to laugh with it and at it at the same time—offering the pleasure of uninhibited black comedy and an ever fresh spite toward everything meretricious and fake.
Gary Indiana is the author of many novels and works of nonfiction, including the BFI monograph Salò, or The 120 Days of Sodom.
More: Essays
Minding the Gap: What It's About
Bing Liu's extraordinary debut feature was originally conceived as a documentary about skaters around the country and ultimately became an unflinching exploration of family, trauma, and the filmmaker's own life.
By Jay Caspian Kang
On Film / Essays — Jan 12, 2021
That Obscure Object of Desire: Desire, Denuded
Luis Buñuel weaved together multiple strands of his artistry in his final film, which blends the surrealism of his early years, the melodrama of his 1950s work, and the elegant erotic comedy of his late career.
By Adrian Martin
On Film / Essays — Jan 7, 2021
The Phantom of Liberty: The Serpentine Movements of Chance
Luis Buñuel lays bare the amorality and illogic of human affairs in the slew of straight-faced absurdities that make up his penultimate film.
The Discreet Charm of the Bourgeoisie: More and Less
Crazy things keep happening in Luis Buñuel's perverse comedy of manners, a film that coolly deconstructs itself at every turn.

redpajama_set_name: RedPajamaCommonCrawl


The focus of the Aktion Club Service Initiative is disability awareness. Kiwanis International and the Joseph Maley Foundation (JMF) co-created this program for Aktion Club. JMF has been conducting disability awareness for more than 18 years and are considered to be experts in this field. By working together, a new program created specifically for Aktion Club was developed.
We are all unique. We have different talents and struggles, hopes and dreams.
We all want to be accepted, to enjoy friendships, to work and to play.
Every person deserves respect and to be treated with kindness.
It is important to celebrate similarities and differences.
We must get to know someone to really understand them.
This program fulfills the missions of both Kiwanis International and Aktion Club.
Kiwanis mission: Serving the children of the world.
Aktion Club mission: Members will develop initiative, leadership skills and serve the community.
An Aktion Club will purchase the program from Kiwanis International. This will be the club's service initiative for the year.
The club will implement program kit with their local elementary school.
When visiting the classrooms, club advisors and members will use the program activities with the students.
Clubs are encouraged to work with the same schools each year to build a foundation of awareness and acceptance in the students.
The disABILITY Awareness Program Kit #1 will launch at the Kiwanis International Convention and Aktion Club Training and Leadership Conference in June, 2018. Kits #2 and #3 will be coming soon!
Sleeping Children Around the World (SCAW), is a nonprofit organization located in Toronto, Ontario. SCAW has been a project for Aktion Club since 2005, and Aktion Club continues to promote SCAW as a fundraising initiative for clubs to support.
The following resources have been created to assist in educating both Kiwanis family members and the community about the Aktion Club Service Initiative. Take a moment to view what's available. If you need copies of these items please contact Kiwanis International Membership Department at 1-800-KIWANIS, ext. 411 and place an order.
Kiwanis International is not currently offering a matching grant opportunity, however, there may be one coming soon!


Homework Helper program provides homework assistance to school children in grades 1-7 during afterschool hours at the Riverfront and.In a library catalog here at the AHS Library or the Arcadia Public Library, search under SUBJECT for: Arthur, King and Arthurian romances (Remember, you can use your.
West Covina Library Homework Center offers homework help available for 3rd through 6th grade in.The following drop-off and pick-up procedures are designed to ensure student safety.
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That in order to commemorate the Battle of Monocacy, Maryland, and to preserve for historical purposes the breastworks, earthworks, walls, or other defenses or shelters used by the armies therein, the battlefield at Monocacy in the State of Maryland is hereby established as the Monocacy National Battlefield. The battlefield shall comprise the area within the boundary generally depicted on the map entitled "Monocacy National Battlefield," numbered 894/40,001A, and dated April 1980, which shall be on file and available for public inspection in the Office of the National Park Service, Department of the Interior.
1980-Pub. L. 96–607 substituted provision directing that the battlefield be comprised of the area within the boundary generally depicted on the map entitled Monocacy National Battlefield, numbered 894/40,001A, dated April 1980, which map is to be on file and available for public inspection for provision directing that the battlefield be comprised of the area generally depicted on the drawing entitled Boundary, Monocacy National Battlefield, numbered 894–40,000, dated May 1976.
1976-Pub. L. 94–578 substituted "is declared a national battlefield to be known as the 'Monocacy National Battlefield' (hereinafter referred to as 'the battlefield'). The battlefield shall comprise the area generally depicted on the drawing entitled 'Boundary, Monocacy National Battlefield', numbered 894–40,000 and dated May 1976" for "is declared a national military park to be known as the 'Monocacy National Military Park', whenever the title to the lands deemed necessary by the Secretary of the Interior shall have been acquired by the United States and the usual jurisdiction over the lands and roads of the same shall have been granted to the United States by the State of Maryland".


We spend so much of our lives sitting still, whether it's behind our desks in the office, behind the wheel of our cars, or at home on the couch in front of the TV. Well, we think it's time for a change.
Here at Eurotunnel Le Shuttle, we have long been committed to investing in sustainable energy, and have even been awarded the Carbon Trust Standard for our efforts. We are hands down the most environmentally friendly way to cross the Channel, and now we're taking that one step further. We have just launched three amazing new WeWatt charging stations at our Victor Hugo terminal here in Folkestone in the UK.
Whilst waiting to catch the next Le Shuttle across the Channel, most people take the opportunity to stay connected with their digital lives on social media, send a couple of business emails, or maybe even catch up on the latest episode of their most recent TV show obsession. Well, now you can stay connected without fear of your battery dying half way through, whilst hooked up to one of our high-tech WeWatt bikes.
Don't worry, there's no need for any gruelling spin-class-esque cycling, even gentle exercise on one of the WeWatt bikes is enough to start generating power. Half an hour of pedalling is capable of fully charging your mobile phone. In fact, if you cycled on the bike for two and a half hours, it would be the equivalent of cycling all the way to Calais! Pretty impressive, but still no match for our speedy journey time of just 35 minutes to get you across the Channel.
Our WeWatt bikes launched on the 25th March 2015, so why not plan to get to the terminal a little early and give them a go yourself?


Extend the life of your tires by having a steering and suspension working properly.
It's easy to know when there is a problem with your suspension system. Common signs include a bumpy ride, additional pulling when turning, uneven tire wear, a clunking, or the appearance of oily shocks. What is more challenging is determining what exactly is causing all the extra bumps, pulling and uneven wear on your tires. This is where the experts at 41st Street Automotive in Sioux Falls, SD come in. With their expertise in repairing the different components of the suspension system they can pinpoint the root cause of the issue with just one test drive. Set up an appointment today to diagnose any suspension issues on your vehicle.
It's easy to know when there is a problem with your suspension system. Common signs include a bumpy ride, additional pulling when turning, uneven tire wear, a clunking noise, or the appearance of oily shocks. What is more challenging is determining what exactly is causing all the extra bumps, pulling and uneven wear on your tires. This is where the experts at 41st Street Automotive in Sioux Falls, SD come in. With their expertise in repairing the different components of the suspension system they can pinpoint the root cause of the issue with just one test drive. Set up an appointment today to diagnose any suspension issues on your vehicle.
Shocks (or shock absorbers) are mechanical devices designed to smooth out rough roads. The devices do this by converting kinetic energy to another form of energy. Properly working shocks reduce the effect of traveling over rough ground, leading to improved ride quality and vehicle handling. When shocks develop problems, driving on poorly leveled roads becomes unpleasant, and your vehicle may sway when turning. To have your vehicle's shocks diagnosed and repaired, visit 41st Street Automotive today.
Much like a shock absorber (shocks), your car's struts provide a dampening effect as you travel over a road's surface. By absorbing the shock of the road, struts allow passengers to ride in a car without constant and uncomfortable motion. Struts work a bit differently than shocks in that they provide structural support for your car's suspension. This means that struts support your car's weight, unlike shocks which only regulate the speed at which the weight is transferred. Struts usually last around 50,000 or 60,000 miles. This is simply because the damping characteristics of the parts gradually deteriorate over time. Call 41st Street Automotive at 605-334-5252 if you have questions about the struts on your car. Our expert technicians will diagnose any problems and help you make an informed decision about repairs.
When a car is in motion and you need to change direction by taking a turn, tie-rod ends help direct the vehicle and enable the turning of the wheels. As such, taking turns becomes easier and they eliminate any unnecessary torque on the wheels in every turn the vehicle takes. If your steering wheel is wobbling, most probably, the tie-rod ends are faulty and at that point, the best thing to do is to call in 41st Street automotive experts who will inspect the vehicle and advice on necessary repairs.
Ball joints aid the safe operation of both the suspension and steering of your car by attaching the wheel hub to the suspension. The nature of ball joints in cars is such that they enable horizontal rotation for the steering and vertical rotation for shock absorption. These joints may damage under normal conditions after many miles or when there is contamination from dirt inside them. By calling 41st Street Automotive professionals to repair the ball joints on your vehicle you are assured of great results. If you are considering the best auto repair in Sioux Fall, SD, then, you need to reach out to these experts today.
Visit our shop located at 909 West 41st Street in Sioux Falls, in South Dakota. If you are having issues with your vehicle's steering and/or suspension system and need a professional opinion, we are here to assist you. Our technicians provide high quality service in for all your steering and suspension system repairs. Call us today at 605-334-5252.
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There are days when you feel on top of it, and days when you feel stuck. As sentient beings, we unknowingly pick up a lot of unwanted energies from the environment and people, and wonder why we feel or think the way we do. Once you understand that your body is made up of energy systems, it becomes easier to clear out the clutter and intentionally draw in fresh energy.
Utilizing the art of Qi Gong (Chee-gung) you will learn a series of 15 simple yet powerful movements that will build your life force energy (Qi) from the inside out. Qi Gong is the cultivation of energy; a self healing practice to maintain health and increase vitality. Class will end with a seated meditation.
Venus believes that we are all born with the innate knowledge and ability to heal ourselves through the power of breath. It is the gateway to one's true potential, and overall emotional/mental, physical and spiritual well being. Since 2006 she has cultivated the skill of breathing, and in 2012 became a Certified Medical Qi Gong Instructor under the study of Sifu Gail Galivan at Inner Alchemy Energy Medicine. In acknowledging the effectiveness of self-discovery and truth, her objective is to guide each person to their own unique path via healing and balance in the mind-body relationship realm. Turning off the outside world while emphasizing intuition, creativity, and imagination, she utilizes the power of intention with coordinated breath and gentle moving meditations. Her classes allow each individual to experience the inner working of their universe with significance and ease, creating a more harmonious life.
Venus has had the privilege of working with students of all levels, including the older adult population at Rush Medical Center's membership program Rush Generations, and at Mathers-More Than a Cafe, to incorporate recreational and wellness programs for the senior community.
Qi Gong is an ancient Chinese art and science form. It is gentle energy exercises through breath, postures, simple movements and meditation; similar to Tai Chi— but not martial arts based. One's life energy is strengthened, cleansed, and circulated throughout the body and stored.
Qi Gong is a combination of physical postures, breathing techniques, and focused intentions. Every exercise can be done while sitting or standing, and is simple enough for people of all ages with, or without, experience of Qi Gong. Modifications are made for those who have a specific range of motion, or a medical history, so as to work within their ability.
Qi Gong improves: circulation, concentration, memory, metabolism, digestion, coordination, balance, wellbeing, awareness. Increases: health, vitality, intuition, creativity. Creates: optimistic and joyous disposition, clear and tranquil mind, relaxation response to stress.


Staldras are enemies in Skyward Sword.
This is a snake monster from before the dawn of time. Three bone-plated heads and a thirst to cause pain keep it writhing even beyond death. My analysis shows that to defeat this cursed snake, all three of its heads must be simultaneously destroyed.
Staldra are skeletal hydras located in the Skyview Temple and Lanayru Mining Facility. They are able to regenerate their heads when one is cut off.
Upon encountering an enemy, Staldras will begin moving their heads in various patterns as they confront them, before lunging at their foes in attack. Their heads will align themselves in a horizontal, diagonal, or an uneven position. Link can only defeat them by destroying all three heads at once, otherwise the decapitated heads will quickly regenerate. Because of this, they can only be defeated when they align their heads in an even position where Link can slice through all three at once.
An easy way to defeat Staldras is to Shield Bash them when they lunge, then attack while they are stunned. It is possible to kill Staldras with Bombs if all the heads are looking in the direction of the Bomb. Upon defeat, Staldras will drop a single Red Rupee.
Staldra is a portmanteau of "Stal", a prefix used to denote skeletal creatures such as the Stalfos, and Hydra, a multi-headed serpent-like beast from Greek myth that could regrow its heads.


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Music Monday, 11/7: AH-MER-AH-SU, Jay Boogie, Leikeli47 and El Guincho.
By Laurel Dickman
Music Monday: AH MER AH SU, Jay Boogie, Leikeli47 and El Guincho.
Queer identity plays a huge role in this week's Music Monday. We start off with a BANG! featuring Tunde Olaniran's brilliant "Diamonds," and keep it coming with Leikeli47 and her gang of tough babes, as well as Jay Boogie and brand new Run The Jewels.
AH MER AH SU is the Oakland-based "poptronic princess," Star Amerasu. Her Rebecca EP discusses "growing up as a teenage transitioned black trans woman," which you can hear in songs like "Space" and "Empathy."
"How many trans women are murdered by men who they have had relations with? It makes me angry, it enrages me that the men who are attracted to us often are the ones sending us to the grave," Amerasu tells Vice regarding her song "Space." She discusses tough topics while creating incredibly beautiful, dark pop songs that will have you dancing in shared anger and empathy.
If Star Amerasu sounds familiar, you may have seen her appear in season one of Vice's Gaycation. In the episode, Amerasu discusses trans issues such as access, housing, trans sex workers and prision. Amerasu clearly paints the way all of these things fit into a vicious cycle and shows how Black trans women are truly the most vulnerable adult population in the U.S.
Jay Boogie describes himself as "recording artist, showgirl, provider, motivational speaker and aspiring philanthropist." The incredible Brooklyn-based Dominican queer artist is bold and unapologetic with a gorgeously flamboyant style of his own.
"Jay Boogie is just a melting pot of a few of the 'Boogies' that I look up to," he says. "You've got Liberace with his legendary boogie-woogie craze and then you have L Boogie — that's Lauryn Hill. I just want to be inducted into the Boogie family," Boogie explains to Paper Magazine.
He is also not afraid to discuss gender, sexuality and being a queer rapper in a femme-aggressive world.
"Around the fifth grade, I had a choice. This is the moment where I take this, flip it and dip it and make everyone aware before they're able to label me, or I'm going to be forever scorned," Boogie says. "What people call 'gay' to me is not so much about sexual orientation — it's a lifestyle, a social construct and how I express myself. I love who loves me. I'm me-sexual."
When speaking with Dazed, Boogie was asked how he feels being labeled as "queer hip-hop" rather than "mainstream hip-hop."
"Of course I want to speak to a larger audience but they have to accept themselves before they accept me. What's your mission statement? Where does your activism lie? I've accepted myself, now it's time to accept your body."
https://www.youtube.com/watch?v=1lAqskS1hK8
The first thing one hears when they flip on a Leikeli47 tune is a fun, presumed-to-be-feminine voice. Leikeli47 raps about women and femmes who take zero shit from the world around them but she herself is an incredible friendly, upbeat, positive person. With a sound that feels akin to early '00s Missy, M.I.A. and Azealia Banks, the rapper gets bodies moving.
While the music may be straight forward, questions start coming when you watch a video and see the diminutive rapper wearing a variety of balaclavas, hiding her identity.
"It distracts from everything that everybody would normally go to," she explained to Noisey, "what's she look like, what's her shape, her complexion." The semi-automatic rifles that blanket her visual work are similarly explained away as LKs: "what's coming out of this gun is love. What's coming out of that gun is fun music. You hear that boom bap, and you just want more. It's fun!"
Leikeli47 describes music as an escape that she developed as a kid growing up in New York.
"Just imagine waking up to the things that go on out there," she says. "You have no way to escape, and you have this beautiful thing called music. It's just like, man, I'm going to wake up and look out the window and paint that dirty building that everybody looks at, this dusty corner that everybody looks at. I'ma paint this in a way that makes it so beautiful that they're going to love it. People are going to want to know where I'm from, and they're going to want to dance to it."
https://www.youtube.com/watch?v=qFPRkk_zEI0
El Guincho
El Guincho is the project run by sample king Pablo Díaz-Reix. The Spanish musician is from the Canary Islands, off the coast of Morocco. With nods to Afro-beat, dub, tropicalia and rock 'n' roll (among many others), Díaz-Reix describes his creation as "space-age exotica."
His recent album was conceived in a sad and rather unusual situation. After seeing a great deal of commercial success from his previous album, Díaz-Reix received bad news: his mother had lung cancer. He decided to return to the Canary Islands to be with her and help her through the long and arduous path to recovery or passing and found himself hauling drum machines and other small equipment to the hospital so he could work during his mother's chemo sessions.
Sitting in the hospital with his mother, headphones on, Díaz-Reix created loops that would become the foundation of Hiperasia. Through the process, his loops received a great deal of appreciation from the electronic world. He returned to Barcelona, Spain, to work on a new album after his mother's death. The title comes from the name of a Chinese dollar store in Madrid, in which he imagined all of the little knick-knacks as different sounds, a metaphor for the many loops created through long hours in the hospital.
"We're humans," Díaz-Reix tells Spin. "We need change. We need it to be alive, to breathe. If you spend 15 years sitting in the same chair, watching the same TV show, reading the same books, listening to the same records, you're probably going to be depressed."
AmerasuEl GuinchoJay BoogieLeikeli47musicMusic MondayPablo Díaz-Reixplaylist
Laurel Dickman
Laurel Dickman is an intersectional feminist, plus size model, stylist, and fat activist that can also be found via her blogs, Exile In Dietville and 2 Broke Bitches. She grew up in the south between Florida and North Carolina, migrating to the Portland, OR in 2005. All three places inform her perspective of the world around her a great deal. While in Portland, she worked with the Alley 33 Annual Fashion Show, PudgePDX, PDX Fatshion, Plumplandia, and numerous other projects over the near decade that she was there. In August of 2014, she moved to the Bay area with her partner, David and trusty kitty, Dorian Gray. She continues her body positive and intersectional feminism through various forms of activism, fashion, photography projects, and writing from her home in the East Bay. She can be reached at laurel@wyvmag.com and encourages readers to reach out to her to collaborate!
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The San Antonio River Authority owns the beds and banks along the San Antonio River, its creeks and tributaries. This area lies mostly in SARA's four county district of Bexar, Wilson, Karnes and Goliad counties. However, a portion of the San Antonio River extends into Refugio and Victoria counties. SARA also has jurisdiction of the river in this area until the river reaches its confluence with the Guadalupe River.
The San Antonio River Authority has jurisdiction as legislated by the Texas State Legislature, as prescribed in Chapter 276, page 556 of the Acts of the 45th legislature. To read the legislation enabling the San Antonio River Authority Click here.
SARA conveys land rights for both public and private projects which involve real estate owned or controlled by SARA.
The completed application is then submitted to SARA for review and consideration and may need approval from SARA's Board of Directors. The applicant will be advised of all corresponding fees at the time of submission. Click here for an Administrative Fee Schedule.
Occasionally, property that SARA owns is declared surplus and is made available for lease or sale. A Request for Proposal (RFP) will be issued to obtain bids for the lease of the property. All SARA RFP's can be viewed here.
Joint Use Agreements administered by SARA allow SARA to monitor new developments in easement and other SARA real estate interest areas. Both public and private organizations must apply for Joint Use Agreements.
What does SARA have jurisdiction over and why?
The San Antonio River Authority has jurisdiction over the bed and banks of the San Antonio River from the City of San Antonio to the confluence of the Guadalupe River as it travels from Bexar, Wilson, Karnes and onto Goliad and divides Victoria & Refugio Counties.
The San Antonio River Authority has jurisdiction as legislated by the Texas State Legislature, as prescribed in Chapter 276, page 556 of the Acts of the 45th legislature.
How do I find out if SARA has jurisdiction over a certain tributary of the San Antonio River in Bexar, Wilson, Karnes and Goliad counties?
Please call the SARA Real Estate Office at (210) 227-1373. You must be able to provide the latitude and longitude coordinates of the location.
Are multiple lines accepted in the same crossing?
Yes, but it is subject to review.
What are your casing requirements?
SARA does not require casing of the pipeline crossing as long as the minimum cross-section clearance is maintained to reduce the potential for future exposure of the pipe from movement of the river. The typical minimum clearance pipe elevation (20 ft. clear between the thalweg of the river/creek and the top of the pipe) should be held a minimum of 100 ft. in each direction from the thalweg. If the crossing is in a bend, additional clearance width may be required. In all cases, the applicant shall provide SARA with coordinates of the proposed crossing for SARA to finalize cross-section clearance requirements for that specific site.
SARA requires that the pipe design have a 50 year minimum life expectancy so the pipe material and thickness should specified accordingly.
Casing pipe may be an option for more conventional bore and pipe jacking operations but is not possible in directional bore construction. SARA prefers directional boring, when in suitable geological material, because the bore profile is typically well beyond the top of bank and has little to no impact upon the stream banks. Once the life expectancy of the directional bore pipe is over, we anticipate that a new line will be constructed and any additional right of way needs will be addressed.
What does a completed application packet need to contain?
How far in advance does the application need to be submitted?
Eight weeks minimum prior to need of easement.
Does an environmental report need to be attached to the application?
No. If available, please attach to application.
What exactly are you looking for in a certified survey of the installation site?
The certified survey must be signed and sealed by a RPLS. Please refer to Survey and Mapping Standards document for more information.
What is the contact info for your survey department?
Click here for Survey Standards and Required Deliverables for information regarding our survey department.
Does SARA accept credit card payments?
No. The application administrative fee and the easement consideration must be paid by check made payable to the San Antonio River Authority only.