And intellect (al-`aql) is inborn. Each person is given the intellect that Allaah, the Mighty and Majestic, wills. They vary in degree of intellect just like a speck at different heights in the heavens. And action is required from each person in accordance with the intellect he has been given. Intellect is not earned, rather, it is a favour bestowed by Allaah, the Mighty and Majestic.
Al-`Aql عقل (the intellect), it is a faculty, which Allaah places in the person by means of which he can comprehend things. By means of it, he can distinguish what is harmful from what is beneficial and what is good from what is evil. No-one knows the nature (kayfiyyah) of the intellect (`aql). People have groped about in confusion concerning it but they have not reached a conclusion because it is one of the secrets of Allaah, which no-one knows except Him, He, the Perfect and Most High.
And the `aql عقل (intellect), it is called `aql (intellect) with an `ain and a qaaf and a laam because it withholds a person from that which will harm him just as a tethering rope holds an animal back from escaping.
The intellect is also called Hijr (prevention).
Al-Hijr here is Al-`Aql (the intellect). It is called that because it blocks and prevents a person from that, which will harm him.
Meaning the people of al-`Uqool (intellects).
Meaning, the people with intellects.
So, this `aql (intellect) is from the signs of Allaah, the Perfect and Most High.
And the saying of the author, "Huwa mawlood (it is inborn)." What is apparent is that he intended that it is makhlooq (something created) and that it is not something that is ancient or pre-existing or that it is born along with the person.
And this intellect (al-`aql), as we have mentioned, no-one knows its true reality except Allaah.And therefore, the people of `ilm-ul-kalaam (theological rhetoric) and the philosophers, they have confused ideas about it and they did not reach a conclusion with regard to the `aql (intellect) because this is not within the scope of their knowledge.
From the people there are those whose intellect is complete such as the prophets; Anbiyaa· `alayhimussalaatu wassalaam.
From the people, there are those who have no intellect at all such as the insane person and the mentally retarded and the baby.
From the people are those who are in between; between having complete intellect and between not having intellect. Meaning he has intellect but it is not complete.
And they vary with regard to its deficiency, some of them have serious deficiency in intellect and some of them have slight deficiency and so on and so forth and this is in accordance with whatever Allaah, the Perfect and Most High, has put into him.
ذَٰلِكَ لَآيَاتٍ لِّقَوْمٍ يَعْقِلُونَ ..
… there are certainly signs for a people who understand.
Meaning: they understand the signs in creation and the aayahs of the Qur'aan.
So, al-`aql; this word, which is for intellect, it can also be applied to al-fahm (understanding) and al–idraak (comprehension) and al-fiqhu fid-deen (understanding of the religion) of Allaah, the Mighty and Majestic.
… will you not then have understanding?
And from the people, there are those whose intellect is blotted out on account of his disbelief and on account of his heedlessness. So, therefore, he cannot distinguish between what is harmful and what is beneficial. So, he possesses intellect; the faculty, however, he does not derive benefit from his intellect. He is deprived of benefitting from his intellect and Allaah's refuge is sought, aameen, on account of his disbelief (kufr). So, he becomes a person who cannot utilise his intellect.
So, Allaah deprives him of his intellect as a punishment for him since he did not use it with regard to that which benefits him. Rather, he only used it in that which contains no benefit or in that which brings harm. So, al-`aql (the intellect) is from the signs of Allaah, the Mighty and Majestic.
His saying, "And action is required from each person in accordance with the level of intellect that he has been given." At-takleef (being bound by religious responsibility and duty) and commands and prohibitions and reward and punishment, all of them are made dependent upon al-`aql (having intellect).
His saying, "And the intellect is not acquired, rather it is just a fadl (favour) bestowed by Allaah, the Mighty and Majestic." The intellect is from Allaah, the Majestic and Most High. He is the One Who plants it in the person and it is from the secrets of Allaah, the Majestic and Most High, in His creation. A person does not earn and acquire intellect himself. Yes, a person can strengthen his intellect by reflecting upon the aayaat (signs) of Allaah by carefully pondering upon the Qur'aan but as for his earning intellect which is not present, then no, that cannot happen. Allaah is the One Who produces intellect in him. He cannot produce intellect himself and earn it himself. However, he can strengthen it.
So this indicates that reflecting upon the creation and reflecting upon the destruction that occurred to the previous nations on account of their disbelief and their sins, this benefits a person and strengthens his intellect, not that it brings about intellect which was not present in the first place.
 Translator's side point: In the Arabic language in its origin, the word `aql, it means الحرس al-hurs (withholding something).
 Translator's side point: Briefly with the explanation of Shaykh Ahmad an-Najmee rahimahullaah then he said on this point, "his saying, "Intellect is inborn," meaning that it is born along with the person himself and it grows and increases as he grows. So, the intellect begins as something small and then it grows larger along with its person and there is no doubt that the intellects vary in accordance with that which Allaah has given to each person. And Allaah, the Mighty and Majestic, has praised in the Qur'aan, the people of intellect.
And the people of Usool ul-Fiqh (Fundamentals of Fiqh), which Fiqh is based upon, are in agreement that the intellect (`aql) is what being bound by duties depends upon. And then they disagree about whether the intellect (`aql) whether it is in the brain (dimaagh) or whether it is in the heart. And what is apparent is that there is a close connection between the two of them and the action of one will not be completed except with the other one. So, thinking which occurs in the brain will not be completed except by means of the heart ,in what is apparent. However, the brain is the station of thinking and the place of awareness and what duties are dependent upon. And every person, Allaah has prepared him with that which He prepared him with from faculties and thinking and intellect vary very greatly. We ask Allaah to guide us aright, aameen and to save us from the evils of ourselves, aameen.
This is a hadeeth, which is mawdoo` (fabricated) by consensus of the scholars and there is no doubt that the intellect (al-`aql) is a gift from Allaah for the servant, which distinguishes him from the rest of the creation and on account of it he comes to deserve reward or punishment and Allaah is the One Who grants success.
"So the `aql (intellect) by which a person understands things is a ni`mah (favour) from Allaah, which Allaah has bestowed upon mankind. So with it he can distinguish between the truth and falsehood and between that which is foul and that which is good and between that which is worthless and that which is of value and between innovation and Sunnah and between Tawheed and Shirk and between the way of the Salaf and the way of the Khalaf (the later comers who are not upon their way) and he can distinguish between the path leading to Paradise and the path leading to the Fire. So this is a tremendous favour, which Allaah has bestowed upon mankind to the exclusion of the rest of the created beings upon the earth. So, it is obligatory that we are thankful to Him for it and that we utilise it in that which will draw us closer to Allaah. And the correct and sound intellect conforms to the authentic text and it does not contradict the legislation.


On a first playthrough, Sequence 6 begins with a cutscene of Kanen'to:kon arriving at the Homestead to warn Connor of William Johnson. On a Replay, the mission immediately starts in Boston.
When the mission begins, follow Sam as he walks through the town until another cutscene triggers.
STAY BELOW NOTORIETY LEVEL 2: TIme for a fight! Eliminate the group of Redcoats that attack the angry citizen until all have been cleared. After the fight, Connor will either have a Level 1 notoriety or he'll still be incognito. If he isn't incognito, walk up to the nearby Town crier (he should be indicated on the map) and bribe him to bring Connor back to incognito status.
From this point, Connor is given the chance to "liberate" other citizens in the town that are being bullied by the Redcoats. If you're aiming for 100% Synch, I highly suggest AVOIDING helping them for now. Instead, make your way to Sam's location to trigger the next objective.
USE POWDER KEGS TO DESTROY SMUGGLED CARGO/LIMIT FIREARM USE: Make your way to the harbor area to find the smuggled crates (avoid liberating citizens for the moment). Once Connor enters the Restricted Area, he will gain a level 2 notoriety (but you'll still achieve the optional objective).
There are THREE areas that have smuggled crates. All of the crates are heavily guarded, so approach them and eliminate all Redcoats in your way. To achieve both optional objectives, simply pick up a powder keg (it's the red highlighted barrel), place it next to the cargo and then shoot the keg with the pistol. Do this for all three smuggled crates. Optional Objectives Complete!
From this point on, you must complete a few Liberation Missions in the central district. Don't worry about notoriety and go ahead and cause a big ruckus with the Redcoats. Eliminate the targets indicated on the map with a regular weapon (avoid using the pistol) until the game says the mission is done.


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Bulgaria Business News
Bulgaria's Economy Minister to sack Kozloduy nuclear plant director
April 19, 2013 May 22, 2013 The Sofia Globe staff energy
Bulgaria's caretaker Economy and Energy Minister Assen Vassilev said that he planned to replace 23 officials on the boards of 13 state-owned companies, including the executive director of Kozloduy nuclear power plant Valentin Nikolov, Bulgarian news agency BTA reported on April 19.
Vassilev did not give other names, but said that companies in several industries would be affected by the reshuffle. He said that the new management boards will be tasked with appointing new executive directors at the respective companies.
The change of personnel in the energy sector, in particular, was motivated by the proposals for high price increases made by state-owned companies, instead of following ministry instructions to find "available reserves" in operations, Vassilev said.
(For more on the price hike proposals, read The Sofia Globe report here.)
The announcement of Nikolov's sacking came on the same day that Vassilev presented to the ministry's civil council the findings of an investigation at Kozloduy, carried out by Government inspectors.
The findings, described by the ministry as "disturbing", were passed on to prosecutors and the Finance Ministry's Public Financial Inspection Agency, local news agency Focus reported. It was not immediately clear, however, whether the investigation's results were the reason for Nikolov's firing, the report said.
(Bulgaria's sole nuclear power plant at Kozloduy. Photo: uvioc/flickr.com)
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March 19, 2013 May 27, 2013 Robert Hodgson of The Budapest Times

redpajama_set_name: RedPajamaCommonCrawl


A former United States ambassador to the countries of Mali and Rwanda – and someone who served as a U.S. Foreign Service officer for 28 years – joined the College of Business as a visiting scholar in 2018. David Rawson taught at Spring Arbor University in Spring Arbor, Michigan, the previous 19 years as a professor of political economy.
Prior to that, Rawson worked in the U.S. Foreign Service as U.S. ambassador to the Republic of Mali (1996-99) and the Republic of Rwanda (1993-96). He worked previously in positions ranging from director of the Office of West African Affairs (1989-91) to serving as deputy chief of mission for the American Embassy in Somalia (1986-88).
Rawson began his international career in 1971 as a desk officer for Rwanda and Burundi. His academic career began as an assistant professor of political science at Malone College in Canton, Ohio (1965-71). He has authored two books: The Somali State and Foreign Aid and Prelude to Genocide: Arusha, Rwanda, and the Failure of Diplomacy, as well as various articles and book chapters on international affairs and conflict resolution.


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CMAST Holds Open House to Announce New MMRI Facility & Other Programs
June 20, 2014 Staff
(Story by Mike Shutak, originally appearing in the Carteret County News-Times)
Chatting about the present and future at the CMAST Open House. From left: Dr. David Eggleston, Director of CMAST; Vice-Chancellor Terri Lomax, Office of Research, Innovation, and Economic Development; Bob Simpson, CMAST supporter.
One of the newest facilities at CMAST offers new opportunities for research, and new programs at the center offer new opportunities for learning and industry innovation.This was the message for those invited to an open house held June 20 at CMAST. The center invited potential and existing partners to a showcase of some of the latest developments so they could see the opportunities and services CMAST has to offer the research community, various industries and students and schools.
Dr. David Eggleston, CMAST director, said every time they have an open house he's blown away by the diversity of their programs.
"We're fortunate to have a lot of productive parterships," he said.
One of the newest developments at CMAST is its marine magnetic resonance facility. The MMRF is a machine that uses electromagnets to scan marine research specimens for various chamicals, creating a visual image of the object with the data. The technology is very similar to that used in medical radiology.
Dr. Michael Stoskopf of the NCSU Department of Clinical Sciences is in charge of the new facility, which he said is the only one of its kind in the world.
"We're definitely state-of-the-art," he said. "We're the only institute with something like this. It epitomizes the purpose of CMAST: to bring science and technology to bear against coastal issues."
The facility was completed last October. Dr. Stoskopf said so far they've beebn using it to study oysters, which make good live specimens because they don't move.
"I envision using this in place of chemical tests for blood tests and diagnostics," he said. "We're very interested in aquaculture and mariculture. We're going into microscopic imaging next."
This new facility is the primary focus of CMAST's partnership with the Marine Bio-Technologies Center of Innovation. The center is a nonprofit created to help translate innovative, marine-related discoveries into products and services.
(Left to right) Dr. Michael Stoskopf, NCSU CVM; Ken Burnette, Architect, Burnette Architecture and Planning; Merlin Huckemeyer, Project Manager of Thomas Simpson Construction; Dr. Terri Lomax, Vice Chancellor of the Office of Research, Innovation & Economic Development, NCSU; Dr. David Eggleston, Director, CMAST; Ernie Yeager, Facilities Coordinator, CMAST; Carter Murdock, Burnette Architecture and Planning.
Dr. Roy Carter, director of the the Center of Innovation, was at the open house to tell people about the center's work with CMAST. He said the new MMRF is the area his center is focusing on marketing right now.
"We want to help the facility attract industry users," he said. "Industry would have a lot of interest if they knew about it, but it has to be done without interfering with the academic work."
Dr. Carter said he's been telling his industry contacts, particularly in agricultural biotechnology, about the MMRF. He said the facility has very unique technology that can do what many agricultural companies' in-house technology can't.
"The people here will let you put a corn plant in (the MMRF) where hospitals won't," he said. "It's understanding industry needs. I know this can help answer some major questions; you can compare normal plants to genetically altered plants."
Another program that shares space with CMAST is N.C. Sea Grant, the state branch of a national nonprofit organization that provides research, education and outreach opportunities relating to current issues affecting the state's coast and its communities. One of N.C. Sea Grant's current projects is N.C. Catch, a group whose goal is to unite local commercial fishermen's catch groups like Carteret Catch.
Barry Nash, Sea Grant seafood technology and marketing specialist, said they're looking at ways to help the seafood industry use new technology.
They've developed a brochure to help watermen find ways to use the Internet to help their businesses, as well as newsletters on developing products marketed toward people with limited time to cook.
"We've funded a project with Dr. James Morris of NOAA," Mr. Nash said, referring to the National Oceanic and Atmospheric Administration, which has a lab on Pivers Island in Beaufort and is where Dr. Morris works. "We've selected a number of traps to test on harvesting lionfish; not only could we control the invasive species, there's a chance of turning it into a profitable product for the market."
Sea Grant has also been working on developing inland markets and helping small distributors get seafood to restaurants in the Triangle area.
CMAST has things to offer not just to scientists and companies but also to local schools. Dr. Pat Curley, director of K-12 outreach at CMAST, came last August to establish a branch of The Science House, a NCSU program to motivate and prepare K-12 students to study and work in science technology, engineering and mathematics fields. "We're really focused on delivering coastal science to local teachers," Dr. Curley said. "We do a lot of student outreach."
It's not just K-12 students Dr. Curley's been working with. After identifying a need for after school programs for science and technology in the area, he worked with N.C. Sea Grant to develop the Sea Wolves, a 4-H group for high school students that provides leadership and hands-on science activities.
Several of the Sea Wolves were at the open house, providing a demonstration of one of their projecgts. The Sea Wolves were building a small submersible robot with parts Dr. Curley provided. The exercise required the Sea Wolves to build a robot that could perform a task in a tank of water — in this case, collecting a set of rings without surfacing.
As of June 20, the Sea Wolves have five to six members. Among them is Sabrina Carraway of Newport, a rising senior at East Carteret High School who was elected president of the Sea Wolves.
"When I joined, I didn't know exactly what it was," Ms. Carraway said. "I've always been drawn to science groups, though. We didn't have a group to start with; we needed a president, and I was up to the challenge. The Sea Wolves are allowed to develop their own schedule of projects. In the near future, the groups is planning to host a teen Coastal Café, and event where kids from local schools will meet with local scientists at an informal get-together.


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Mira Schendel
My work seeks to immortalize fleeting moments and give meaning to the ephemeral. To create it, I have to capture the very instant when the living experience seeps onto the symbol, in my case the letter.
Geboren 1919 in Zürich, Schweiz
Gestorben 1988 in São Paulo, Brasilien
Mira Schendel. Der Körper denkt und der Verstand fühlt
Ein Essay von Taisa Palhares
Von Anfang lassen sich dem Œuvre von Mira Schendel sehr eigene Charakteristika zuschreiben: eine Vorliebe für die Asymmetrie in der Komposition, die Betonung der Materialität in ihren Werken und die zentrale Bedeutung des Begriffs des "Machens" als Bindeglied zwischen der Erfahrung der Künstlerin und der Welt. Weiterlesen
Face to Face. The Daros Collections. Part 2
A linha em chamas = The line in flames. Exhibition brochure, Casa da Cerca, Almada, Portugal, November 16, 2019 - February 16, 2020. With a text by Filipa Oliveira. Almada, Casa da Cerca, 2019.
Oliveira, Eduardo Jorge de. Signo, sigilo. Mira Schendel e a escrita da vivência imediata. São Paulo, Lumme, 2019.
A Tale of Two Worlds. Experimental Latin American art in dialogue with the MMK Collection 1940s-1980s = Experimentelle Kunst Lateinamerikas der 1940er bis 1980er Jahre im Dialog mit der Sammlung des MMK. Exhibition catalogue, Museum für Moderne Kunst, Frankfurt am Main, Germany, November 25, 2017 - April 2, 2018, Museo de Arte Moderno, Buenos Aires, Argentina, July 7, 2018 - October 14, 2018. With texts by Klaus Görner, Victoria Noorthoorn, Javier Villa, María Amalia García, Luis Camnitzer, Marcelo E. Pacheco, Tobi Maier, Abaseh Mirvali (et al.). Bielefeld, Kerber Verlag, 2018.
Arte latinoamericano siglo XX. Colección MALBA. Collection catalogue. Buenos Aires, Museo de Arte Latinoamericano MALBA, 2018.
Concrete matters. Exhibition catalogue, Moderna Museet, Stockholm, Sweden, February 24 - May 13, 2018 (in collaboration with the Colección Patricia Phelps de Cisneros). With texts by Matilda Olof-Ors (et al.). Stockholm, Moderna Museet / London, Koenig Books, 2018.
Delirious. Art at the limits of reason, 1950-1980. Exhibition catalogue, Metropolitan Museum of Art, New York, USA, September 13, 2017 - January 14, 2018. With texts by Kelly Baum, Lucy Bradnock, and Tina Rivers Ryan. New York, The Metropolitan Museum of Art, 2017.
Die Revolution ist tot. Lang lebe die Revolution! Von Malewitsch bis Judd, von Deineka bis Bartana. Exhibition catalogue, Kunstmuseum Bern und Zentrum Paul Klee, Bern, Switzerland, April 13 - July 9, 2017. Edited by Michael Baumgartner, Kathleen Bühler, and Nina Zimmer, with texts by Tanya Barson (et al.). München, Prestel, 2017.
The other Trans-Atlantic. Kinetic and Op art in Central & Eastern Europe and Latin America. Edited by Marta Dziewanska, Dieter Roelstraete, Abigail Winograd. Warsaw, Museum of Modern Art, 2017.
The revolution ist dead. Long live the revolution! From Malewitsch to Judd, from Deineka to Bartana. Exhibition catalogue, Kunstmuseum Bern und Zentrum Paul Klee, Bern, Switzerland, April 13 - July 9, 2017. Edited by Michael Baumgartner, Kathleen Bühler, and Nina Zimmer, with texts by Tanya Barson (et al.). München, Prestel, 2017.
Mira Schendel. Monotypes. Exhibition catalogue, Hauser & Wirth, London, UK, January 28 - March 7, 2015. With a text by Taisa Palhares. Cologne, Snoeck, 2015.
Mário Pedrosa: Primary Documents. Edited by Glória Ferreira and Paulo Herkenhoff, translation by Stephen Berg. New York, Museum of Modern Art, 2015.
A tara por livros ou a tara de papel. Exhibition catalogue, Galeria Bergamin, São Paulo, Brasil, March 18 - April 17, 2014. Curated by Ricardo Sardenberg. São Paulo, Galeria Bergamin, 2014.
Stout, Katharine. Contemporary drawing. From the 1960's to now. London, Tate Enterprises, 2014.
100 anos de arte paulista no acervo da Pinacoteca do Estado de São Paulo. Exhibition catalogue, Galeria de arte CPFL Cultura, São Paulo, Brasil, April 10 - July 7, 2013. With texts by José Augusto Ribeiro (et al.). São Paulo, Pinacoteca do Estado, 2013.
33° Panorama da arte brasileira. Formas únicas da continuidade no espaço. Exhibition catalogue, Museu de Arte Moderna, São Paulo, October 5 - December 15, 2013. With texts by Lisette Lagnado, Ana Maria Maia and Mirtes Marins de Oliveira. São Paulo, Museu de Arte Moderna, 2013.
9a Bienal do Mercosul. Se o clima for favorável = Si el tiempo lo permite = Weather permitting. Exhibition catalogue, Porto Alegre, Brasil, September 13 - November 10, 2013. Witht exts by Sofía Hernández Chong Cuy (et al.). Porto Alegre, Fundação Bienal do Mercosul, 2013.
Pini, Ivonne. Abstracción geométrica en América Latina. Textos antológicos Arte en Colombia / ArtNexus. Bogotá, Arte en Colombia, 2013.
Concrete Invention. Colección Patrica Phelps de Cisneros. Reflections on Geometric Abstraction from Latin America and its legacy. Exhibition catalogue, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain, January 23 - September 16, 2013. With texts by Gabriel Pérez-Barreiro, Reinaldo Laddaga, Andrea Giunta, and Olga Fernández López. Madrid, Turner, 2013.
Mira Schendel. Exhibition catalogue, Tate Modern, London, UK, September 25, 2013 - January 19, 2014, Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal, February 28 - June 24, 2014, Pinacoteca do Estado, São Paulo, Brasil, July 24 - October 19, 2014. With texts by Tanya Barson, Isobel Whitelegg, Taisa Palhares, Cauê Alves (et al.). London, Tate, 2013.
Mira Schendel. Exhibition catalogue, Tate Modern, London, UK, September 25, 2013 - January 19, 2014, Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal, February 28 - June 24, 2014, Pinacoteca do Estado, São Paulo, Brasil, July 24 - October 19, 2014. With texts by Tanya Barson, Isobel Whitelegg, Taisa Palhares, Cauê Alves (et al.). São Paulo, Pinacoteca do Estado, 2013.
Order, chaos, and the space between. Contemporary Latin American Art from the Diane and Bruce Halle collection. Collection catalogue. With texts by Beverly Adams (et al.). Phoenix, Phoenix Art Museum, 2013.
Pucu, Izabela, and Jacqueline Medeiros (eds.). Roberto Pontual. Obra crítica. Rio de Janeiro, Azougue, 2013.
SITAC IX. Noveno simposio internacional de teoría sobre arte contemporáneo. Teoría y práctica de la catástrofe = 9th symposium on contemporary art theory. Theory and practice of catastrophe. Mexico City, January 27-29, 2011. Mexico City, Patronato de Arte Contemporáneo PAC, 2013.
Sensitive geometries. Brazil 1950s–1980s. Exhibition catalogue, Hauser & Wirth, New York, USA, September 12 - October 26, 2013. With texts by Olivier Renaud-Clément, Claudia Saldanha, and Ferreira Gullar. New York, Hauser & Wirth, 2013.
Untangling the Web. Gego's Reticulárea. An anthology of critical response = Desenredando la red. La reticulárea de Gego. Una antología de respuestas críticas. Houston, MFAH, 2013. Edited by Mari Carmen Ramírez and Melina Kervandjian.
1911-2011 Arte brasileira e depois, na Coleção Itaú. Collection catalogue. With texts by Teixeira Coelho. São Paulo, Itaú Cultural, 2012.
Aberto fechado. Caixa e livro na arte brasileira = The enclosed openness. Box and book in Brazilian art. Exhibition catalogue, Pinacoteca do Estado, São Paulo, Brazil, October 20, 2012 - January 13, 2013. With texts by Guy Brett, Frederico Morais and Ana Paula Cohen. São Paulo, Pincoteca do Estado, 2012.
Gravura em campo expandido. Exhibition catalogue, Estação Pinacoteca, São Paulo, Brasil, April 21 - July 15, 2012. With texts by Ivo Mesquita and Carlos Martins. São Paulo, Pinacoteca do Estado, 2012.
Unsaid/spoken. Selections from the Ella Fontanals-Cisneros and CIFO Collections. Exhibition catalogue, Cisneros Fontanals Art Foundation, Miami, USA, December 5, 2012 - March 4, 2013. With texts by Moacir dos Anjos and José Roca. Miami, Cisneros Fontanals Art Foundation, 2012.
Guide Malba collection. Collection catalogue, Museo de Arte Latinoamericano, Buenos Aires, Argentina. With texts by Marcelo Pacheco. Buenos Aires, Malba - Fundación Costantini, 2011.
Mira Schendel, pintora. Exhibition catalogue, Instituto Moreira Salles, São Paulo and Rio de Janeiro, Brazil, 2011. With texts by Maria Eduarda Marques (et al.). São Paulo, Instituto Moreira Salles, 2011.
Desenhar no espaço. Artistas abstratos do Brasil e da Venezuela na Coleção Patricia Phelps de Cisneros. Exhibition catalogue, Fundação Iberê Camargo, Porto Alegre, Brazil, July 29 - October 31, 2010, Pinacoteca do Estado, São Paulo, Brazil, November 27, 2010 - January 30, 2011. With texts by Ariel Jiménez (et al.). Porto Alegre, Fundação Iberê Camargo, 2010.
El alfabeto enfurecido: León Ferrari y Mira Schendel. Exhibition catalogue, Museo Nacional de Arte Reina Sofía, Madrid, April 5 - June 15, 2009. Edited by Luis Pérez-Oramas, with essays by Andrea Giunta and Rodrigo Naves. Madrid, Museo Nacional Centro de Arte Reina Sofia, 2010.
O Museu de Arte Contemporânea de Niterói: As coleções = The Museum of Contemporary Art of Niterói: The collections. Collection catalogue. Niterói, Fundação de Arte de Niterói / MAC de Niterói, 2010.
O alfabeto enfurecido: León Ferrari e Mira Schendel.. Exhibition catalogue, Fundação Iberê Camargo, Porto Alegre, Brasil, April 9 - July 11, 2010. Museo Nacional de Arte Reina Sofía, Madrid, April 5 - June 15, 2009. With texts by Luis Pérez-Oramas. Madrid, Museo Nacional Centro de Arte Reina Sofia, 2010.
On Line. Drawing Through The 20th Century. Exhibition catalogue, Museum of Modern Art, New York, November 21, 2010 - February 7, 2011. With texts by Catherine de Zegher and Cornelia H. Butler. New York, Museum of Modern Art MOMA, 2010.
Silêncios e sussuros. Collection and exhibition catalogue. With texts by Ana Albani de Carvalho and Vera Chaves Barcellos. Porto Alegre, Fundação Vera Chaves Barcellos, 2010.
Ferreira, Glória. Arte contemporáneo brasileño. Documentos y críticas = Contemporary Brazilian art. Documents and critical texts. Santiago de Compostela, Artedardo,
Building on a construct: The Adolpho Leirner collection of Brazilian constructive art at the Museum of Fine Arts, Houston. Catalogue, published on the occasion of the exhibition at Haus Konstruktiv, Zurich, November 18, 2009 - February 21, 2010. Edited by Héctor Olea and Mari Carmen Ramírez, with texts by Aracy Amaral (et al.). New Haven/London: Yale University Press, 2009.
Bense, Max. Inteligência brasileira. Uma reflexão cartesiana. São Paulo, Cosac Naify, 2009. (Original: Brasilianische Intelligenz. Eine cartesianische Reflexion. Limes, Wiesbaden 1965)
León Ferrari and Mira Schendel. Tangled Alphabets. Exhibition catalogue, The Museum of Modern Art, New York, April 5 - June 15, 2009. Edited by Luis Pérez-Oramas, with essays by Andrea Giunta and Rodrigo Naves. New York, MoMA; São Paulo, Cosac Naify, 2009.
Arte e Ousadia. O Brasil na coleção Sattamini. Collection catalogue. With texts by Luiz Camillo Osorio and Cristina Chacel, and an interview with João Sattamini. Rio de Janeiro, Aprazível, 2008.
Explorando el sur. El universalismo constructivo y otras tendencias en América Latina. Exhibition catalogue, Fundación Carlos de Amberes, Madrid, September 19, 2008 - January 11, 2009. With texts by Bernard Chappard, Juan Manuel Bonet, and Estrella de Diego. Madrid, Fundación Carlos de Amberes, 2008.
Face to face. The Daros collections. Exhibition catalogue, Daros Exhibitions, Zurich, October 5, 2007 - February 17, 2008 (Part 1), March 14 - September 7, 2008 (Part 2). With texts by Alexander Alberro and Luis Camnitzer. Zürich, Daros-Latinamerica and Daros Services ; Ostfildern, Hatje Cantz, 2008.
Frágil. Exhibition catalogue, Museo de Arte Contemporáneo Esteban Vicente, Segovia, Spain, October 15, 2008 - January 11, 2009. With texts by José María Parreño, José Luis Pardo, Mira Schendel, Gego (et al.). Segovia, Museo de Arte Contemporáneo Esteban Vicente, 2008.
MAM 60. Collection and exhibition catalogue, Museu de Arte Moderna, São Paulo, Brasil, October 16 - December 14, 2008. With texts by Annateresa Fabris, Luis Camillo Osorio (et al.). São Paulo, Museu de Arte Moderna, 2008.
SP Arte. Feria Internacional de Arte São Paulo. Exhibition catalogue, Feira internacional de Arte, São Paulo, April 24 - 27, 2008. São Paulo, SP Arte Eventos Culturals, 2008.
When lives become form. Dialogue with the future. Brazil / Japan = Quando vidas se tornam forma. Diálogo com o futuro. Brasil / Japão. Exhibition catalogue, Museu de Arte Moderna, São Paulo, Brazil, April 10 - June 22, 2008. With texts by Yuko Hasegawa, and Felipe Chaimovich. São Paulo, Museu de Arte Moderna, 2008.
Coleção Itaú Moderno. Arte no Brasil 1911-1980. Edited by Teixeira Coelho. Collection catalogue. São Paulo, Itaú Cultural, 2007.
Constructing a poetic universe: The Diane and Bruce Halle collection of Latin American Art. Exhibition catalogue, The Museum of Fine Arts, Houston, Texas, USA, March 11 - June 10, 2007. With texts by Beverly Adams (et al.). London/New York, Merrell Publishers, 2007.
Dimensions of constructive art in Brazil: The Adolpho Leirner collection. Exhibition catalogue, Museum of Fine Arts, Houston, May 20 - September 23, 2007. With texts by Mari Carmen Ramírez and Adolpho Leirner. Houston, Texas, Museum of Fine Arts
Documenta 12 Kassel 16.06. - 23.09.2007. Exhibition catalogue, Kassel, June 16 - September 23, 2007. With texts by Roger M. Buergel and Ruth Noack. Köln, Taschen, 2007.
Documenta Magazine, No.1, 2007. Modernity? Köln, Taschen, 2007.
Gabinete de Arte Raquel Arnaud. Exhibition catalogue, Gabinete de Arte Raquel Arnaud, São Paulo, September 27 - October 20, 2007. Edited by Yannick Bourguignon and Eduardo de Castro. São Paulo, Gabinete de Arte Raquel Arnaud, 2007.
Latin American art. Una mirada a nuestro continente. Exhibition brochure, Odalys Galería de Arte, Caracas, June 24 - July 8, 2007. Caracas, Odalys, 2007.
Machado, Arlindo (ed.). Made in Brasil. Três décadas do video brasileiro. São Paulo, Iluminuras and Itaú Cultural, 2007.
The geometry of hope. Latin American abstract art from the Patricia Phelps de Cisneros collection. Exhibition catalogue, Blanton Museum of Art, University of Texas, Austin, February 20 - April 22, 2007, Grey Art Gallery, New York University, New York, September 12 - December 8, 2007. With texts by Gabriel Pérez-Barreiro (et al.). Austin, Blanton Museum of Art, 2007.
Wack ! Art and the feminist revolution. Exhibition catalogue, Museum of Contemporary Art, Los Angeles, March 4 - July 16, 2007, and other venues. With texts by Cornelia Butler, Nelly Richard (et al.). Cambridge, MA, MIT Press, 2007.
Amilcar de Castro, Mira Schendel, Sergio Camargo, Willys de Castro. Exhibition catalogue, Instituto de Arte Contemporânea, São Paulo, 2006. With texts by Rodrigo Naves (et al.). São Paulo, Instituto de Arte Contemporânea, 2006.
Blanton Museum of Art. Guide to the collection. By Jessie Otto Hite. Austin, Blanton Museum of Art, 2006.
Blanton Museum of Art. Latin American collection. Collection catalogue, Blanton Museum of Art, Austin. Edited by Gabriel Pérez-Barreiro, with texts by Jessie Otto Hite (et al.). Austin, Blanton Museum of Art, 2006.
Campo ampliado. Exhibition catalogue, Instituto de Arte Contemporânea, São Paulo, November 28, 2007 - March 30, 2008. With a text by Paulo Sergio Duarte. São Paulo, Instituto de Arte Contemporânea, 2006.
Cruce de miradas. Visiones de América Latina. Colección Cisneros. Exhibition catalogue, Museo del Palacio de Bellas Artes, August 2 - October 22, 2006. With texts by Ariel Jiménez (et al.). Mexico City, Museo del Palacio de Bellas Artes, 2006.
MAC de Niterói. 10 anos. Collection catalogue, MAC Niterói, Rio de Janeiro, Brasil. With texts by Luiz Guilherme Vergara (et al.). Niterói, Fundação de Arte de Niterói / MAC de Niterói, 2006.
MAM na OCA. Arte brasileira do acervo do Museu de Arte Moderna de São Paulo. Exhibition catalogue, Museu de Arte Moderna, São Paulo, 2006. With texts by Tadeu Chiarelli (et al.). São Paulo, Museu de Arte Moderna, 2006.
Passion et raison d'un esprit constructif. Une conquête de l'art d'Amérique Latine. Oeuvres de la Fundación Daniela Chappard. Exhibition catalogue, Espace Bellevue, Biarritz, France, June 27 - September 30, 2006. With texts by María Elena Ramos (et al.). Caracas, Fundación Museos Nacionales, 2006.
Olea, Héctor, and Mari Carmen Ramírez (eds.). Versions and inversions. Perspectives on Avant-Garde art in Latin America. Houston, The Museum of Fine Arts, 2006.
A contra corriente. Mira Schendel. Gego. Lygia Pape. Obras de la Colección Cisneros. Exhibition brochure, Fundación Teorética, San José, December 7, 2005 - February 19, 2006. With a text by Virginia Pérez-Ratton. San José, Fundación Teorética, 2005.
Brett, Guy. Brasil Experimental. Arte/vida: Proposições e paradoxos. Rio de Janeiro, Contra Capa, 2005. Edited and foreword by Katia Maciel, translated by Renato Rezende.
Cury, Constantino. Dicionário de artistas plásticos brasileiros. São Paulo, Cury Arte Brasil, 2005.
Ecos y contrastes. Arte contemporáneo en la Colección Cisneros. Exhibition catalogue, Museo de Arte y Diseño Contemporáneo, San José, Costa Rica, December 7, 2005 - February 25, 2006, Museo de Arte de El Salvador, San Salvador, April 4 - June 24 2006, TEOR/éTica, San José, Costa Rica, December 7, 2005 - February 19, 2006. With texts by Ariel Jiménez and Virginia Pérez-Ratton. Caracas, Fundación Cisneros, 2005.
Brito, Ronaldo. Experiência crítica. São Paulo, Cosac Naify, 2005.
Quinta Bienal do Mercosul. A persistênciaa da pintura. Núcleo contemporâneo. Experiências históricas do plano. Núcleo histórico. Exhibition catalogue, Bienal de Artes Visuais do Mercosul, Porto Alegre, Brazil, September 30 - December 4, 2005. With texts by Gaudêncio Fidelis and Paulo Sergio Duarte. Porto Alegre, Fundação Bienal de Artes Visuais do Mercosul, 2005.
Díaz Bringas, Tamara (ed.). Situaciones artísticas latinoamericanas. With texts by Virginia Pérez-Ratton, Ticio Escobar, Mari Carmen Ramírez, Cuauhtémoc Medina, Ivo Mesquita (et al.). San José, Costa Rica, TEOR/e?Tica, 2005.
Trajetória/Trajetórias = Trajectory/Trajectories. Exhibition catalogue, Gabinete de Arte Raquel Arnaud, São Paulo, May 11 - June 18, 2005. With a text by Angélica de Moraes. São Paulo, Gabinete de Arte Raquel Arnaud, 2005.
Teixeira da Costa, Cacilda. Arte no Brasil 1950-2000. Movimientos e meios. São Paulo, Alameda, 2004.
Beyond geometry. Experiments in form, 1940s-70s. Published in conjunction with the exhibition at the County Museum of Art, Los Angeles, June 13 - October 3, 2004, Miami Art Museum, Miami, USA, November 18, 2004 - May 1, 2005. With texts by Lynn Zelevansky, Ines Katzenstein (et al.). Cambridge, Mass., London, The MIT Press, 2004.
Brazil. Body nostalgia. Exhibition catalogue, The National Museum of Modern Art, Tokyo, June 8 - July 25, 2004, The National Museum of Modern Art, Kyoto, August 17 - September 20, 2004. Edited by Katsuo Suzuki, with texts by Kenjin Miwa (et al.). Tokyo, National Museum of Modern Art; Kyoto, Japan, National Museum of Modern Art, 2004.
Diálogos. Arte Latinoamericano desde la Colección Cisneros. Exhibition catalogue, Museo Nacional de Bellas Artes, Santiago de Chile, November 25, 2004 - February 28, 2005. With an interview with Patricia Phelps de Cisneros by Luis Pérez Oramas. Caracas, Fondación Cisneros, 2004.
Inverted utopias. Avant-garde art in Latin America. Catalogue published in conjunction with the exhibition at The Museum of Fine Arts, Houston, June 20 - September 12, 2004. With essays by Mari Carmen Ramírez, Héctor Olea (et al.). New Haven and London, Yale University Press / Houston, Texas, The Museum of Fine Arts, 2004.
Latin american and caribbean art. MoMA at El Museo. Exhibition catalogue, Museo del Barrio, New York, March 4 - July 25, 2004. Edited by Miriam Basilio (et al.), with texts by Garry Garrels (et al.). New York, El Museo del Barrio/Museum of Modern Art, 2004.
Mira Schendel. Continuum amorfo. Exhibition catalogue, Museo Tamayo Arte Contemporáneo, México, March 4 - May 30, 2004, Museo de Arte Contemporáneo de Monterrey, July 16 - October 17, 2004. With texts by Willy Kautz (et al.). Mexico City, Museo Tamayo Arte Contemporáneo and Monterrey; Monterrey, Museo de Arte Contemporáneo, 2004.
Arte Latinoamericano Siglo XX = 20th Century Latin American Art. Obras = Works Malba-Colección Costantini. Collection catalogue, Malba, Buenos Aires. Edited by Victoria Noorthoorn and María Amalia García. With texts by Patricia Artundo (et al.). Buenos Aires, Malba, 2003.
Coleção MAC collection. Exhibition catalogue, Museu de Arte Contemporânea, São Paulo, 2003. With texts by Teixeira Coelho (et al.). São Paulo, Museu de Arte Contemporânea, Universidade de São Paulo, 2003.
Geo-metrías. Abstracción geométrica latinoamericana en la Colección Cisneros = Geo-Metries. Latin American geometric art from the Cisneros Collection. Exhibition catalogue, Malba, Buenos Aires, March 14 - May 19, 2003. With a text by Ariel Jiménez and an interview between Patricia Phelps de Cisneros and Luis Pérez Oramas. Buenos Aires, Malba, 2003.
Geo-metrías. Abstracción geométrica latinoamericano en la Colección Cisneros. Exhibition catalogue, Museo Nacional de Artes Visuales, Montevideo, July 3 - October 26, 2003. With texts by Ángel Kalenberg, Ariel Jímenez. Caracas, Fundación Cisneros, 2003.
Tomie Ohtake na trama espiritual da arte Brasileira = Tomie Ohtake in the spiritual plot of Brazilian art. Exhibition catalogue, Instituto Tomie Ohtake, São Pauol, November 18, 2003 - January 11, 2004. Museu Nacional de Belas Artes, Rio de Janeiro, February 5 - March 28, 2004. With a text by Paulo Herkenhoff. São Paulo, Instituto Tomie Ohtake,
Arte brasileira na coleção Fadel. Da inquietação do moderno à autonomia da linguagem. Exhibition catalogue, Centro Cultural Banco do Brasil, Rio de Janeiro, February 26 - April 28, 2002 and São Paulo, November 23, 2002 - January 12, 2003. WIth a text by Paulo Herkenhoff. Rio de Janeiro, Andrea Jakobsson Estúdio, 2002.
Arte conceitual e conceitualismos. Anos 70 no acervo do MAC USP. Exhibition catalogue, Museu de Arte Contemporânea USP, São Paulo, Brazil, June 2000. With texts by Cristina Freire (et al.). São Paulo, Museo de Arte Contemporânea, 2002.
Chiarelli, Tadeu. Arte internacional brasileira. São Paulo, Lemos-Editorial, 2002.
Espelho selvagem. Arte moderna no Brasil da primeira metade do século XX. Coleção Nemirovsky. Exhibition catalogue, Museu de Arte Moderna, São Paulo, March 23 - June 16, 2002. With contributions by Maria Alice Milliet, Olívio Tavares de Araújo. São Paulo, Museu de Arte Moderna, 2002.
Geométricos e cinéticos. Exhibition catalogue, Gabinete de Arte Raquel Arnaud, São Paulo, March 19 - April 24, 2002. With a text by Raquel Arnaud. São Paulo, Gabinete de Arte Raquel Arnaud, 2002.
International center for the arts of the Americas. Collecting Latin American art for the 21st Century. Edited by Mari Carmen Ramírez and Theresa Papanikolas, with contributions by Tomás Ybarra-Frausto (et al.). Houston, International Center for the Arts of the Americas, 2002.
MAM inventário - Catálogo geral do acervo do Museu de Arte Moderna de São Paulo. Collection catalogue, Museu de Arte Moderna de São Paulo. With introductions by Tadeu Chiarelli and Paulo Lemos. São Paulo, Lemos, 2002.
Paralelos. Arte brasileira de segunda metade do século XX em contexto. Colección Cisneros. Exhibition catalogue, Museu de Arte Moderna, São Paulo, March 23 - June 16, 2002. With texts by Ariel Jiménez and Mari Carmen Ramírez and an interview with Patricia Phelps de Cisneros by Paulo Herkenhoff. São Paulo, Museu de Arte Moderna, 2002.
Transit. Latin american art at the university gallery. Exhibition catalogue, University of Essex, Colchester, October 3 - November 9, 2002. With texts by Isobel Whitelegg (et al.). Colchester, University of Essex; Palladian Press, 2002.
Naves, Rodrigo. A forma difícil. Ensaios sobre arte brasileira. São Paulo, Editora Ática, 2001.
Doação Paulo Figueiredo. Museu de Arte Moderna de São Paulo. Exhibition catalogue of the Paulo Figueiredo donation at the Museu de Arte Moderna, São Paulo. With texts by Tadeu Chiarelli (et al.). São Paulo, Museu de Arte Moderna, 2001.
Espelho Cego. Seleções de uma Coleção Contemporânea. Exhibition catalogue, Paço Imperial, Rio do Janeiro, May 3 - June 10, 2001, Museu de Arte Moderna, São Paulo, August 24 - October 14, 2001, Espaço Cultural Contemporâneo Venâncio, Brasília, November 20, 2001 - February 23, 2002, Museu de Arte Moderna Aloísio Magalhães, Recife May 9 - June 30, 2002. With texts by Márcia Fortes and Dan Cameron. São Paulo, Museu de Arte Moderna, 2001.
Experiment, Experiência. Art in Brazil 1958 -2000. Exhibition catalogue, Museum of Modern Art, Oxford, UK, July 28 - October 21, 2001. With texts by Astrid Bowron, Nelson Aguilar, Paulo Venancio Filho et al. Oxford, Museum of Modern Art, 2001.
Geometric abstraction. Latin american art from the Patricia Phelps de Cisneros collection = Abstracción geométrica. Arte latinomericano en la colección Patricia Phelps de Cisneros. Exhibition catalogue, Fogg Art Museum, Harvard University Art Museums, Cambridge, Mass., March 3 - November 4, 2001. With essays by Yve-Alain Bois (et al.). New Haven/London, Yale University Press, 2001.
Lucio Fontana Brasil. Catalogue, published in conjunction with the exhibition at the Centro Cultural Banco do Brasil, Rio de Janeiro, November 2001, Brasília, February 2002 and São Paulo, April 2002. With texts by Paulo Herkenhoff (et al.). Milan, Edizioni Charta, 2001.
Malba. Colección Costantini. Collection catalogue, Malba - Colección Costantini. With texts by Patricia Artundo (et al.). Mexico, Landucci Editores, 2001.
Mira Schendel. Exhibition catalogue, Galerie nationale du Jeu de Paume, Paris, October 9 - November 18, 2001. With an essay by Geraldo de Souza Dias. Paris, Galerie Nationale du Jeu de Paume, 2001.
Marques, Maria Eduarda. Mira Schendel. São Paulo, Cosac & Naify, 2001.
Alegoria. Arte brasileira. Século XX. Museu de Arte Moderna de São Paulo. By Tadeu Chiarelli. São Paulo, Lemos Editorial, 2000.
Arte contemporânea = Contemporary art. Mostra do redescobrimento. Parque Ibirapuera, São Paulo, April 23 - September 7, 2000. With texts by Nelson Aguilar (et al.) and a foreword by Edemar Cid Ferreira. São Paulo, Fundação Bienal de São Paulo; Associação Brasil 500 Anos Artes Visuais, 2000.
Fresh cream. Contemporary art in culture. 10 curators, 10 writers, 100 artists. New York, Phaidon Press, 2000.
La tentación de la pureza. Un montaje en la Presidencia de la Organización Cisneros. Catalogue, Organización Cisneros, Caracas. With a text by Ariel Jiménez. Caracas, Fundación Cisneros, 2000.
Marcas do corpo, dobras da alma = Marks of the body, folds of the soul. Exhibition catalogue, XII Mostra da Gravura de Curitiba, Brazil. With texts by Paulo Herkenhoff, Adriano Pedrosa, Frederico Morais (et al.). Curitiba, Mostra da Gravura, 2000.
Souza Dias, Geraldo de. Mira Schendel. Kunst zwischen Metaphysik und Leiblichkeit. Glienicke/Berlin/Cambridge/Massachusetts, Galda + Wilch, 2000.
Mira Schendel. Sergio Camargo. Willys de Castro. Exhibition catalogue, Centro Cultural Banco do Brasil, Rio de Janeiro, March 21 - May 21, 2000. With texts by Ronaldo Brito (et al.). Rio de Janeiro, Centro Cultural Banco de Brasil, 2000.
Situações. Arte brasileira. Anos 70. Exhibition catalogue, Fundaçao Casa França-Brasil, Rio de Janeiro, August 16 - September 24, 2000. With an essay by Paula Terra and Glória Ferreira. Rio de Janeiro, Fundaçao Casa França-Brasil, 2000.
Versiones del sur. Heterotopías. Medio siglo sin-lugar 1918 - 1968. Exhibition catalogue, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, December 12, 2000 - February 27, 2001. Edited by Mari Carmen Ramírez and Héctor Olea. Madrid, Museo Nacional Centro de Arte Reina Sofia, 2000.
O Museu de Arte Moderna do Rio de Janeiro. With a text by Maria del Carmen Zilio. São Paulo, Banco Safra, 1999.
Uzeda, Helena Cunha de. Quando: Dimensões da temporalidade na arte. Anais do 7° Encontro do Mestrado em história da arte. Rio de Janeiro, Escola de Belas Artes, Universidade Federal UFRJ, 1999.
The experimental exercise of freedom. Lygia Clark, Gego, Mathias Goeritz, Hélio Oiticica, Mira Schendel. Exhibition catalogue, Museum of Contemporary Art, Los Angeles, October 17, 1999 - January 23, 2000. Edited by Susan Martin and Alma Ruiz, with essays by Rina Carvajal (et al.). Los Angeles, Museum of Contemporary Art, 1999.
Duarte, Paulo Sergio. Anos 60. Transformações da arte no Brasil. Rio de Janeiro, Campos Gerais, 1998.
Arte brasileira no acervo do Museu de Arte Moderna de São Paulo. Doações recentes, 1996-1998. Exhibition and collection catalogue, MAM, São Paulo, Brasil, August 6 - September 27, 1998. With a text by Tadeu Chiarelli. São Paulo, Museu de Arte Moderna, 1998.
Arte construtiva no Brasil: Coleção Adolpho Leirner. Exhibition catalogue, Museu de Arte Moderna, São Paulo, October 2 - December 20, 1998. With a text by Adolpho Leirner. São Paulo, Museu de Arte Moderna, 1998.
Perfil da coleção Itaú. By Stella Teixeira de Barros. São Paulo, Itaú Cultural, 1998.
Profile of the Itaú Collection. By Stella Teixeira de Barros. São Paulo, Itaú Cultural, 1998.
Teoria dos valores. Exhibition catalogue, Museu de Arte Moderna, São Paulo, Brazil, January - February 1998. With texts by Marcio Doctors and Paulo Herkenhoff. São Paulo, Museu de arte moderna, 1998.
XXIV Bienal de São Paulo. Arte contemporânea brasileira. Um e/entre Outro/s. Exhibition catalogue, 24th São Paulo Biennial, Pavillion Ciccillo Matarazzo, Parque Ibirapuera, October 3 - December 13, 1998. Edited by Adriano Pedrosa and Paulo Herkenhoff. São Paulo, Fundaçao Bienal, 1998.
Mira Schendel a forma volátil. Exhibition catalogue, Centro de Arte Hélio Oiticica, Rio de Janeiro, June 3 - July 20, 1997. With texts by Sonia Salzstein (et al.). Rio de Janeiro, Centro de Arte Hélio Oiticica, 1997.
Gutiérrez Viñuales, Rodrigo, and Ramón Gutiérrez (eds.). Pintura, escultura y fotografía en Iberoamérica, siglos XIX y XX. Madrid, Cátedra, 1997.
Inside the visible: An elliptical traverse of twentieth-centruy art in, of, and from the feminine. Exhibition catalogue, Institute of Contemporary Art, Boston, January 30 - May 12, 1996, National Museum of Women in the Arts, Washington, June 15 - September 15, 1996, Whitechapel Art Gallery, London, October 11 - December 8, 1996, Art Gallery of Western Australia, Perth, February 13 - April 6, 1997. Edited by Catherine de Zegher, with contributions by Jean Fisher (et al.). Cambridge, Mass./London, MIT Press, 1996.
Mira Schendel. No vazio do mundo. Exhibition catalogue, Galería de Arte do SESI, São Paulo, September 30, 1996 - January 26, 1997. With texts by Sônia Salzstein (et al.). São Paulo, Marca D'Água, 1996.
Art from Brazil in New York. Catalogue, published on the occasion of the exhibition held at the Galerie Lelong, Brooke Alexander, Charles Cowles Gallery, The Drawing Center, Marian Goodman Gallery, Nicole Klagsbrun Gallery, LedisFlam Inc., Robert Miller Gallery, The New Museum of Contemporary Art, Annina Nosei Gallery, Marc Pottier with the Contemporary, all in New York, 1995. With texts by Paulo Herkenhoff and Carlos Basualdo. New York, Galerie Lelong, 1995.
Entre o desenho e a escultura. Exhibition catalogue, Museu de Arte Moderna, São Paulo, June 28 - July 30, 1995. With a text by Lisette Lagnado. São Paulo, Museu de Arte Moderna, 1995.
Latin american women artists = Artistas latinomericanas. 1915 1995. Exhibition catalogue, Milwaukee Art Museum, Wisconsin, March 3 - May 28, 1995, Phoenix Art Museum, Arizona, July 7 -October 1, 1995, The Denver Art Museum and Museo de las Americas, Denver, Colorado, October 28, 1995 - January 14, 1996, The National Museum of Women in the Arts, Washington D.C., February 8 - April 29, 1996. With essays by Bélgica Rodríguez (et al.). Milwaukee, Milkwaukee Art Museum, 1995.
Signals. Newsbulletin of the Centre for Advanced Creative Study London. Vol I, No. 1-10. Vol. II, No. 2, 1964-1966 (Facsimile edititon). London, Iniva, 1995.
XI Mostra da Gravura Cidade de Curitiba. Exhibition catalogue, Curitiba, October 31 - December 29, 1995. With texts by Paulo Herkenhoff (et al.). Curitiba, Fundação cultural de Curitiba, 1995.
A fronteira dos vazios. Livro-objeto. Exhibition catalogue, Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil, April 27 - June 5, 1994. With texts by José Mindlin and Marcio Doctors. Rio de Janeiro, Centro Cultural Banco do Brasil, 1994.
Bienal Brasil Século XX. Exhibition catalogue, Fundação Bienal de São Paulo, April 24 - May 29, 1994. With contributions by Nelson Aguilar (et al.). São Paulo, Fundação Bienal de São Paulo, 1994.
Brasil: Segni d'arte. Libri e video 1950 - 1993. Exhibition catalogue, Fondazione Scientifica Querini Stampalia, Venice, June 10 - August 31, 1993, Biblioteca Nazionale Braidense, Sala Maria Teresa, Milan, September 23 - October 9, 1993, Biblioteca Nazionale, Sala Dantesca, Florence, October 16 - November 6, 1993, Galeria Candido Portinari, Palazzo Pamphili, Rome, November 18 - December 18, 1993. With texts by Lucilla Saccà (et al.). 1993.
O desenho moderno no Brasil. Exhibition catalogue, Museu de Arte Moderna do Rio de Janeiro, Galeria de Arte do SESI. São Paulo, 1993. With texts by Reynaldo Roels Jr.. São Paulo, SESI, 1993.
Ultramodern. The art of contemporary Brazil. Exhibition catalogue, The National Museum of Women in the Arts, Washington, D.C., April 2 August 1, 1993. With essays by Aracy A. Amaral and Paulo Herkenhoff. Washington, D.C, The National Museum of Women in the Arts, 1993.
Flusser, Vilém. Bodenlos. Eine philosophische Autobiographie. Düsseldorf, Bollmann, 1992.
Branco dominante. Exhibition brochure, Galeria de Arte São Paulo, April 7 - 24, 1992. Wit a text by Cacilda Teixeira da Costa. São Paulo, Galeria de Arte São Paulo, 1992.
Viva Brasil viva. Konst fran Brasilien. Exhibition catalogue, Liljevalchs Konsthall, Stockholm, April - Juni 1991. With texts by Aracy Amaral (et al.). Stockholm, Liljevalchs; Kulturhuset, 1991.
Art in Latin America. The modern era 1820-1980. Catalogue, published in conjunction with the exhibition held at the Hayward Gallery, London, 1989. Edited by Dawn Ades, with contributions by Guy Brett (et al.). New Haven and London, Yale University Press, 1989.
Arte en Iberoamérica 1820-1980. Exhibition catalogue, The Hayward Gallery, London, May 18 - August 6, 1989, Moderna Museet, Stockholm, September 16 - November 19, 1989, Palacio de Velázquez, Madrid, December 14, 1989 - March 4, 1990 . With texts by Dawn Ades (et al.). Madrid, Turner, 1989.
Amarante, Leonor. As bienais de São Paulo, 1951-1987. São Paulo, Projeto, 1989.
Mira Schendel. Exhibition catalogue, Paulo Figueiredo Galeria de Arte, São Paulo, Espaço Fogo Paulista, São Paulo, March 1989. With a text by Paulo Figueiredo. São Paulo, Paulo Figueiredo Galeria de Arte, 1989.
Latin American Drawings from the Barbara Duncan Collection. Exhibition brochure, Archer M. Huntington Art Gallery, Austin, June 17 - August 14, 1988. With a foreword by Eric McCready. Austin, Texas, Archer M. Huntington Art Gallery, 1988.
Modernidade. Art brésilien du 20e siècle. Exhibition catalogue, Musée d'art moderne de la ville de Paris, December 10, 1987 - February 14, 1988. With texts by Affonso Romano de Sant'Ana, Aracy Amaral, Roberto Pontual, Frederico Morais (et al.). Paris, Association française d'action artistique, 1987.
Panorama da arte atual brasileira / 87. Arte sobre papel. Sala especial Oswaldo Goeldi. Exhibition catalogue, Museu de Arte Moderna, São Paulo, October 3 - November 30, 1987. With an introduction by Carlos von Schmidt. São Paulo, Museu de Arte Moderna, 1987.
Destaques da arte contemporânea Brasileira. Exhibition catalogue, Museu de Arte Moderna, São Paulo, October 3 - November 3, 1985. With an introduction by Aparício Basílio da Silva. São Paulo, Museu de Arte Moderna, 1985.
Tradição e ruptura. Síntese de arte e cultura brasileira. Exhibition catalogue, Fundação Bienal de São Paulo, November 1984 - January 1985. With texts by Ana Maria Belluzzo, Fábio Magalhães (et al.). São Paulo, Fundação Bienal, 1984.
Panorama de arte atual brasileira / 84 Arte sobre Papel. Exhibition catalogue, Museu de Arte Moderna, São Paulo, 1984. With texts by Aparicio Basilio da Silva and Alberto Beuttenmüller. São Paulo, Museu de Arte Moderna, 1983.
Bayón, Damián. Lateinamerikanische Kunst der Gegenwart. Berlin, Frölich & Kaufmann, 1982.
Homenagem a Mario Pedrosa. Exhibition catalogue, Galeria Jean Boghici, Rio de Janeiro, April - July 1980. With texts by Helio Pellegrino (et al.). Rio de Janeiro, Galeria Jean Boghici, 1980.
Panorama de arte atual brasileira. Pintura 1979. Exhibition catalogue, Museu de Arte Moderna, São Paulo, 1979. With an introduction by Francisco Luiz de Almeida Salles. São Paulo, Museu de Arte Moderna, 1979.
Panorama de arte atual brasileira. Desenho, Gravura 1977. Exhibition catalogue, Museu de Arte Moderna, São Paulo, 1977. With an introduction by Arthur Octavio de Camargo Pacheco. São Paulo, Museu de Arte Moderna, 1977.
Brasilianische Graphik der Gegenwart. Exhibition catalogue, Graphische Sammlung Albertina, Vienna, January 30 - March 2, 1975. With a text by José Roberto Teixeira Leite. Vienna, Albertina, 1975.
Panorama de arte atual brasileira. Desenho, Gravura 1974. Exhibition catalogue, Museu de Arte Moderna, São Paulo, 1974. With an introduction by Paulo Mendes de Almeida. São Paulo, Museu de Arte Moderna, 1974.
Panorama de arte atual brasileira. Desenho, Gravura 1971. Exhibition catalogue, Museu de Arte Moderna, São Paulo, 1971. With an introduction by Paulo Medes de Almeida. São Paulo, Museu de Arte Moderna, 1971.
Panorama de arte atual brasileira 1969. Exhibition catalogue, Museu de Arte Moderna, São Paulo, 1969. With an introduction by Oscar Pedroso Horta. São Paulo, Museu de Arte Moderna, 1969.
X Bienal de São Paulo. Fundaçao Bienal de São Paulo. Catálogo. Exhibition catalogue,10th São Paulo Biennial, September - December 1969. With texts by Francisco Matarazzo Sobrinho (et al.). São Paulo, Fundaçao Bienal, 1969.
Brett, Guy. Kinetic Art. The language of movement. London, Studio Vista and New York, Reinhold Book Corporation, 1968.
IX Bienal de São Paulo. Fundaçao Bienal de S. Paulo. Catálogo. Exhibition catalogue, 9th São Paulo Biennial, 1967. With texts by Francisco Matarazzo Sobrinho (et al.). São Paulo, Fundaçao Bienal, 1967.
VIII Bienal de São Paulo. Fundaçao Bienal de S. Paulo. Catálogo. Exhibition catalogue, 8th São Paulo Biennial, September 4 - November 28, 1965. With texts by Francisco Matarazzo Sobrinho (et al.). São Paulo, Fundaçao Bienal, 1965.
VII Bienal de São Paulo. Fundaçao Bienal de S. Paulo. Catálogo. Exhibition catalogue, 7th São Paulo Biennial, Parque Ibirapuera, September - December 1963. With texts by Francisco Matarazzo Sobrinho (et al.). São Paulo, Fundaçao Bienal, 1963.
I Bienal do Museu de Arte Moderna de São Paulo. Exhibition catalogue, 1st São Paulo Biennial, Museu de Arte Moderna, October - December 1951. With texts by Lourival Gomes Machado (et al.). São Paulo, Museu de Arte Moderna de São Paulo, 1951.


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Pfizer and Mylan want to create a generic-drug giant
GREATER THAN the sum of its parts. That, in a nutshell, is how Albert Bourla, the newish chief executive of Pfizer, described the merger of the giant drugmaker's stodgy but profitable off-patent division, Upjohn, and Mylan, a big but struggling generic-drug firm. The all-stock transaction, announced on July 29th, would create the world's largest generics firm by revenue, with an enterprise value of $50bn.
All bosses promise that spin-offs they mastermind create value for shareholders. And there are reasons to take Mr Bourla seriously, says David Risinger of Morgan Stanley, an investment bank. If the management is to be believed, the as-yet-unnamed company will have revenues of $19bn-20bn and gross operating margins of 40%. It has pledged to pay a dividend equal to roughly a quarter of free cashflow. The incoming boss, Michael Goettler, who runs Upjohn, plans to chip away at the combined company's $25bn in debt, by cutting $1bn in annual costs by 2023.
It should be able to expand quickly outside America's fiercely competitive generics market, where consolidation among wholesalers has allowed buyers to demand lower prices and faster regulatory approval of generic drugs has flooded the market with low-cost medicines. The shares of big generics firms exposed to America have performed miserably in recent years. The market share of the ten biggest declined from 53% to 44% between 2014 and 2018.
On the surface, the transaction also makes sense for Pfizer. The drugmaker has been shedding assets to refocus on high-growth areas. In December it spun off its consumer-health division, which was combined with that of GSK, a British rival. It previously got rid of its animal-health business. By sticking to lucrative areas like cancer treatments, Mr Bourla hopes to persuade investors that Pfizer shares deserve a higher price.
So far Wall Street seems unconvinced. Tim van Biesen of Bain, a consultancy, points out that it is unclear if Pfizer can come up with enough blockbusters to sustainably offset earnings from the divestment of peripheral but profitable businesses like Upjohn. Standard & Poor's, a credit-rating agency, downgraded Pfizer's debt on the news. Pfizer's share price fell by 6.4% on June 30th, the biggest one-day slide in a decade. Mylan's long-suffering stock edged up only slightly.
The merged company, for its part, inherits lawsuits about Mylan's alleged price fixing and its role in America's opioid crisis. Mylan denies all wrongdoing. Mylan's shareholders are still fuming over the firm's move in 2015 to the Netherlands, where it adopted an opaque corporate structure, and practices like offering to pay Robert Coury, its chairman, about $1m a year for not using a company plane.
Observers worry that Mr Goettler may be in over his head. They fear the firm will in fact be controlled by the controversial Mr Coury, who is to be its executive chairman, and Rajiv Malik, his long-serving lieutenant, who is embroiled in the price-fixing complaints. Pressed by analysts this week on corporate governance, Mr Coury was evasive. He vowed to return capital to shareholders "from day one". "I don't make shit up. You know that," he promised. Investors may need more reassurance.■
This post was originally posted at https://www.economist.com/business/2019/08/03/pfizer-and-mylan-want-to-create-a-generic-drug-giant.
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Charles Duke
(Apollo 16)
TBA -
(Apollo EECOM)
Clayton Anderson
(STS-117, ISS-15/16, STS-131)
Karol "Bo" Bobko
(STS-6, STS-51D, STS-51J)
Jerry Bostick
(Apollo FIDO)
Vance Brand
(Apollo-Soyuz Test Project, STS-5, STS-41B, STS-35)
Walter Cunningham
(Apollo 7)
Joe Engle
(X-15, STS-2, STS-51I)
Anna Fisher
(STS-51A)
Robert "Hoot" Gibson
(STS-41B, STS-61C, STS-27, STS-47, STS-71)
(Flight Director)
Fred Haise
(STS-59, STS-68, STS-80, STS-98)
Jack Lousma
(Skylab 2, STS-3)
Rick Mastracchio
(STS-106, STS-118, STS-131, Soyuz TMA-11M, ISS 38/39)
Bill Moon
Mike Mullane
(STS-41D, STS-27, STS-36)
Dee O'Hara
(Astronaut Nurse)
Mario Runco
(STS-44, STS-54, STS-77)
Rhea Seddon
(STS-41G, STS-31, STS-45)
(STS-41D, STS-51D, STS-61B)
Spacefest XI space and astronomy convention
JW Marriott Star Pass Resort & Spa
LEFT: Charlie Duke with Brian Cleveland, January 11, 2020, Dallas, TX (CREDIT: Brian Cleveland); RIGHT: Charlie Duke with Dotty Duke, December 3, 2019, Houston, TX (CREDIT: collectSPACE);
LEFT: Charlie Duke, September 28, 2019, Denver, CO (CREDIT: Mark Usciak); RIGHT: Charlie Duke, Hoot Gibson and Rhea Seddon, September 28, 2019, Denver, CO (CREDIT: Mark Usciak);
LEFT: Charlie Duke with Gerhard Daum, June 1, 2019, Munich, Germany (CREDIT: Gerhard Daum); RIGHT: Matthias Maurer and Charlie Duke with Gerhard Daum, May 30, 2019, Munich, Germany (CREDIT: Gerhard Daum);
LEFT: Reinhold Ewald and Charlie Duke with Gerhard Daum, May 29, 2019, Speyer, Germany (CREDIT: Gerhard Daum); RIGHT: John Herrington, Dave Scott, Fred Haise, Rusty Schweickart, Jack Lousma, Walt Cunningham, Joe Engle, Tom Stafford, Al Worden and Charlie Duke with Jim Bridenstine, May 18, 2019, Weatherford, OK (CREDIT: collectSPACE);
LEFT: Charlie Duke, Harrison Schmitt, Fred Haise, Michael Collins, Al Worden, Walt Cunningham, Buzz Aldrin and Rusty Schweickart, March 16, 2019, New York, NY (CREDIT: Ron Franco); RIGHT: Charlie Duke, Al Worden, Buzz Aldrin, Michael Collins and Rusty Schweickart, March 16, 2019, New York, NY (CREDIT: Orly Orlyson);
LEFT: Charlie Duke with Thomas Bach, Bettina Viglietti and Lukas Viglietti, December 12, 2018, Lausanne, Switzerland (CREDIT: Lukas Viglietti); RIGHT: Charlie Duke with his wife Dottie and Gerhard Daum, November 6, 2018, New Braunfels, TX (CREDIT: Gerhard Daum);
LEFT: Charlie Duke with Dotty Duke, Gene Kranz and Valerie Anders with Bill Anders, October 23, 2018, Houston, TX (CREDIT: collectSPACE); RIGHT: Charlie Duke with Tyler Knierim and Emily Thurman, July 21, 2018, Mitchell, IN (CREDIT: Tyler Knierim);
LEFT: Charlie Duke with wife Dottie and Galactic Gathering organizers, July 21, 2018, Mitchell, IN (CREDIT: Patrick Jones); RIGHT: Charlie Duke with Robert Pearlman, July 7, 2018, Tucson, AZ (CREDIT: collectSPACE);
LEFT: Fred Haise, Walt Cunningham, Al Worden, Jack Lousma, Vance Brand, Charlie Duke and Dee O'Hara with Francis French, Rick Armstrong and Nick Howes, July 6, 2018, Tucson, AZ (CREDIT: Mark Usciak); RIGHT: Gerry Griffin and Charlie Duke, May 8, 2018, Sydney, Australia (CREDIT: Luke Morgan);
LEFT: Charlie Duke and Gerry Griffin with Peter Aylward and committee of the Space Association of Australia, May 2, 2018, Melbourne, Australia (CREDIT: Peter Aylward); RIGHT: Charlie Duke with Gerhard Daum, November 10, 2017, Speyer, Germany (CREDIT: Gerhard Daum);
LEFT: Reinhold Ewald, Samantha Cristoforetti, Charlie Duke and Thomas Reiter with Gerhard Daum, November 10, 2017, Stuttgart, Germany (CREDIT: Gerhard Daum); RIGHT: Charlie Duke with Simon Goddard, September 9, 2017, Milton Keynes, UK (CREDIT: Simon Goddard);
LEFT: Charlie Duke, September 9, 2017, Milton Keynes, UK (CREDIT: Rick Mulheirn); RIGHT: Charlie Duke Luigi Pizzimenti and ADAA staff, April 29, 2017, Milan, Italy (CREDIT: Luigi Pizzimenti);
LEFT: Charlie Duke Luigi Pizzimenti, April 29, 2017, Milan, Italy (CREDIT: Luigi Pizzimenti); RIGHT: Charlie Duke with Craig Scott and Colin Fitton, April 30, 2017, Milan, Italy (CREDIT: Craig Scott);
LEFT: Charlie Duke, November 11, 2016, KSC, FL (CREDIT: collectSPACE); RIGHT: Bo Bobko, Joe Engle, Walt Cunningham, Jerry Ross, Rick Hauck, Brewster Shaw, Buzz Aldrin, Al Worden, Tom Stafford, David Scott, Jim Lovell, Dan Brandenstein, Charlie Duke, Bob Cabana, Kent Rominger, Curt Brown, Jack Lousma, Brian Duffy, Kathy Thornton, Vance Brand, Hoot Gibson, Rhea Seddon, Ed Gibson, Bob Crippen and Fred Gregory with Therrin Protze, Rick Abramson and John Elbon, November 11, 2016, KSC, FL (CREDIT: collectSPACE);
LEFT: Charlie Duke with Gerhard Daum, March 6, 2016, New Braunfels, TX (CREDIT: Gerhard Daum); RIGHT: Charlie Duke with Christian Schmid, November 23, 2015, Munich, Germany (CREDIT: Christian Schmid);
LEFT: Charlie Duke with Daniel and Ana Wager, November 7, 2015, KSC, FL (CREDIT: Daniel Wager); RIGHT: Charlie Duke with Luigi Pizzimenti, October 22, 2015, Varese, Italy (CREDIT: Luigi Pizzimenti);
LEFT: Charlie Duke with Dottie Duke and Brad MacKinnon, April 13, 2015, Chicago, IL (Credit: Brad MacKinnon); RIGHT: Charlie Duke with Brian Peter, Jr., April 10, 2015, Metairie, LA (Credit: Brian Peter);
Charlie Duke, Jim Lovell, Fred Haise, Gene Kranz, Glynn Lunney, Gerry Griffin, Vance Brand, Jack Lousma and Joe Kerwin, April 11, 2015, KSC, FL (Credit: David Chudwin);
LEFT: Charlie Duke with Peter Aylward, September 25, 2014, Melbourne, Australia (Credit: Peter Aylward); RIGHT: Charlie Duke, September 24, 2014, Tenerife, Spain (Credit: Jürgen Esders);
Glynn Lunney, Gerry Griffin, Sy Liebergot, Jack Lousma, Fred Haise, Gene Cernan, Charlie Duke, Bill Anders, Gene Kranz and Al Worden with Caitie Colella, March 21, 2015, San Diego, CA (Credit: Caitie Colella);
LEFT: Charlie Duke with Anne, Leon and Paul Herling, September 3, 2014, Zurich, Switzerland (Credit: Paul Herling); RIGHT: Chris Hadfield and Charlie Duke with Lukas Viglietti, August 30, 2014, Payerne, Switzerland (Credit: Lukas Viglietti);
LEFT: Charlie Duke with Thomas Behman, May 1, 2014, Livonia, MI (Credit: Thomas Behman); RIGHT: Charlie Duke with Brad MacKinnon, May 1, 2014, Livonia, MI (Credit: Reed Simon);
Chris Hadfield, Chris Ferguson, Kent Rominger, Charlie Precourt and Charlie Duke with Len Johnson, July 30, 2013, Oshkosh, WI (Credit: Len Johnson);
LEFT: Charlie Duke with Andre Ran, June 21, 2013, Noordwijk, The Netherlands (Credit: Andre Ran); RIGHT: Charlie Duke with Mark Plas, June 21, 2013, Noordwijk, The Netherlands (Credit: Mark Plas);
Buzz Aldrin, Loren Shriver, John Blaha, Fred Haise, Bob Crippen, Brewster Shaw, Hoot Gibson, Joe Allen, Jeff Hoffman, Charlie Bolden, Jack Lousma, Bonnie Dunbar, Curt Brown, Eileen Collins, Kathy Thornton, Vance Brand, Rick Hauck, Charlie Duke, Bob Cabana, Pinky Nelson, Walt Cunningham, Dick Gordon, Franklin Chang Diaz, Steve Hawley, Dan Brandenstein and Bo Bobko, April 20, 2013, KSC, FL (Credit: collectSPACE);
LEFT: Jim Lovell and Charlie Duke, November 29, 2012, Lake Forest, IL (Credit: David M. Scott); RIGHT: David Scott, Jim McDivitt, Tom Stafford, Buzz Aldrin, Gene Cernan, Charlie Duke, Richard Gordon, Fred Haise, Alan Bean and Ed Mitchell, November 3, 2012, KSC, FL (Credit: David Chudwin);
LEFT: Charlie Duke, October 20, 2012, Pontefract, UK (Credit: Rick Mulheirn); RIGHT: Charlie Duke with Michael Pahlen, October 12, 2012, Birmingham, UK (Credit: Ken Willoughby);
LEFT: Charlie Duke, July 20, 2012, Huntsville, AL (Credit: Larry Hunter); RIGHT: Hank Hartsfield, Ed Mitchell, Fred Haise, Charlie Duke and Jim Lovell, April 14, 2012, KSC, FL (Credit: Mike Black);
Alan Bean, Dave Scott, Walt Cunningham, Buzz Aldrin, Jack Lousma, Al Worden, Fred Haise, Dick Gordon, Ed Mitchell, Charlie Walker, Vance Brand, Paul Weitz, Ed Gibson, Gene Cernan, Dale Cox, Charlie Duke, Tom Jones and Mike Mullane with Mark and Tom Usciak, June 2, 2012, Tucson, AZ (Credit: Mark Usciak);
LEFT: Charlie Duke with Luigi Pizzimenti, March 31, 2012, Varese, Italy (Credit: Luigi Pizzimenti); RIGHT: Charlie Duke with Luigi Pizzimenti, October 9, 2011, Lucerne, Switzerland (Credit: Luigi Pizzimenti);
LEFT: Charlie Duke and Jim Lovell with Luigi Pizzimenti, June 22, 2011, Tenerife, Canary Islands (Credit: Luigi Pizzimenti); RIGHT: Charlie Duke, May 7, 2011, KSC, FL (Credit: collectSPACE);
LEFT: Bob Crippen, Hank Hartsfield, Scott Carpenter, Dick Gordon, Fred Haise, Joe Allen, Rick Hauck, Ed Mitchell, Charlie Duke, Bo Bobko, Loren Shriver, Susan Helms, Jack Lousma, Al Worden, Jeff Hoffman, Walt Cunningham, Owen Garriott, Charlie Bolden and Bob Cabana, May 7, 2011, KSC, FL (Credit: collectSPACE); RIGHT: Charlie Duke with Luigi Pizzimenti, November 6, 2010, Cape Canaveral, FL (Credit: Luigi Pizzimenti);
LEFT: Charlie Duke with Luigi Pizzimenti, October 26, 2010, Bologna, Italy (Credit: Luigi Pizzimenti); RIGHT: Charlie Duke, October 21, 2010, Coventry, UK (Credit: Andy Green);
LEFT: Charlie Duke, September 10, 2010, Glasgow, Scotland (Credit: Keith Wilson); RIGHT: Charlie Duke, November 17, 2009, Buckingham, UK (Credit: Robert Synge);
Front row: Guy Bluford, Ken Bowersox, Kathy Thornton, Frank Culbertson, Rear row: Bob Cabana, Fred Haise, Bruce McCandless, Loren Shriver, Jeff Hoffman, Jack Lousma, Al Worden, Scott Carpenter, Dick Covey, John Blaha, Hank Hartsfield, Walt Cunningham, Rick Hauck, Dan Brandenstein, Mike Coats, Owen Garriott, Charlie Duke and Hoot Gibson, June 5, 2010, KSC, FL (Credit: collectSPACE);
Charlie Duke, Jim Lovell, Fred Haise and Gene Kranz, April 9, 2010, KSC, FL (Credit: Ron Levine);
Glynn Lunney, Alan Bean, Charlie Duke, Rusty Schweickart, Al Worden, Bill Anders, Walt Cunningham, Fred Haise and Jim McDivitt, September 4, 2009, San Diego, CA (Credit: Ray Holt);
Walt Cunningham, Jim Lovell, Dave Scott, Buzz Aldrin, Charlie Duke, Tom Stafford and Gene Cernan, July 20, 2009, Washington, DC (Credit: collectSPACE);
Vance Brand, Gene Cernan, Harrison Schmitt, Joe Engle, Charlie Duke, Fred Haise, Jim Lovell, Buzz Aldrin, Neil Armstrong, Tom Stafford, Jim McDivitt and Walt Cunningham, July 17, 2009, Dayton, OH (Credit: Brad MacKinnon);
Buzz Aldrin, Walt Cunningham, Ed Mitchell, Al Worden, Charlie Duke, Gerry Carr, Vance Brand and Bruce McCandless, July 16, 2009, KSC, FL (Credit: Alfredo Martinez);
LEFT: Charlie Duke, July 10, 2009, Hutchinson, KS (Credit: Steve O'Leary); RIGHT: Charlie Duke with Enid Barrington, February 6, 2009, Norwich, UK (Credit: Richard Barrington);
Charlie Duke with Mike Cinquino, Kenneth Johnson, AJ Witzke, Alex Klarfeld and Leonard Johnson, March 21, 2009, Hoffman Estates, IL (Credit: N. Cinquino);
Alan Bean, Vance Brand, Jack Lousma, Dave Scott, Jim McDivitt, Rusty Schweickart, Mike Collins, Bruce McCandless, Ed Mitchell, Hank Hartsfield, Charlie Walker, Buzz Aldrin, Charlie Duke and Dick Gordon, February 21, 2009, San Diego, CA (Credit: Ray Holt);
Dave Scott, Tom Stafford, Charlie Duke, Jim Lovell, Scott Carpenter, Buzz Aldrin, Walt Cunningham, Jon McBride, Ed Mitchell, Al Worden and Hank Hartsfield, November 8, 2008, KSC, FL (Credit: Steve Wolfe);
LEFT: Charlie Duke with Johann Preuss, October 3, 2008, Speyer, Germany (Credit: Johann Preuss); RIGHT: Charlie Duke with Ron Levine, January 15, 2008, Los Gatos, CA (Credit: Thomas Edel);
Ed Mitchell, Charlie Duke, Dick Gordon, Jack Lousma, Gene Cernan and Joe Kerwin, March 24, 2008, Dallas, Texas (Credit: Crystal Yates);
LEFT: Scott Carpenter and Charlie Duke, November 29, 2007, New York, NY (Credit: Rob Wilk); RIGHT: Charlie Duke with Brad MacKinnon, August 17, 2007, Phoenix, AZ (Credit: Brad MacKinnon);
LEFT: Charlie Duke with Paul O'Neal, June 9, 2007, KSC, FL (Credit: Paul O'Neal); RIGHT: Charlie Duke, May 11, 2006, Huntsville, AL (Credit: David Hitt);
LEFT: Charlie Duke, March 19, 2006, Hondo, TX (Credit: Brian Sandeen); RIGHT: Charlie Duke, November 18, 2005, Pontefract, UK (Credit: Steve Proctor);
LEFT: Charlie Duke with Alex Ward, October 29, 2005, London, England (Credit: Alex Ward); RIGHT: Charlie Duke with the Sandeen family, May 28, 2005, Wellington, KS (Credit: Brian Sandeen);
LEFT: Charlie Duke with Steve and Kathy Smith, May 28, 2005, Wellington, KS (Credit: Steve Smith); RIGHT: Charlie Duke and John Young, April 30, 2005, KSC, FL (Credit: Al Hallonquist);
LEFT: Charlie Duke and Fred Haise, April 29, 2005, KSC, FL (Credit: collectSPACE); RIGHT: Charlie Duke with his wife Dottie, March 22, 2005, Prague, Czech Republic (Credit: Milan Halousek);
LEFT: Charlie Duke with Conrad Sperhake, March 21, 2005, Prague, Czech Republic (Credit: Conrad Sperhake); RIGHT: Charlie Duke with Ashley Beard, October 10, 2004, Conventry, UK (Credit: Steve Beard);
LEFT: Charlie Duke, September 4, 2004, Burbank, CA (Credit: collectSPACE); RIGHT: Charlie Duke with Pat Rhodes, May 22, 2004, Titusville, FL (Credit: Pat Rhodes);
LEFT: Charlie Duke with Martin Majer, April 30, 2004, KSC, FL (Credit: Jim Rosenthal); RIGHT: Charlie Duke, May 25, 2003, Washington, DC (Credit: collectSPACE);
LEFT: Charlie Duke and Wally Schirra with Chris and John Youskauskas, May 24, 2003, Washington, DC (Credit: John Youskauskas); RIGHT: Charlie Duke, October 26, 2002, Santa Monica, CA (Credit: collectSPACE);
LEFT: Charlie Duke, September 14, 2002, Reno, NV (Credit: collectSPACE); RIGHT: Charlie Duke, January 26, 2002, Vienna, Austria (Credit: Artner Frederic);
LEFT: Charlie Duke, October 1, 2000, Columbia, SC (Credit: Matt Miller); RIGHT: Charlie Duke, April 15, 2000, Kennedy Space Center, FL (Credit: Tom Edmonds);


text:
OPINION: Is There a Case for the Bears to Select Jake Fromm?
Could Jake Fromm make sense for the Chicago Bears?
Apr 21, 2020 10:41 AM EDT
Photo: Todd Kirkland/Getty Images
With the NFL Draft quickly approaching, NFL fans everywhere are finally excited at the possibility of something sports-related that isn't a re-run. This has been one of the best weeks for sports since the beginning of the quarantine and COVID-19 pandemic. The draft is approaching and the "Last Dance" documentary has begun on ESPN.
Throughout the offseason, the Bears have been linked to Jalen Hurts and the possibility of selecting him with one of their two second-round picks. This speculation still arises after the Bears traded for quarterback Nick Foles earlier this offseason.
So why does that matter? Well, if the Bears are in the market for a quarterback in this year's draft, there is a chance they take someone other than Hurts. Why? Well, as reported by both Daniel Jeremiah and Ian Rapoport, teams are targeting "their guys" rather than listening to other organizations around the league. This means we'll likely see a lot of "whoa" picks in the draft when comparing to many mock drafts.
This possibility poses an interesting question, would the Bears consider drafting Jake Fromm?
In theory, anything is possible. The Bears met with Jake Fromm at the NFL Combine, suggesting they have some interest in the Georgia standout.
However, I spoke with someone who has seen Fromm play up close. UGASports.com analyst and University of Georgia Athletics P.A. voice Dayne Young answered some of my questions about Jake Fromm.
Let's start off with the personal side. I am a big fan of Fromm's game. Sure, he's not the elite arm talent or the quarterback that set records in college. However, he commanded and led a very good Georgia offense to a lot of victories in his tenure as a Bulldog. Aside from that, this is the guy that beat out Ohio State quarterback Justin Fields for the starting job at Georgia. Clearly he's a good player.
Why are people not higher on Fromm? Dayne Young has a theory:
"Fromm does not have as many throwing opportunities most Saturdays as some of the more ballyhooed quarterbacks."
- Dayne Young
Dayne brings up a good point. In three years and over 43 games at Georgia as the starting quarterback, Fromm threw for only 8,224 yards. The total is still a nice number, but for comparison, fellow draft prospect Justin Herbert in 44 games threw for 10,541 yards. That is a big difference for only one more game played by Herbert.
Jake Fromm may not have the flashy numbers, but he has proven himself as a three-year starter at the University of Georgia. Photo: Chris Graythen/Getty Images
Fromm still had an impressive 78-to-18 touchdown-to-interception ratio at Georgia. In Fromm's third season, he saw a dip in his touchdown numbers although he threw for more yards. However, his completion percentage dipped six percent. Dayne weights in for us again:
Much of this can be attributed to reduced production from inexperienced WR's. Fromm lost his five primary pass catchers from 2018. General managers must assess how much of the production drop should be attributed to Fromm. Any NFL team that selects Fromm must surround him with playmaking pass-catchers.
- Dayne Young referring to concern over Fromm's stats.
Losing your five top playmakers year over year is a big deal. After Riley Ridley, Mecole Hardman, Sony Michel, Nick Chubb, and Terry Godwin all left for the NFL, Fromm had to make do with an inexperienced group of receivers. There was still talent at UGA, but Fromm was working with a completely different supporting cast compared to his previous two seasons.
With all of that said, what makes Fromm worth considering for the Bears? I'll turn to Dayne once again for some assistance:
Jake Fromm definitely has the skillset both mentally and physically to succeed in the NFL. He is an efficient quarterback who rarely causes critical errors. Most NFL coaches and general managers prefer to be conservative with selecting quarterbacks who can command a room and be immediately respected by peers. Fromm checks all of those boxes.
- Dayne Young referring to Fromm's skills translating to the NFL.
He rarely turns over the ball. Much of that is due to his quick recognition of defenses pre-snap at the line of scrimmage. Fromm is always prepared. He has also mastered the back shoulder throw along the sideline. It is a very low-risk, high-reward pass.
- Dayne Young describing Fromm's best skills.
Fromm is a successful game manager. He's going to keep your team in games. That's what the Bears need. The Bears also need a quarterback that can win games. Fromm not only has more experience than Mitchell Trubisky had coming out of college, but he has also run a pro-style offense and won a lot of big games.
Fromm is a proven winner, taking Georgia to the National Championship in 2018. Photo: Christian Petersen/Getty Images
Fromm could be an excellent addition as a developmental piece for the Bears in the event they cut ties with Trubisky after 2020.
Now, the story can't be all good, right? Here's some quotes from Dayne on Fromm's flaws:
I don't see him in the same class as Joe Burrow, Justin Fields, Tua Tagovailoa, or Justin Herbert in terms of overall playmaking. I don't assess him as a first-round NFL Draft talent, but that depends on the supply and demand. NFL teams reach for quarterbacks all the time. Fromm will not be a bust, but he will not be a transformative figure like Patrick Mahomes, Deshaun Watson, or Drew Brees either.
Dayne Young on Fromm's comparison to other elite talents in college.
While I don't ever see Fromm as being one of the best 5-10 quarterbacks in the league, he could definitely be a starter in the league for a while.
Dayne Young on Fromm's translation to the NFL.
In other words, Fromm isn't projected to light the league on fire. However, on a team with good playmakers, a dominant defense, and solid special teams, all you need is a guy that can keep you in games and win games.
My verdict on Fromm to the Bears is this: it likely isn't going to happen. There is a very good chance another team grabs him before the Bears can or will.
That said, thanks to some great analysis from Dayne Young, Fromm is a quarterback who is well respected, always prepared, has a good mental makeup and, most importantly, he's a winner.
Another point that doesn't hurt to mention is his familiarity with Riley Ridley and Javon Wims. Dayne actually mentioned Fromm's success with Wims while at Georgia.
He has a track record of connecting well with tall and physical receivers who can create space along the sideline (Javon Wims, Jeremiah Holloman, Lawrence Cager). Big and rangy receivers fit better with him as compared to small speedsters.
- Dayne Young when referring to Fromm's stats and his need to be with playmakers.
After the release of Taylor Gabriel earlier this offseason, the Bears are comprised of bigger receivers. Of the Bears' top receivers, four of them are 6-foot-1 or taller (Allen Robinson, Riley Ridley, Javon Wims, and Cordarrelle Patterson). The only top receiver the Bears have that's under that mark is Anthony Miller (5'11").
Bears fans are all too familiar with the debate before the 2017 NFL Draft. The wide debate at the time was between Deshaun Watson and Mitchell Trubisky for who was the better quarterback. The "experts" said Trubisky had the better "tools" but Watson was the proven winner. So far, between those two, Watson has by far been the better pro. Sure, Mahomes is the best of the top three quarterbacks selected that year, but he came out of nowhere to a lot of people.
Here's the thing, Fromm has won in the elite SEC Conference and played tons of games. He can handle the pressure that comes with being an NFL quarterback and could be a great piece for the Bears' future if the Trubisky experiment officially flames out.
My experience as a college football player has taught me that, no matter what a guy's tools are, winning translates to talented players. If they show up on tape, they usually pan out well in the NFL, even if the measurables aren't amazing.
I fully believe Fromm could be a good fit for the Bears. I think he is going to be a good NFL quarterback, just as Dayne echoed in his quotes, but I don't believe he ends up in Chicago because Pace is not going to draft a second quarterback in his tenure inevitably waiving the white flag on the Mitchell Trubisky experiment.
Stats and measurements courtesy of the University of Georgia, University of Oregon and the Chicago Bears.
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