text:
AIMBRIDGE HOSPITALITY IS THE NEW MANAGER OF HYATT REGENCY TULSA
Dallas, TEXAS (November 22, 2010) – Aimbridge Hospitality and Hyatt Hotels & Resorts announced today that on January 1, 2011, the only full-service Hyatt hotel in Oklahoma will open. The 455-room Hyatt Regency Tulsa, located at the corner of 2nd and South Main Street in Tulsa, Oklahoma, will be operated and managed by Aimbridge Hospitality under a franchise agreement with a Hyatt affiliate.
Argonaut Private Equity, owner of the hotel which was a Crowne Plaza branded hotel, will be investing additional capital for improvements as part of the Hyatt re-branding.
Aimbridge Hospitality, which is one of the nation's leading independent hotel investment and management firms and currently owns and/or manages over 70 branded and independent hotels across 20 states and Puerto Rico, began managing the hotel in January 2010.
"We are excited about this opportunity to continue managing this iconic property in downtown Tulsa, which will now be backed by Hyatt's strong reputation for delivering authentic hospitality to its guests," said Dave Johnson, CEO and President of Aimbridge Hospitality.
"This hotel is a critical part of our downtown, serving both business travelers and tourists throughout the year, and I am thrilled that it will now carry the Hyatt brand and continue to be managed by one of the nation's leaders in the hospitality industry," said Mayor Dewey Bartlett. "Their 5-star quality and emphasis upon customer service will be an example for all of us."
With 38,000 square feet of conference facilities, the high-rise Hyatt Regency Tulsa will become one of the city's finest meeting venues featuring a contemporary urban style and Southwestern hospitality. Meeting attendees as well as business and leisure travelers will enjoy spacious accommodations, fine dining, a day spa, a StayFit@Hyatt gym, and an outdoor swimming pool. Wireless high-speed Internet service keeps guests in touch with the office back home, and a 24-hour business center ensures their ability to take care of business while in Tulsa.
Located in the heart of downtown within Tulsa's Art Deco district, and bordering the popular Blue Dome District, Hyatt Regency Tulsa features covered walkways to eight adjacent buildings, including the Williams Center and the Bank of Oklahoma (BOK) Office Tower, providing all-weather access to shops, restaurants and local businesses. The hotel is also adjacent to the Tulsa Performing Arts Center, two blocks from the new BOK Center arena, and five blocks from the Tulsa Convention Center and Oklahoma Jazz Hall of Fame.
"We are pleased to have the opportunity to bring our 53-year tradition of hospitality to Tulsa, in collaboration with Aimbridge Hospitality and the hotel's owner," said Chuck Floyd, chief operating officer, North American operations, Hyatt Hotels Corporation.
Argonaut Private Equity, an investment arm of George Kaiser Family Foundation, acquired the Crowne Plaza Hotel in downtown Tulsa in August.
"We are very pleased the Foundation made an investment in this downtown Tulsa hotel," said Ken Levit, Executive Director of George Kaiser Family Foundation. "We believe the hotel, under the Hyatt brand and Aimbridge management, will help further the growth and progress of our entire community."
ABOUT AIMBRIDGE HOSPITALITY
Aimbridge Hospitality is one of the nation's leading independent hotel investment and management firms with a proven track record for delivering superior returns for its strategic partners in a variety of markets and economic cycles. Aimbridge provides management, asset management, development, renovation and consulting services. Based in Dallas, Texas, Aimbridge currently owns and/or manages over 70 upscale, independent and branded hotels with nearly 11,000 rooms across the United States and the Caribbean, including such affiliations as Hyatt, Marriott, Hilton, Embassy Suites, DoubleTree, Hilton Garden Inn, Hampton Inn & Suites, Aloft, Wyndham and the Phoenix Inn Suites chain of hotels. For more information on Aimbridge Hospitality, please visit www.aimbridgehospitality.com.
ABOUT GEORGE KAISER FAMILY FOUNDATION
George Kaiser Family Foundation (GKFF) is a charitable organization dedicated to breaking the cycle of poverty through investments in early childhood education, community health, social services and civic enhancement. Based in Tulsa, Oklahoma, GKFF works primarily on initiatives developed in collaboration with Tulsa-based direct service organizations.
Hyatt Hotels Corporation, headquartered in Chicago, is a leading global hospitality company with a proud heritage of making guests feel more than welcome. Thousands of members of the Hyatt family in 45 countries strive to make a difference in the lives of the guests they encounter every day by providing authentic hospitality. The Company's subsidiaries manage, franchise, own and develop hotels and resorts under the Hyatt®, Park Hyatt®, Andaz®, Grand Hyatt®, Hyatt Regency®, Hyatt Place® and Hyatt Summerfield Suites® brand names and have locations under development on five continents. Hyatt Vacation Ownership, Inc., a Hyatt Hotels Corporation subsidiary, develops and operates vacation ownership properties under the Hyatt Vacation Club® brand. As of September 30, 2010, the Company's worldwide portfolio consisted of 447 properties. For more information, please visit www.hyatt.com.
Statements in this press release, which are not historical facts, are "forward-looking" statements within the meaning of the Private Securities Litigation Reform Act of 1995. These statements include statements about our plans, strategies, financial performance, prospects or future events and involve known and unknown risks that are difficult to predict. As a result, our actual results, performance or achievements may differ materially from those expressed or implied by these forward-looking statements. In some cases, you can identify forward-looking statements by the use of words such as "may," "could," "expect," "intend," "plan," "seek," "anticipate," "believe," "estimate," "predict," "potential," "continue," "likely," "will," "would" and variations of these terms and similar expressions, or the negative of these terms or similar expressions. Such forward-looking statements are necessarily based upon estimates and assumptions that, while considered reasonable by us and our management, are inherently uncertain. Factors that may cause actual results to differ materially from current expectations include, among others, the depth and duration of the current economic downturn; levels of spending in the business, travel and leisure industries as well as consumer confidence; declines in occupancy and average daily rate; hostilities, including future terrorist attacks, or fear of hostilities that affect travel; travel-related accidents; changes in the tastes and preferences of our customers; relationships with associates and labor unions and changes in labor law; the financial condition of, and our relationships with, third-party property owners, franchisees and hospitality venture partners; risk associated with potential acquisitions and dispositions and the introduction of new brand concepts; changes in the competitive environment in our industry and the markets where we operate; outcomes of legal proceedings; changes in federal, state, local or foreign tax law; fluctuations in currency exchange rates; general volatility of the capital markets and our ability to access the capital markets. A more complete description of these risks and uncertainties can be found in our filings with the U.S. Securities and Exchange Commission, including our Annual Report on Form 10-K. We caution you not to place undue reliance on any forward-looking statements, which are made as of the date of this press release. We undertake no obligation to update publicly any of these forward-looking statements to reflect actual results, new information or future events, changes in assumptions or changes in other factors affecting forward-looking statements, except to the extent required by applicable laws. If we update one or more forward-looking statements, no inference should be drawn that we will make additional updates with respect to those or other forward-looking statements.
Jenna Tuttle
MCA Public Relations
jenna@kmccrory.com
Katie Rackoff
katie.rackoff@hyatt.com


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redpajama_set_name: RedPajamaGithub


Out of this list, the Busy Budgeter looks promising.
Once you find a product or two that are likely to be great offers, you need to apply and get approval.
And finally, thank people before and after for using your links.


Jesus made a decision to die to what he wanted, so greater life would arise. It could be that God is trying to kill something in us to birth an more of a beautiful story, but we have walled ourself up with anger and have retreated to self-preservation, instead of laying down our lives; for the sake of our own personal healing.
We don't often think our faithfulness to obediently trust God through pain might be for the saving of many lives, but the truth is, with God, nothing is wasted. Our children and theirs will depend on what we decide to do, or not do, with suffering.
If we choose to build up walls of anger and bitterness, then we will pass those burdens onto the generations after us. It's up to them to tear them down, but the further each generational sin goes, the more bricks get laid a little higher and the harder it is to bring those walls down. If you are not willing to be faithful, then pray they will be, because the burden you pass onto them is great.
Through persevering in God's grace, they will see victory over generational sin; fighting for their freedom and the freedom you were too stubborn to fight for, those walls come down and their lives experience a new birth, into God's great victory.
Although all things are possible with God, for the generations after us, we should be wise and earnest to eradicate our sin. For the sake of the faithfulness of those after us, we must and for the sake of the gospel and the glory of God.
Anger distracts, pain hardens, but trust and laying down our emotions sets us free. Take time to mourn, but do not stay stuck in a prison of your emotions. Live a transparent life, find some beloved friends you can share your life with and ask them to pray for you. Don't act like everything is ok when it's not. The lives of your future grandchildren depend on it.
How they walk with God will have much to do with how you did. Your witness and your life will be one of the greatest teaching tools they will learn from. Your words will mean very little if your life does not speak of obedience and faithfulness to Jesus Christ.
Please know that I am fighting this battle alongside of you. I need your prayers to persevere under trail just as much as you need mine. Life is messy, but we can believe God for victory and in His grace, as we persevere, surrounding ourself with brothers and sisters, fighting alongside of us with the Lord Jesus Christ, we will find it.
My mind is carried off, thinking often of my idols, wondering when I'll be able to engage in them next. It could be that I am distracted by social media, the praise of people or some form of technology that keeps me from being fully present in that moment.
Wherever my distraction takes me, my defenses go down with it and I am vulnerable to greater attack. I am not a strong soldier battling against the spiritual forces of evil. I am dining at their table, in agreement with them. I am missing opportunities to share the good news, because I have chosen to give into distraction.
Lord, help us to be fully engaged in the present. Help us to be ready for battle, knowing that each moment provides an opportunity to be a witness for you. Reveal those things that keep us distracted that we might repent and seek you instead. We know a spiritual battle rages war against us, but we have victory over the enemy; in Jesus name!


text:
Flavio Oscar Cianciarulo (Buenos Aires; de 26 de julio de 1964), también conocido como Sr. Flavio, es un cantante, músico, compositor, escritor y productor de rock argentino. Es uno de los miembros fundadores, de la agrupación de rock, reggae y ska Los Fabulosos Cadillacs, desde su formación en 1985.

Biografía
Cianciarulo nació en Buenos Aires en 1964, pero se crio en Mar del Plata. Su carrera como músico comienza en 1983 formando el grupo Mantra con Aníbal Rigozzi. En 1985 conoce a Gabriel Fernández Capello, Vicentico, a través de su hermana. Junto con él formó Cadillac '57, banda que mezclaba el estilo ska con el reggae. Se hicieron cada vez más conocidos y ya como Los Fabulosos Cadillacs, llegaron a editar quince discos de estudio.

En 1996, crea junto a un socio Resiste! Records, un sello ideado para la publicación de discos de bandas que las grandes compañías ignoraban. Bajo este sello se editaron dos discos en homenaje a The Clash, en los que participaron bandas del circuito underground argentino como Massacre, Superuva, Minoría Activa, Uaita, Los Cafres, Cienfuegos, Pez, 2 Minutos, entre otras.

En 1997, grabó junto a Ricardo Iorio el disco Peso argento, en el que combinaron elementos folclóricos y hardcore. En 2000, fue invitado a participar en un disco de Pappo, grabando dos temas para el álbum Pappo y amigos.

Antes del receso que se tomarían los Cadillacs en 2002, Flavio partió junto a su familia hacia Monterrey (México), para dedicarse a producir bandas y realizar conciertos de su banda "The Flavio Mandinga Proyect", formado por él y exintegrantes de Cadillacs. En 2003, formó junto a Gonzalo Franzioni e Iván Macchiavello el grupo Flavio Calaveralma Trío, una banda de estilo autodefinido como "rock-murga-afrotango powercriollo".

En 2006, fue editado en Argentina su primer libro, llamado Rocanrol: Canciones sin música, con prólogos de Adrián Dárgelos (cantante de Babasónicos) y Vicentico. El libro trata la música en cuentos cortos, con dibujos de su hijo Ástor. En ese mismo año The Flavio Mandinga Project realizó nuevamente una gira por México y una de las presentaciones de esta fue en apoyo a la lucha pacífica del Subcomandante Marcos.

En abril de ese año, debutó también como conductor de radio con su propio programa, Sonidero Especial FM. En 2007, entrevistó en su programa, ya producido por él, a Vicentico, Manu Chao, Ricardo Iorio, Gamexane, a los integrantes de Pez, Carca y Adrián Dárgelos, entre otros. En septiembre de ese mismo año, The Flavio Mandinga Project presentó Supersaund 2012 en el Teatro de Colegiales. En 2008, condujo en Mar del Plata Radio Matador, un programa radial diario en FM Rock & Pop. En agosto Sonidelik y Zona de Obras publicaron The Dead Latinos, su primera novela.

Actualmente se encuentra trabajando en el proyecto de un nuevo grupo multinacional, llamado De la Tierra, junto con Andrés Giménez, de A.N.I.M.A.L. y D-Mente, Álex González, baterista de Maná, y Andreas Kisser, guitarrista de Sepultura. La idea surgió en el 2004, por Giménez y González y fue hasta el 2012 que Cianciarulo y Kisser se unieron al proyecto. Andreas Kisser fue quien propuso el nombre "De La Tierra".

A fines de agosto de 2015, editó "Sardinista! Ópera Rock Lo-Fi Atlántica", un álbum compuesto por veinticuatro canciones divididas en seis actos.

En 2017 se incorpora a Boom Boom Kid para la presentación de "Disco de Otoño" y se hace cargo del bajo para los discos venideros y las giras.

Discografía

Con Los Fabulosos Cadillacs

 Bares y fondas (1986)
 Yo te avisé!! (1987)
 El ritmo mundial (1988)
 El satánico Dr. Cadillac (1989)
 Volumen 5 (1990)
 El león (1992)
 Vasos Vacíos (1993)
 Rey azúcar (1995)
 Fabulosos Calavera (1997)
 La Marcha del Golazo Solitario (1999)
 La luz del ritmo (2008)
 El arte de la elegancia (2009)
 La salvación de Solo y Juan (2016)

Con Iorio-Flavio
 Peso argento (1997)

Como solista
 Flavio solo viejo y peludo (2001)
 Beat Zombie (EP, 2007)
 Holiday Inn-ferno sesiones (EP, 2008)
 Nueva Ola (2011)
 Nada Especial (2013)
 Sardinista! (2015)

Con Flavio Calaveralma Trío
 El Marplatense (2003)

Con The Flavio Mandinga Project

 Cachivache! (2004)
 Sonidero (2005)
 Supersaund 2012 (2007)

"The Flavio Mandinga Project" fue integrado por Flavio Cianciarulo en guitarra eléctrica, acústica y voz, Migue Gauna en teclados, Mati Brunel en Batería, Chelo Mocholo Quirós en Percusión, Nacho Mayans en Bajo y DJ Bochokemado, skratches, remixes.

Con Varios Éxitos Como:
Agujeros
Voy En Llamas
Penita
Muero Con Vos
Malito

"Malito" de "The Flavio Mandinga Project" en el video contó con la actuación especial de Vicentico, Luciano Giugno y el ya fallecido Francisco Alibar Quiroz Pedreita (más conocido como Tito Quiróz, del joven escritor Washington Cucurto).

Con Misterio
 Beat Zombie (2006)

Con De La Tierra
 De La Tierra (2014)
 De La Tierra II (2016)

Como productor artístico
 Tintoreros: Primate, 1996
 Espías Secretos
 Carne Gaucha: Carne Gaucha, 1995
 Massacre: Massacre Palestina (primer demo); Juguetes para olvidar, 1996
 Minoría Activa: Minoría Activa, 1997
 Los Rabanes: Los Rabanes All Star Vol.2, 1999
 Almafuerte: Del entorno, 1996
 La Berbena Popular: El canto que espanta la pena, 2001
 Panteón Rococó: Compañeros Musicales, 2002; 10 años, un Panteón muy vivo, 2005, Tres veces tres
 Chancho En Piedra: Desde el batiscafo, 2005
 Satélite Kingston: Algo tiene que pasar'', 2006
 Álbum Verde (tributo reggae a The Beatles) (2004), fue el productor artístico de la canción «Because», reversionada por Satélite Kingston

Referencias

Enlaces externos

Músicos de la ciudad de Buenos Aires
Músicos de Mar del Plata
Músicos de rock de Argentina
Bajistas de rock de Argentina
Músicos de heavy metal
Músicos zurdos
Escritores de género masculino de Argentina
Productores discográficos de Argentina

redpajama_set_name: RedPajamaWikipedia


text:
Schinznach-Dorf és un antic municipi de Suïssa al districte Brugg al cantó d'Aargau. L'1 de gener de 2014 els anteriors municipis de Schinznach-Dorf i Oberflachs es van fusionar en el nou municipi de Schinznach.

Geografia
Abans de la fusió, Schinznach-Dorf tenia una superfície total de 8,8 km². el 3,3% són rius o llacs.

Es troba a 383 m d'altitud.

De les seves terres agrícoles el 19,7% està ocupat per la vinya.

Schinznach-Dorf tenia 1.735 habitants (2011).

Referències

Geografia de Suïssa
Antics municipis d'Europa
Cantó d'Argòvia


Students must be at least 14 years 8 months old by the first day of class.
Students must pass a vision test. Visual acuity is at least 20/40 corrected for an unrestricted driver license.
Students must provide a birth certificate or passport so we can verify their date of birth.
The student has not had a fainting spell, blackout, seizure or other loss of consciousness in the past six months.
Our Segment One classes consist of 24 hours of classroom instruction (12 classes). Each class is 2 hours long.
Our behind-the-wheel hours are separate from the classroom hours. When trying to decide on the right classroom time and location for you and your teen, please remember that there will be 6 two-hour drive times either before or after class (one hour driving and one hour observing).
Drive 1: Low traffic, braking, accelerating and turning.
Drive 2: Parking Maneuvers - parallel, perpendicular and 3-point turns.
Drive 3: Lane changing, blind spots and left/right turns at traffic lights.
Drive 4: Downtown GR/freeway, one-way streets and pedestrian crossings.
Drive 5: Rural roads and other encounters (i.e. traffic circles/dirt roads).
Drive 6: Evaluation - This is where we put all of the above into a one-hour evaluation drive.
Foreign exchange students may enroll in our Segment One drivers training course, but they will NOT receive a certificate of completion. The State of Michigan prohibits foreign exchange students from obtaining their drivers license.
*Note - Foreign exchange student is different from a foreign student. Foreign exchange students are here for a short period of time and do not plan on living in the United States.
pNavigator Driving Academy will do everything we can to provide drivers training to anyone wishing to obtain a drivers license. If you or your teen requires auxiliary aids and services (i.e. interpreters, adaptive devices, etc.) please let us know beforehand so we can accommodate your teen.
If a student misses any of the classes, he or she must inform the instructor of said absence in advance. With our curriculum, if they miss a class they will NOT receive the minimum amount of hours the State of Michigan requires.
Therefore, it will be up to the individual student to schedule a make up class with the instructor. If the student fails to schedule and complete a make up class, he/she will not receive their Level 1 Certificate.
Please download a contract and bring with you to the first night of class. It must be read and signed by the registered student and a parent/guardian.


text:
Logan Ryan offers to be Giants' QB as team's situation gets murkier: 'I'm going to put it out there'
Added by i898 on December 6, 2021
Daniel Jones missed the game with a neck injury and is reportedly set to miss Week 14's game against the Los Angeles Chargers. Mike Glennon, who started against Miami, suffered a concussion during the game and may not be able to play against the Chargers. Jake Fromm, a second-year player out of Georgia, is the lone healthy quarterback on the roster it appears.
CLICK HERE FOR MORE SPORTS COVERAGE .
Miami Dolphins outside linebacker Jaelan Phillips (15) sacks New York Giants quarterback Mike Glennon (2) during the second half of an NFL football game, Sunday, Dec. 5, 2021, in Miami Gardens, Fla. (AP Photo/Wilfredo Lee)
Giants safety Logan Ryan offered his services as a quarterback and compared himself to Dolphins quarterback Tua Tagovailoa.
"Look, I don't know if you guys saw my high school quarterback tape, but I'm going to put it out there, emergency," Ryan said, via the New York Post. "A lot like Tua, a lefty. I can throw 2-yard passes to the left. I'm accurate. I'm smart. I'm going to put it out there. But, look, we're going to do what we've got to do."
Logan Ryan #23 of the New York Giants in action against the Carolina Panthers at MetLife Stadium on October 24, 2021 in East Rutherford, New Jersey. New York Giants defeated the Carolina Panthers 25-3. (Mike Stobe/Getty Images)
TUA, DOLPHINS HOLD OFF GIANTS, WIN 20-9
Ryan played some quarterback in high school.
MIAMI GARDENS, FLORIDA – DECEMBER 05: Jake Fromm of the New York Giants throws a ball during warm-up before the game against the Miami Dolphins at Hard Rock Stadium on December 05, 2021 in Miami Gardens, Florida. (Michael Reaves/Getty Images)
Fromm was on the active roster as a backup to Glennon just in case of an injury during the game. The former Buffalo Bills quarterback was praised earlier in the week by Glennon for helping get him prepared for the Dolphins.
New York also has Michigan State product Brian Lewerke on the practice squad.
'I'm, 'There, gets, Giants, Logan, murkier, offers, Ryan, situation, team's
Lindsey Graham calls Texas synagogue hostage situation part of a 'religious war'
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NYPD to replace disbanded anti-crime unit with 'Neighborhood Safety Teams': report
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Josh Allen and the Buffalo Bills' growing fandom shows how more people are rooting for players over teams
The Buffalo Bills, led by quarterback Josh Allen, will take part in this weekend's NFL's opening playoff round. As a huge Bills fan, I'm rooting for Allen to do well. But an analysis of recent online search trends ...
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Australian Immigration Minister Alex Hawke said Friday he used ministerial discretion on the grounds of public interest to cancel Djokovic's visa. CLICK HERE FOR MORE SPORTS COVERAGE . Defending men's cham...
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A woman from Virginia snapped a picture that she thought showed her dog glaring at her after picking him up from the groomer. On closer inspection, however, it turned out that it wasn't actually her dog. Ty...
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Looming over the game at Highmark Stadium is the wicked weather that's supposed to strike the Buffalo area by kickoff. According to FOX Weather, temps in Buffalo could reach 10 degrees while the wind chill could make...
Giants co-owner John Mara admits he's 'embarrassed' by state of franchise, talks Joe Judge dismissal
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FAUCI SAYS US WON'T 'ERADICATE' COVID-19, DESPITE BIDEN PLEDGE TO 'SHUT DOWN THE VIRUS' U.S. President Joe Biden prepares to remove his face mask as he arrives to sign H.R. 3537, the Accelerating Access to ...
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redpajama_set_name: RedPajamaCommonCrawl


text:
Bury your heads at your own peril
Open letter to Yukon Premier Darrell Pasloski and Energy, Mines and Resources Minister Brad Cathers: I was present last Thursday at the legislature and was witness, with many others, to your appalling and cowardly display.
Open letter to Yukon Premier Darrell Pasloski and Energy, Mines and Resources Minister Brad Cathers:
I was present last Thursday at the legislature and was witness, with many others, to your appalling and cowardly display of contempt for the members of the opposition and their questions, the Yukon people and democracy.
In your non-answers, Mr. Cathers, you repeatedly sought to remind the opposition of "a few facts."
Well, I would like to remind you of a few facts:
* Seven years and over $1.5 million worth of hard work and meaningful consultation by the Peel Watershed Land Use Planning Commission were undertaken to come up with a recommended plan.
* The four affected First Nations want 100 per cent protection of the Peel watershed.
* A recent poll showed that 75 per cent of Yukoners want significant protection in the Peel watershed.
* Ninety per cent of people who commented during planning commission consultation want significant protection in the Peel watershed.
* Fifty-seven per cent of Yukoners who voted in the last election voted for parties who supported the recommended land use plan.
There are a few other things you should know. We're not stupid. Your eight principles and your newspaper-ad propaganda campaign aren't fooling anyone. You can keep your heads buried in the sand, trying to ignore us but we're still here and we're not going anywhere and we will keep fighting for real protection of the Peel watershed.
Oh yeah, and I'll bet even you can figure out that with your heads buried in the sand, which part of your anatomy is left sticking up in the air.
Joel Luet
Whitehorse/Body
corporatocracy uber alles
Court's wooden benches hard on elderly


No prizes for guessing who claimed the most goals and assists over the past 12 months.
SEVERAL KEY STATS for the Premier League in 2015 were revealed on Sky Sports last night, and there were some interesting findings.
Liverpool's Simon Mignolet kept more clean sheets than any other goalkeeper, while Man United had the dubious honour of retaining more possession on average than any other team.
Less surprisingly, Harry Kane scored more goals than anyone else, while Mesut Ozil was top of the pile for both assists and chances created.
Email "The Premier League's key stats for 2015 make for interesting reading".
Feedback on "The Premier League's key stats for 2015 make for interesting reading".


Oscar Edelstein is an original contemporary composer from Argentina. Known for his creativity and inventiveness, he is frequently described as leading Latin America's avant-garde, and as a pianist, conductor, and researcher, his career is characterised by breaking new ground. Born in La Paz, Entre Rios (Argentina), Edelstein studied independently with prominent Argentinean composers, Jose Maranzano, Mariano Etkin and Francisco Kröpfl. In 1980 he was invited into the emblematic avant-garde association of composers founded by Juan Carlos Paz, Nuevas Musicas, and later, together with other young composers, he created and directed Otros Musicas, in 1985 to facilitate the diffusion of contemporary music in Latin America. At the University of Buenos Aires in 1986, he made a pioneering research centre into music and artificial intelligence, C.I.M., and in 1990 co - founded Lulú, the first magazine in Argentina to be dedicated to music and technology. Receiving numerous prizes, he was the youngest artist to receive the Antorchas Scholarship for Outstanding Artists of the Intermediate Generation. In 2006, Teatro Colón commissioned his most recent of many operas, Los Monstruito'. Edelstein often works with some of Argentina's best directors on acoustic and electro-acoustic works for theatre and dance.
He a senior professor in composition at the Universidad Nacional de Quilmes, with the maximum categorization, and is the director of doctorates and post doctorates in his award winning research programme, Teatro Acústico (Acoustic Theatre), which develops his new musical theories and acoustic techniques, including original approaches to composition, pitch, new harmony, notation and dynamic control of the acoustic space. In this programme the Laboratory of Acoustics and Sound Perception (LAPSO) is developing Edelstein's new system of control and notation of the acoustic space called "The Acoustic Grid", and creating an entirely acoustic (non-electronic) system of amplification utilizing the scientific principal of Sonic Crystals. Prestigious institutions in Latin America and Europe frequently, invite Edelstein to give postgraduate master classes based on his theories and compositions, and his ensemble, Ensemble Nacional del Sur (ENS) receives glowing reviews for their tours in Brazil and Argentina. Edelstein's musical production is profuse and seen as crucial to the map of contemporary music in Latin America. He is currently finishing a work for Basel Sinfonietta to be premiered in January 2011 in Basel.


An experience of stress in early life is predominantly associated with negative consequences including increased anxiety and depressive behavior, as well as a failure to mount appropriate stress responses. It has remained a source of debate whether early stress also evokes potentially adaptive consequences that equip animals to cope better with their environment. We have shown that early stress exposure facilitates transient, adaptive changes in hippocampal neurogenesis, enhanced trophic factor expression and improved cognitive performance, thus providing possible competitive advantages in stressful environments. However, middle-aged animals with a history of early stress exhibit aladaptive effects on hippocampal neurogenesis, reduced trophic factor expression and impairments in cognitive performance. Our study provides novel insights into the short and long-term consequences of early stress, demonstrating biphasic, as well as unique, age-dependent changes at the molecular, epigenetic, neurogenic and behavioral level. These results compel a reappraisal of the traditional notion that early stress is deterministic for future negative outcomes. Our studies suggest that when observed across a life-span, early stress experience evokes both adaptive as well as maladaptive changes that emerge in a temporally regulated manner, with early adaptive outcomes that may eventually exert a high cost, evoking maladaptive consequences.


dec 7, 2017 discover the best boat flooring options including rubber, vinyl, carpet going to want to put down some non-slip marine flooring to protect her.
may 17, 2018 consumer review of lifeproof luxury vinyl plank flooring (also known as allure). since it is 100% waterproof, you can also mop your lifeproof floors when you need a deeper cleaning. however, not all styles are available to ship to your home. . is this product suitable for an outdoor covered deck?
choosing flooring for you pontoon boat restoration doesn't need to be no wonder vinyl floors have become more popular than carpet. very easy to clean.
this biodegradable boat vinyl cleaner removes mold and mildew from boat seats with ease. floors / refrigerators / all surface, 1 cup, 1 gallon, 1:15 the only product i have found that makes my pontoon boat seats look like brand new.
apr 21, 2015 yes, vinyl flooring can be used on a boat, but only in a room that can be meaning, you can install vinyl flooring in the cabin, but you should not install it on the deck. since luxury vinyl plank flooring is fully water resistant, it is the ideal solution for a boat how to clean and maintain vinyl plank flooring.
the following procedure is based on the use of water-based vinyl flooring adhesive. the use of both flooring and deck will give the best results on wood.
there's plenty of room to fully clean and detail pontoon boats and fishing boats. we would need to know the following: do you want the wood decking replaced? what type of flooring do you want for covering? vinyl, seagrass or carpet?
pontoon boat flooring we offer marideck vinyl pontoon boat flooring in a the embossed surfaces provide slip resistance and allows for easy cleaning.
items 1 - 48 of 141 keep your boat's upholstery in top condition with wood, vinyl and natural boat flooring from pontoon boat vinyl flooring | beige 30" (ft).
nov 15, 2012 considering pulling the carpet and switching to vinyl. had a few toons with vinyl floors, they get hot in the sun, and are hard to keep clean .
feb 11, 2018 there are major differences to each pontoon boat flooring. vinyl flooring is easy to clean, maintain, and can practically be used on every area of your pontoon boat. . most vinyl floors are now uv stabilized, unlike carpet.


text:
Institutional reports (1)
Issue papers (1)
UN system coordination (-) (4)
Domestic violence/interpersonal violence (-) (3)
Mediation and conflict resolution (6)
Palestine, State of (1)
Tunisian women in the face of COVID-19: during and after confinement
Date: Thursday, 9 July 2020
This brief provides a set of recommendations to take stock of health, economic and social aspects of this unprecedented crisis to develop an exit strategy and to take advantage of this exceptional period to upgrade the mechanisms and structure in Tunisia. It also makes recommendations to adopt a gender approach in government post-COVID-19 strategy.
Regular resources report 2019: Forging Generation Equality now and in the future
Date: Friday, 19 June 2020
This year's regular resources report analyses how UN Women mobilized its core contributions in 2019 to fulfil its normative, coordination, and operational activities mandate, in order to improve the lives of women and girls worldwide. Through the presentation of tangible results, this report presents case studies at the global, regional, and country levels to showcase the impact that regular resources have in the countries where UN Women is present.
Rapid Assessment on COVID-19 and Domestic and Family Violence Services across Palestine
Date: Wednesday, 20 May 2020
This brief suggests that domestic violence has increased in Palestine due to the conditions created by the COVID 19 pandemic, which in most cases resulted in a lockdown of survivors of violence with their abusers. With families in lockdown, helplines are seeing a surge of cases requesting a multitude of services.
COVID-19 and ending violence against women and girls
Date: Monday, 6 April 2020
This brief highlights emerging evidence of the impact of the recent global pandemic of COVID-19 on violence against women and girls. It makes recommendations to be considered by all sectors of society, from governments to international organizations and to civil society organizations, in order to prevent and respond to violence against women and girls, at the onset, during, and after the public health crisis, with examples of actions already taken.
Achievements Report 2018 - Egypt Country Office
Date: Thursday, 8 August 2019
UN Women Achievements Report gives a comprehensive overview on the main programmes implemented by UN Women Egypt during 2018 in collaboration with its various partners across the four impact areas: Women's Political Empowerment (WPE), Women's Economic Empowerment, Ending Violence against Women (EVAW) and Engaging Men and Boys in Gender Equality. It also features the main achievements of the programmes while highlighting the progress made under communications and partnerships.
Empowerment and accountability for gender equality in humanitarian action and crisis response 2018
Date: Monday, 29 July 2019
Humanitarian needs continue to grow with nearly 132 million people in need of assistance in 2018, due to conflict, persecution, and natural disasters. The average humanitarian crisis now lasts more than nine years, and periods of forced displacement more than seventeen. Women and girls who make up approximately half of this 132 million face daily discrimination and violence. The breakdown of protection mechanisms and destruction of essential services and economic structures in crises hits the already marginalized hardest.
The empowerment of women and girls with disabilities: Towards full and effective participation and gender equality
Date: Monday, 3 December 2018
This publication addresses the key areas of engagement for UN Women to strengthen its work on the empowerment of women and girls with disabilities.


Association, about 21.47 million children in the United States participate in organized sports, which comes to about 75 percent of boys and 69 percent of girls. One essential step in your preparation for your sport of choice should be an athletic physical. Many states require physicals before young people are allowed to compete in the sports of their choice, but if you've never gotten one, here are the reasons it's a good idea to get one this year.
A physical can detect conditions you might not be aware of. By testing things like joint alignment, strength and flexibility, a physical can detect functional movement warning signs that might not be evident in everyday life. Minor problems in these three areas can lead to injuries if steps aren't taken to alleviate them, because issues in functional movement and alignment typically grow into chronic conditions over time.
Physicals are the best preparation for the sports season in terms of physical health. So before you get to try-outs, walk into your local AFC/Doctors Express to get a physical and ensure that the coming season will be a great and safe one!


text:
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text:
Strolling through the Athens of travellers at the National Archaeological Museum
TIME Mon Feb 1st 2016 to Sat Oct 8th 2016
ADDRESS 44 Patision Street, Athens, Athens-Centre https://www.myguideathens.com/events/strolling-through-the-athens-of-travellers-at-the-national-archaeological-museum
COMPANY National Archaeological Museum
The National Archaeological Museum in Athens presents the temporary exhibition entitled "A dream among splendid ruins...Strolling through the Athens of travellers, 17th -19th century". The exhibition will last from September 8, 2015 to October 8, 2016 The visitors' companions on this stroll are the European travellers who undertook the 'Grand Tour' to the capital city of Hellenism and who, inspired by the movement of Classicism, recorded the 'splendid ruins' of its historical past. Twenty-two illustrated travel publications and fourteen original works of art - oil paintings, watercolours, and engravings from the Library collections of the Hellenic Parliament - offer landscapes, images, monuments, and specific moments from the Athens of travellers, feeding the visitors' imagination and setting starting-points for personal readings. Thirty-five marble sculptures from the National Archaeological Museum, many of them presented here for the first time, converse with the travellers' works, complementing their charming narrative of the city's monumental topography. The museum experience is supplemented by music from the travellers' homelands as well as by Greek music such as that recorded by the French composer and music theorist L.A. Bourgault-Ducoudray during his visit to Athens in 1874-1875. The exhibition was organised with the cooperation of the Hellenic Parliament Library. Among 76 exhibits are works from the National Archaeological Museum, the Collection of Artworks and the Library of the Hellenic Parliament. Works of art on loan from the Museum of the City of Athens and the General State Archives of Greece also feature among the exhibits. In 2016, the National Archaeological Museum will celebrate 150 years since its foundation. The new exhibition of the National Archaeological Museum brings out the incipient cultural environment to which the Museum owes its foundation, while the long chronicle of the museum's founding, character, history, and activities, so closely bound with the modern history of Greece, will be unravelled in a series of upcoming events. The first one is now presented in a separate hall adjacent to the exhibition of the Travellers. It is a special visual installation curated by Andonis Theocharis Kioukas. Enriched with music and film projections, the installation makes use of old showcases from the first years of the Museum's operation, subtly making an effort to elucidate the secret thread that connects all those that the National Archaeological Museum carries in its entrails and transports through time functioning as an ark of concepts and universal values. For more info: www.namuseum.gr


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Edward Kobina Acquah (23 July 1935 – 5 October 2011) was a Ghanaian footballer who played as a forward. He competed for the Ghana national team at the 1964 Summer Olympics. He also scored four goals for Ghana in the 1963 African Cup of Nations.

See also
 Football at the 1964 Summer Olympics

References

External links

1935 births
2011 deaths
Ghanaian footballers
Association football forwards
Ghana international footballers
Olympic footballers of Ghana
Footballers at the 1964 Summer Olympics
1963 African Cup of Nations players
Africa Cup of Nations-winning players
Sekondi Wise Fighters players


All of our sales associates and agency partners are TIPS certified, solidifying our commitment to responsible drinking and selling. TIPS has been a global leader in alcohol safety training for more than 35 years. Program participants receive training by a certified TIPS instructor on recognizing the signs of intoxication and strategies for intervening effectively to prevent alcohol related problems. For more information go to tipscertified.com.
As a company based in New York State, we are committed to doing our part for the communities around us. Our employees are always looking for new ways to make this a part of our everyday operations, from installing energy-efficient technologies in warehouses, to recycling and going paperless to foster sustainable business practices.
The American Cancer Society is on a mission to free the world from cancer. Until then, this foundation will be funding and conducting research, sharing expert information, and spreading the word about prevention. All so those battling cancer can live longer – and better.
Boys' and Girls' Town of Italy was founded in Rome to provide a "chance in life" to vulnerable and orphaned children. These children lived on the streets without any supervision, and were completely on their own. Over the years, Boys' and Girls' Town of Italy shifted to being a community of Italian war orphans to helping thousands of young refugees and unaccompanied minors. This year, the organization will serve over 1,000 children living in marginalized and impoverished communities from Bolivia, Colombia, Guatemala, and Peru.
City Harvest is New York City's largest food rescue organization, helping feed more than 1.2 million New Yorkers who are struggling to put meals on their tables. This year, the organization rescued and delivered 61 million pounds of food, free of charge, to food pantries, soup kitchens, and other communities across the five boroughs.
From premature babies to adolescents, Cohen Children Medical Center is dedicated to providing the utmost levels of care to meet the special needs of children. This organization is the largest provider of pediatric health services in New York State, serving 1.8 million children in Brooklyn, Queens, Nassau and Suffolk counties.
The LGBTQ Foundation brings awareness and provides funds to support Lesbian, Gay, Bisexual, Transgender and Questioning (LGBTQ) community organization and their partners. The organization works with gay and gay/straight alliances to fund innovative leaders and programs to promote equality, offer stability, educate and provide a safe environment.
Since 1978, The Ronald McDonald House of New York has provided a temporary residence and care for more than 35,000 families while their child battles cancer. Families travel to New York City for the advanced cancer treatment that they can't get anywhere else, and they can count on the Ronald McDonald House of New York for a loving place to stay.
In 1962, Danny Thomas founded St. Jude with the dream that "no child should die in the dawn of life." St. Jude Children's Research Hospital's mission is to advance cures, and means of prevention, for pediatric catastrophic disease through research and treatment. No child is denied treatment based on race, religion, or a family's ability to pay.
Stony Brook Southampton Hospital offers a diverse array of clinical services, ranging from primary medical care to specialized surgical procedures, including orthopedics and bariatrics. As the sole provider of emergency care on Long Island's South Fork, Stony Brook Southampton Hospital is a Level lll adult trauma center.


text:
Luis Moreno (born 19 March 1981) is a Panamanian football defender who last played for Tauro.

He gained notoriety after violently kicking an injured barn owl that had landed on the pitch during a league match between Junior de Barranquilla and Deportivo Pereira. The barn owl died due to the kick.

Club career
Born in Panama City, "Lucho" Moreno began playing football with Venezuelan side Deportivo Italia. He was signed by first division club Tauro in 2001. He had a brief spell with Colombian side Envigado during 2005 and 2006, before returning to Tauro. Peruvian side Universitario de Deportes attempted to sign him in 2006, but he stayed with Tauro.

In January 2007, Moreno returned to the Colombian league, joining Independiente Santa Fe. The club terminated his contract in May 2007, after a disciplinary incident. He returned to Tauro, but shortly after joined Mexican Primera División A side Tiburones Rojos.

Moreno was loaned to Deportivo Pereira in January 2011, but returned to Tauro later that year, where he would help the club win its tenth league title in 2013.

International career
Moreno made his debut for Panama in a June 2000 friendly match against Venezuela and has earned a total of 76 caps, scoring no goals. He represented his country in 17 FIFA World Cup qualification matches and has been a key member of the side, participating in the 2005, 2007 and 2009 CONCACAF Gold Cup finals.

His final international was a September 2011 friendly match against Paraguay.

Honours
 CONCACAF Gold Cup All-Tournament Team: 2009

Owl kicking incident
During a February 2011 league match between Junior de Barranquilla and Deportivo Pereira, Junior's unofficial mascot owl landed on the field during play and was struck by a pass. As the owl lay stunned on the field, Moreno, from the opposing team, kicked it approximately 3 meters (~10 feet) to the touchline. Shortly after, he claimed he was prompting it to fly away but in a later interview he admitted "The kick was a product of tension on the field at the time." The owl was treated for its injuries at a local veterinary clinic, but later died of stress related to the incident. Moreno received a two-match ban, a $560 fine from Colombian football's governing body in addition to veterinary costs for the owl's treatment and was ordered to do community service at a zoo.

References

External links

1981 births
Living people
Sportspeople from Panama City
Association football defenders
Panamanian footballers
Tauro F.C. players
Envigado F.C. players
Independiente Santa Fe footballers
Deportivo Pereira footballers
Categoría Primera A players
Panama international footballers
2001 UNCAF Nations Cup players
2005 UNCAF Nations Cup players
2005 CONCACAF Gold Cup players
2007 CONCACAF Gold Cup players
2009 CONCACAF Gold Cup players
Panamanian expatriate footballers
Expatriate footballers in Venezuela
Expatriate footballers in Colombia
Panamanian expatriate sportspeople in Colombia
Expatriate footballers in Mexico
Association football controversies
Animal welfare and rights in Colombia
Animal cruelty incidents


The fruity sweetness of bananas and the intoxicating bitterness of cocoa are a made-for-each-other combination, especially when you team them up to make a dessert such as this! This irresistible Chocolate Banana Cake has an intense flavour of chocolate, which is further deepened by the addition of brown sugar. Ideal proportions of all other ingredients including flour, condensed milk, butter and cream result in a perfectly spongy texture too. Enjoy this cake warm with a cup of tea, or top it with a scoop of ice-cream and serve it for dessert!
Sieve the plain flour, cocoa powder, baking soda and baking powder. Keep aside.
Combine the melted butter, condensed milk, brown sugar, mashed banana and vanilla essence in a bowl and mix well with a spatula.
Add the sieved flour mixture and fresh cream and fold gently. Keep aside.
Pour the prepared batter into it and spread it evenly.
Bake in a pre-heated oven at 180°c (360°f) for 40 to 45 minutes or until a knife inserted in the cake comes out clean.
Remove from the oven and demould it and serve warm.


IMCDb.org: 1972 Honda CB 500/4 K1 in "Varjoja paratiisissa, 1986"
A Honda twin from the '70s - maybe a 360 but it is a very poor pic.
Another possibility is the CB500T - the very last variant of the old CB450 from the '60s.
It isn't a CB360 and most certainly not a CB500T (the tank graphics on both those models are not the same). I believe you're right with the CB500 Four. This bike seems to be missing it's four into four exhaust system but that's not too unusual for 1986. Many exhast systems had been replaced with an aftermarket four into one Kerker or Jardine (US) in the space of 10-15 years.


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By Charles Kessler
A major exhibition of Henri Matisse's cut-outs is now in London at the Tate Modern and will be traveling to the Museum of Modern Art on October 25, 2014 (through February 8, 2015). Until fairly recently, this late work of Matisse's, like the late work of Monet and Picasso (and I believe De Kooning can be added to the list), was wrongly belittled as the frivolous art of an old man. I've long believed, however, that Matisse's innovations are similar to, and at least as radical as, what the Abstract Expressionists were doing at the time; and that Matisse's cut-outs should be considered among the greatest work of the twentieth century. They certainly are among the most joyful art ever made.
Matisse described his new medium in a 1952 interview with André Verdet (Pretiges de Matisse): "... drawing with scissors on sheets of paper colored in advance, one movement linking line with color, contour with surface." Cut-outs are simultaneously drawing and painting – a phenomenon analogous to Jackson Pollock's drip and drawing, and Clyfford Still's shape and color field. (And since it was Matisse doing the "drawing with scissors," the images are drawn with masterful economy, distilled down to their bare essence.)
Matisse working on a cut-out in his studio in Vence, 1947 (Financial Times).
And like Abstract Expressionist painting, Matisse's late cut-outs are large and environmental in their impact. Not only are they large, often encompassing entire rooms, but Matisse intended groups of them to interact with one another. According to the Tate curators, a photograph of Matisse's studio (below) showed he conceived of The Snail (left), Memory of Oceania (right) and Large Composition with Masks (center) as one large, unified composition. (This Tate/MoMA exhibition puts the three of them together again in one room for the first time in 50 years.)
Matisse's studio, The Snail, 1953 on the left and Memories of Oceania, 1953 on the right, with a section of Large Composition with Masks, 1953, in the center.
Shapes drift from one cut-out to another – e.g., a negative cut-out (the part of the paper left over) might be incorporated into an adjacent work – and colors harmonize and interact among works.
Matisse's environments are more palpable and immediate than any room decorations of the past. Rooms painted by Fragonard in the 18th century, for example, are imaginary worlds set in a space behind the frame – a different space from our own. We look through the picture plane at a fantasy world. With Matisse's cut-outs, the viewer becomes a participant in a "real world" experience.
The Fragonard Room, The Frick Collection.
Photographs taken of Matisse's bedroom/studio show it filled floor to ceiling with cut-outs which sometimes even spilled out onto the floor. (In the photo below, the cut-out La Négresse, on the far right, has a foot on the ground.) The cut-outs are so physically present that even what little illusionistic space that exists becomes a "real" thing that begins at the wall and advances into your "real" space.
Henri Matisse in his studio in Nice, 1952 (photograph: Lydia Delectorskaya © Succession Henri Matisse).
As Matisse worked, the cut-out pieces of paper were pinned to the wall of the studio so they could be easily adjusted. (Tate conservators detected more than a thousand tiny pin holes in some of the cut-outs.) These pieces of colored paper would curl up and sometimes flutter in a draft; as a result, they would have had even more depth, animation and physical presence than finished, flattened work.
The tactility of cut-outs was important to Matisse who was disappointed with the flat, even color of the stenciled version of his Jazz suite, complaining that the printing "removes their sensitivity."*
Henri Matisse, The Sword Swallower, from the Jazz suite, 1947, stencil, planographic color stencil, printed from multiple cut paper stencils, lithograph, edition of 250, 15 3/4 x 11 3/4 inches (National Gallery, Washington).
The spontaneous, casual, handmade quality of the cut-outs, all but lost in reproduction, is perhaps even more important. As with Mondrian's paintings, little imperfections make it viscerally obvious that the art is made by a human being.
Detail - Piet Mondrian, Composition with White and Red, 1936, oil on canvas (Philadelphia Museum of Art, 1952-61-89).
Close-up details of the cut-outs can help capture these qualities:
Close-up detail of Henri Matisse, Large Composition with Masks (National Gallery of Art, Washington).
Close-up detail of Henri Matisse, La Negresse, 1952-53 (National Gallery of Art, Washington).
Matisse probably became attracted to at the idea of making environmental installations from his experience designing the Dominican Chapel of the Rosary in Vence, usually known as the Matisse Chapel.
Interior of the Matisse Chapel.
In 1946, Sister Jacques-Marie, a young nun who helped Matisse convalesce after serious intestinal surgery, asked him if he would advise on the design of a stained glass window for a new chapel. Not only did he, an avowed atheist, agree, but, at age 77 and still weak from his surgery, Matisse took on the design of the entire chapel including the architecture, stained glass windows, interior furnishings, murals, and the vestments of the priests; and he even raised funds for the chapel.
In a 1952 interview with André Verdet (Pretiges de Matisse), Matisse responded to Picasso's angry objection to his involvement with religion:
My only religion is the love of the work to be created, the love of creation, and great sincerity. I did the Chapel with the sole intension of expressing myself profoundly. It gave me the opportunity to express myself in a totality of form and color.
And it was a "totality of form and color" indeed. Matisse converted his entire studio into a mock-up of the chapel so he could more easily work on the designs – literally surrounding himself with his art.
Matisse drawing a head for the decoration of Chapelle du Rosaire in Vence (The Matisse Chapel) in his studio/room in the Hotel Regina, in Nice-Cimiez, 1950.
Matisse's health deteriorated while working on the chapel, and eventually he was confined to bed and a wheelchair. House-bound, Matisse spent much of his time creating pleasant environments for his own visual pleasure. In an interview he said: "You see as I am obliged to remain often in bed because of the state of my health, I have made a little garden all around me where I can walk... There are leaves, fruits, a bird."* Also, commenting on his room-sized cut-out, The Swimming Pool, Matisse said: "I have always adored the sea, and now that I can no longer go for a swim, I have surrounded myself with it."*
The National Gallery's Matisse Room was the only place one could experience a room of Matisse's cut-outs close to the way he arranged them in his studio. Unfortunately, the entire East Wing of the National Gallery, including the room with the Matisse cut-outs, is closed for renovation and won't open until sometime in 2017. For some reason, the National Gallery doesn't even have reproductions of these cut-outs on their website – but I managed to download this one from the Arts Observer website.
Installation view, Henri Matisse, La Négresse and Large Composition with Masks in the National Gallery of Art, Washington.
The Museum of Modern Art also has a great collection of cut-outs, and they would have had a complete room like the National Gallery's had William Rubin, curator of the Modern at the time, not sold one cut-out (Women with Monkeys, 1952) to buy another (The Swimming Pool, 1952). After he sold Women with Monkeys (for not much money), a photo turned up that showed it was part of a large installation in Matisse's dining room (see below). To make matters worse, The Swimming Pool was so fragile and light-sensitive that MoMA hasn't been able to exhibit it for more than twenty years. (You can read more about this fiasco here.)
View of The Swimming Pool in the dining room of Matisse's apartment at the Hôtel Régina, Nice, c.1952. Women and Monkeys can be seen above the entryway. Acrobats and a preliminary drawing for Rose Chasuble can be seen through the entryway (photo from John Elderfield, The Cut-Outs of Henri Matisse, 1978, p.119).
However, with the completion of an expensive multi-year restoration and conservation, The Swimming Pool is finally on view again, and, at a staggering 70 feet wide, it is one of the stars of the Tate/MoMA exhibition.
Henri Matisse, The Swimming Pool (left portion on top, right on the bottom), 1952, gouache on cut paper, overall 73 inches high x 70 feet wide, installed as nine panels on burlap-covered walls, 11 feet 4 inches high (MoMA).
Henri Matisse, Women with Monkeys, 1952, gouache on cut paper on white paper, 28 1/4 x 112 2/3 inches (Museum Ludwig).
Here are some pretty good reproductions of a few of the cut-outs mentioned above:
Henri Matisse, The Snail, 1953, gouache, 113 x 113 inches (Tate Gallery, London).
Henri Matisse, Memory of Oceania, 1953, gouache on paper, 112 x 109 inches (MoMA, NY).
Henri Matisse, La Négresse, 1952, paper collage on canvas, overall 178 11/16 x 245 3/8 inches (National Gallery of Art, Washington, Ailsa Mellon Bruce Fund 1973.6).
Henri Matisse, Large Composition with Masks, 1953, gouache on paper, cut and pasted on white paper, mounted on canvas, overall (five joined panels) 139 3/16 x 392 5/16 inches (National Gallery of Art, Washington, Ailsa Mellon Bruce Fund 1973.17.1).
And here, for no particular reason other than for your visual delight, is this beauty from the Tate/MoMA exhibition:
Henri Matisse, Sorrow of the King, 1952, gouache on paper cut and pasted, 115 in × 152 inches (Musée Nazional d'Art Moderne, Centre Georges Pompidou, Paris).
* Although these quotes are cited in many different places, I have not been able to discover the original source for any of them.
Posted by Charles Kessler at 6:14 PM 12 comments:
Jon Imber (1950-2014) RIP
By Carl Belz
Artist friend Jon Imber died on April 17, yielding finally to ALS but painting valiantly and brilliantly to the end, a source of wonder and inspiration. I had the privilege of knowing him since the later 1970s, of showing his work at the Rose Art Museum at that time, and of writing about his achievement at the time of a major exhibition of his paintings at Boston University in 1999. That essay is here reproduced.
Thinking About And Talking With Jon Imber
What I first liked in Guston was the image, now what I like is the paint*
I first saw Jon Imber's paintings in 1978 in the small Somerville studio he occupied at the time, and I decided pretty quickly to include half a dozen of them in a group show of area artists that took place at the Rose Art Museum at the end of that year. The pictures were impressive in size and scale, indicating a large ambition, and they were dominated by the human figure, leaving no doubt about their vehicle of expression. It was their narrative content, however, that I found compelling, even haunting: A father on all fours carries his son on his back, a mother and her two children pose for a family snapshot, a young man creeps into the bed of his sleeping lover, or reads the morning paper while eating a piece of toast, or stares at two freshly opened cans of paint.
The situations are conventional enough, but they are unconventionally presented. The figures look anxious and uncomfortable, they leer and grimace, their bodies awkwardly entangle one another, and their anatomies become suddenly exaggerated, appearing to have been shaped in response not to sight but to feeling. Incongruously, they are also naked, stripped and exposed like the barren landscapes and unadorned interiors they are made to occupy, causing both the spaces and the figures to seem equally forlorn, equally vulnerable. Yet, because they are so large in relation to the worlds they inhabit and so blunt in their nakedness -- so monumentally human -- the figures also assume an uncanny strength, as though, however common the activities they engage, they transform those activities to the level of timeless rituals, to a level of experience we all share.
As Jon is the first to acknowledge, the ambition signaled by the early figure paintings evolved from the combined lessons of the Italian Renaissance and the New York School under the guidance of his teacher at Boston University, Philip Guston: "The size came from New York and me wanting to be a modern painter; I liked the way Guston had made a big statement that changed the art world, and I wanted to do something like that. Before Guston I wasn't too aware of art prior to Van Gogh and Gauguin and Cezanne, but Guston loved to talk about the Renaissance, and he got me there, to the forms and spaces, the order and symmetry, the monumentality of the Florentine Renaissance, of Giotto, Masaccio, and Piero." From Guston, too, came advice regarding the subject matter of those paintings: "One specific thing that Guston said was, 'Paint what's most important to you, paint what you care about, get to whatever it is that's going to sustain you for a lifetime as a painter.' That was my introduction to personal content, and as soon as I looked for it, there it was: My friends and family, my father, my mother, my girl friend, my own life."
So the young man in the pictures, the one climbing into bed, or reading the paper, or looking at the cans of paint, is the artist himself, the leitmotif within the program of figurative personal content he explored into the mid-1980s when he showed a series of landscape paintings having in them no figures at all. While the landscapes extended Jon's practice of working in a large format and developing his canvases with the aid of drawings entirely within the studio, their shift in subject matter was nonetheless puzzling. Where did the landscape come from? Where had the figure gone? And what had become of personal content? What puzzled me most, however – and also surprised me – was the extent to which the new paintings caused the older paintings to look different, as though, intentionally or otherwise, the two bodies of work constituted a radical critique of one another that probed beyond issues of subject matter alone. The landscapes, for instance, seemed to offer more paint and surface incident, more material pleasures, making the figure paintings appear workmanlike and matter-of-fact, their pigments employed first and last in order to get the job done. They also seemed more tightly and consciously structured, with clusters of rocks and trees and flowers dispersed as compositional anchors, with light and color selectively heightened to guide us rhythmically from foreground to middle distance to deep space.
By comparison, the compositions and spaces of the earlier pictures look unpredictably intuitive, crammed in one moment, accommodating in the next, as if the figures within them had alone determined their configuration. What the new landscapes forced upon me, in other words, was a new awareness of the formal properties of the figure paintings, formal properties I hadn't much thought about in my initial and highly positive response to them, for I had focused my attention – or they had focused my attention – on their narrative and personal content, not on the way they were put together. But while I may have experienced a momentary regret on seeing the landscapes replace the figures – it sometimes happens when you follow and support an artist's work for a while that you become presumptuous, you expect the artist to follow your vision instead of his own – I felt no need to choose between the two bodies of work, for I felt they were equally strong, equally ambitious, equally convincing. The significance of any comparison between them lay elsewhere: New art possessing quality always makes you see older art differently.
The shift in subject matter was more natural than puzzling for Jon: "Guston had kept me on the path of making the paintings raw and peculiar and awkward, but you can't stay raw forever. The big landscapes began in the summer of 1985, but I had done landscapes before, in the Southwest when I lived there and periodically down on my uncle's farm in Chatham, New York. Landscape took me more to light and space and color and away from the figure and narration. I also wanted to surprise myself, I feel I have to, and landscape encourages that, it keeps the mind at bay, it keeps the thinking process at bay; information presents itself and you have to respond, which is exciting -- you don't have time to refine the way you do in the studio."
As indicated, the 1985 landscapes were developed in the studio with the aid of drawings produced on site. Since 1990, when Jon began spending five or six months a year in Stonington, Maine, nearly all of them have been executed plein-air, one at a time, in three or four hour sessions, and that practice has deepened his relationship with nature and made the paintings increasingly loose and spontaneous. "I quit after three or four hours, after the light has changed. If I don't like it the next day, I wipe it out; otherwise I try to make it a one-shot painting, which I guess I learned from Abstract Expressionism, because the best paintings by Guston or Pollock or any of those guys feel like they were done in one shot. Painters up in Maine talk about the beauties of nature, but I generally can't stand them. I feel as though I'm in a battle with nature trying to find myself within it, figure out what's going on between me and the landscape, so I seem to be drawn to a tangle of trees or a situation that's kind of a mess that I have to sort out. Nature's not a very comfortable place."
A tangle of trees, a mess, an uncomfortable place. While they bear no resemblance to the figure paintings I first saw in his studio, Jon's landscapes of the past decade nonetheless remind me of them – of those tangled arms and legs, those messy personal relationships, those uncomfortably barren and unadorned spaces – as though, two decades later, he's come full circle. The fact that the human figure in the form of his wife or son has occasionally appeared in the landscapes encourages the same thought, but that's clearly not the case. "I don't feel very sure of myself anymore, not as though I'm on fire in the studio, which is how I felt 15 or 20 years ago. Now painting is like tackling something, as though it's gotten harder than it used to be." I can imagine it has, for any genuine passion grows increasingly complex with time, and I'm grateful the challenge here is his, not mine; but equally I'm grateful for the opportunity to have witnessed from the beginning what meeting the challenge has wrought, which is the making of a painter.
Carl Belz
* Quotes from the artist are from an interview that took place in his studio in March 1999.
Posted by Carl Belz at 1:38 PM No comments:
The Princeton campus is so beautiful it doesn't seem real. But why is it that college art museums, this one included, are so often the least interesting (if not out and out ugliest) buildings on college campuses?
Princeton University Art Museum.
The exterior of the Princeton University Museum of Art is your basic humdrum modernism; and the interior is a confusing labyrinth. The lower galleries, where the Asian, African, Ancient and Art of the Americas (pre-Columbian and American Indian) are exhibited, are poorly lit, and the installations are old-fashion. According to Lehze Flax, the designer at the museum, they plan to upgrade the lighting and installations. I hope this happens soon.
Installation view, Northwest Coast American Indian art.
In addition to an inadequate building, the website for the museum is difficult to navigate. Even when I had all the relevant information to search for a painting or drawing in their collection, including the accession number, it was easier to use Google than search the museum's own website. More troubling, the site lacks sufficient information on their art – surprising for an institution of this caliber.
For all that, the museum has a first-rate encyclopedic collection of about 72,000 works. It's perhaps not up to the lofty standards of Yale with 200,000 works in the collection, or Harvard with 250,000, but it's still pretty damn impressive. (BTW, the extensive renovation, expansion and integration of all the Harvard Art Museums opens on November 16th.)
Medieval Art Gallery, Princeton University Art Museum.
Princeton has a large collection of outstanding ancient Chinese art.
Sword-bearer lamp, Chinese, mid Warring States period, 4th–2nd century B.C., bronze with cast and engraved designs,
13 5/16 x 5 5/16 x 5 1/8 inches (photo, Bruce M. White).
Lamps like these (above) were found in ancient burial sites and it's thought that the light was used to guide the deceased soul into the afterlife, or possibly to embody the soul of the deceased during the funeral ceremony. I am struck by the ceremonial stateliness of the top half this strange object, in contrast to the informal naturalism of the bottom half.
Massive green-glazed horse, Chinese, Eastern Han dynasty, A.D. 25–220, red earthenware with green glaze,
55 x 46 7/8 x 13 3/8 inches (photo, Bruce M. White).
Han dynasty glazed horses this big are extremely rare, and this one may be the largest of them – plus it's in excellent condition. As simplified and abstracted as the design is, the horse still feels vital and alive.
A lóhàn as an ascetic, Chinese, Yuan dynasty, 1260–1368, gilded lacquer with traces of white and red pigments,
11 x 12 3/16 x 12 5/8 inches (photo, Bruce M. White).
Lóhàn, like bodhisattvas, serve as intermediaries on the path to Buddhist enlightenment. They protect the Buddhist faith until the coming of Maitreya, the prophesied enlightened Buddha. The rather unusual idea of portraying a lóhàn as an ascetic probably had its genesis in the story of the Buddha seeking enlightenment through intense and prolonged meditation under the Bodhi tree.
Lidded effigy container in the form of a descending god, Late Postclassic, Maya, ca. A.D. 1500, red ceramic, lime inclusions and slip paint in bright colors, 5 x 4 1/2 x 4 5/8 x inches (photo, Bruce M. White).
Princeton also has a large collection of pre-Columbian and American Indian art, including this beautifully preserved 500-year-old Mayan container. It gives you some idea how brightly colored these sculptures originally were.
Headdress, Efut artist, Africa, late 19th–early 20th century, animal skin, wood, natural fibers, and vegetable pigments,
22 inches high (photo, Bruce M. White).
This breathtakingly beautiful headdress represents a young woman entering maturity. Dancers would wear it on top of their heads when performing celebrations and rituals. Young girls transitioning to womanhood wore extravagant coiffures like this at their coming-of-age ceremonies.
Francesco Traini, Madonna and Child with Saint Anne, 1340–45, tempera on wood panel transferred to pressed wood panel, 33 7/16 x 22 1/16 inches (photo, Bruce M. White). On the right: detail of the raised relief of a goldfinch eating millet grain (symbol of Christ's passion); the small donor figure on the bottom right was added later.
This painting is one of the first times Saint Anne, the Virgin Mary's mother, was depicted in Italy. One hundred and fifty years later, painters such as Leonardo Da Vinci would make Saint Anne more human, if idealized, but here the medieval tendency toward the otherworldly and abstract still holds. Saint Anne, as Traini depicted her, is formidable, not to say scary – very much the protector of her very special daughter and grandson.
Carlo Portelli da Loro, Virgin, Child, Infant John, and Saint Margaret, 1565-74, oil on wood panel,
49 7/16 x 38 3/16 inches (photo, Bruce M. White).
This painting has all the characteristics of super-refined Florintine Late Mannerist painting: elongated figures, contrived gestures, shallow space, and ethereal, acidic color. Carlo Portelli was famous in his time; Vasari, a contemporary of Portelli, mentioned him in his biographies of Renaissance artists, Lives of the Most Excellent Painters, Sculptors, and Architects. For some reason, however, Portelli is no longer placed among the best of the Mannerist painters such as Pontormo, Rosso Fiorentino and Bronzino. I think for his early work alone, he belongs in that company.
Jean-Auguste-Dominique Ingres, Studies for foot in "Jesus Giving the Keys to Saint Peter", ca. 1817,
oil on canvas on wood panel, 7 11/16 x 9 15/16 inches (photo, Bruce M. White).
I love this odd little painting. Ingres made many drawings and small preparatory studies such as this one, to prepare for large paintings. He did not consider them as unique works of art, but rather they were working aids that he kept in his studio to refer to.
Édouard Manet, Gypsy with a Cigarette, undated, oil on canvas, 36 1/4 x 28 15/16 inches (photo, Bruce M. White).
Right: detail of the horse.
Manet was attracted to the transgressive nature of gypsy women, as opposed to respectable French women of polite society, so he must have enjoyed the woman's nonchalant, saucy pose, especially the cigarette dangling from her lips. And this close-up detail of the horse shows Manet's bravura brushwork at its best.
The main reason I went to Princeton this time was to see 500 Years of Italian Master Drawings from the Princeton University Art Museum (until May 11th). The exhibition, organized along thematic lines, includes about 100 drawings by such great draftsmen as Parmigianino, Guercino, Giambattista Tiepolo, Michelangelo, and Gianlorenzo Bernini, and extends into the early 20th century with drawings by Amedeo Modigliani.
Michelangelo Buonarroti, Bust of a Youth and Caricature Head of an Old Man, ca. 1530,
black chalk on tan laid paper, 7 3/16 × 4 13/16 inches.
I reproduced this Michelangelo drawing extra large so it would be easier to see the comical drawing in the lower right of a grotesque old man looking up (longingly?) at the beautiful young man.
Luca Cambiaso, Sibyl Attended by a Genius Seated on a Cloud, early 1550s,
pen and brown ink over traces of black chalk on tan paper, no size listed.
Luca Cambiaso is another artist that was famous and influential in his time, but is under-appreciated today. (Princeton seems to have collected a lot of these artists.) Luca Cambiaso was one of the originators of the sketchy, economical drawing style reproduced above. He made a large number of drawings which he considered to be unique works of art in themselves. He sold some, gave some away to friends, and kept many for his own enjoyment.
Left: Guercino (Giovanni Francesco Barbieri), Study for Queen Semiramis Receiving News of the Revolt of Babylon, 1624, pen and brown ink on cream laid paper, 7 1/2 × 10 1/4 inches (photo, Bruce M. White). Right: Guercino (Giovanni Francesco Barbieri), Head of Young Man in a Broad-Brimmed Hat, 1630s–40s, pen and brown ink on beige laid paper,
6 3/16 × 5 1/8 inches (photo, Bruce M. White).
Known as "il Guercino" because he was cross-eyed, Giovanni Francesco Barbieri was self-taught and, because of his lively style, inventive narratives, versatile draftsmanship, and prodigious production, he became one of the most influential painters of the Italian Baroque period. Like Caravaggio, he focused on expressive faces, theatrical gestures and dramatic lighting.
Giovanni Battista Tiepolo, Caricature of a Man in Slippers and Wig Seen from the Rear, 1740s or later, pen and brown ink with brush and brown wash on beige laid paper, 6 13/16 × 4 1/8 inches (photo, Bruce M. White).
Tiepolo's paintings are inventive, grandiose and theatrical. He is arguably the greatest painter of eighteenth-century Europe – he certainly was the most prolific. He was renowned for his extreme facility and for how fast he could paint. In his drawings, he was a virtuoso of the swift, continuous and economical line that determines contour, and subtle washes that create light and volume. And, as the reproduction above demonstrates, he was a master of caricature.
If you go to the Princeton University Art Museum, I recommend taking a free, student-run, one-hour tour of the Princeton campus. Check here for information about it.
Posted by Charles Kessler at 6:08 PM 1 comment:
Bushwick vs. Chelsea
In the last week, I went to about twenty galleries in Bushwick and even more galleries in Chelsea. Here's my overall take – broad generalizations, of course. There are many exceptions.
Bushwick: the art is mostly sincere, authentic and personal – even if sometimes not very good. Bushwick galleries are small, modest spaces run by smart, friendly people, often artists. They sell art that's relatively inexpensive. After a few hours of gallery-going in Bushwick, I'm exhilarated by the conversations I've had, and I'm optimistic for the future of the art scene because the artists and art dealers there have their priorities right.
Chelsea: the art is accomplished, corporate, cynical and flashy. The galleries are large (sometimes preposterously so) and beautifully finished. I have no idea what the people who run the galleries are like, at least the big galleries, because they never talk to anyone other than potential clients, to whom they sell very expensive art – sometimes work selling in the millions. After a few hours of gallery-going in Chelsea, I'm filled with despair because art, something I care about very much, has become a monetized and trivialized luxury item. Of course this type of conspicuous consumption is true in a lot of places, but in Chelsea it's more in your face. And to make matters worse, two of my favorite Chelsea galleries, Postmasters and the Winkleman Gallery, places that gave me hope when Chelsea was getting to me, have recently left the area.
A Selection of Bushwick Gallery Exhibitions:
Sue McNally: MIDDLE ASS BAD AGE at Auxiliary Projects (until April 27th)
Sue McNally, left: Married, 2013, ink on paper, 11 x 15 inches; right: Bed Head, 2014, ink and gesso on paper, 11 x 15 inches.
By coincidence, the co-directors of Auxiliary Projects, Jennifer Dalton and Jennifer McCoy, exhibit with Winkleman and Postmasters respectively. The gallery has a unique approach. They work with each of their artists to help them produce handmade art that can sell for under $300.
In this exhibition, Sue McNally's self-portraits capture a wide variety of moods and attitudes with great economy of means. Even though the self she portrays doesn't look particularly happy, after seeing a lot of her drawings, I can't help feeling she had fun doing them. The woman can draw!
Edge Over Easy by Jerry Walden, Robert Henry Gallery (until April 13th).
Jerry Walden, Hundred Twenty Nine (Tit. Whi.), 2014, acrylic on paper, 26 x 19 ⅞ inches.
What keeps this work from being mere decoration is that it's spatially complicated – lines and columns pop into and out of view, and space become elusive and disorienting.
Standing on Cardboard: Avital Burg at the Slag Gallery (ended April 6th).
Installation view: Standing on Cardboard: Avital Burg at the Slag Gallery.
The warm light and color in these paintings are reminiscent of 17th-Century Spanish painting. There's a quiet mystery about them.
THE INDEXICAL MARK, a group exhibition at Life on Mars Gallery (ended April 6th).
Installation view of the exhibition The Indexical Mark at Life on Mars Gallery. The column in the center is by Etty Yaniv, Beyond the Impetus of Gravity, 2014, mixed media on board, 36 x 36 x 140 inches.
This exhibition doesn't hold together or make particular sense as a show, but it has at least two works that were worth the trip: Etty Yaniv's column Beyond the Impetus of Gravity, 2014, is composed of hundreds of layers of paper and other materials that at first look random, but the layers visually flow like swirling water. And the column feels both solid (perhaps because of the sharp corners) and, at the same time, porous and weightless.
In the same show is an early drawing by Susan Rothenberg that's remarkably powerful and moving, especially for such a small work.
Susan Rothenberg, Untitled, 1977, Mixed media on paper, 16 x 14 inches.
You can see how good she was before her horse imagery became a trademark and lost its impact.
Tonight (Friday, April 11th) Life on Mars gallery opens a one-person exhibition of Arnold Mesches's paintings. I knew Arnold more than 30 years ago in Los Angeles and he was a hell of a painter then. The 90-year-old artist is having a great late phase. This should be a knock-out show.
Centotto Gallery
Vapors and Squalls, or Mediums, Works by Kate Teale, Karen Marston, Jonathan Quinn and Wendy Klemperer
Installation view of the exhibition Vapors and Squalls, or Mediums at the Centotto Gallery.
Centotto is an apartment gallery – something common in Bushwick – and it makes for a warm and intimate atmosphere to look at art. Their current exhibition of works by Kate Teale, Karen Marston, Jonathan Quinn and Wendy Klemperer, is a refreshingly tight theme show having to do with weather, clouds and water. Centotto, to their credit, usually has gallery discussions about the work on view. To find out when this exhibition's discussion will be, check here.
Philip Buehler, Woody Guthrie's Wardy Forty; Greystone Park Hospital Revisited, Valentine Gallery (until April 13th).
Phillip Buehler, intake and discharge photos of patients at the Greystone Park State Hospital.
Afflicted with Huntington's disease, the legendary singer-songwriter Woody Guthrie spent five years as a patient at Greystone Park State Hospital in Morris Plains, New Jersey. It was there that the 19-year-old Bob Dylan visited Guthrie for the first time.
Phillip Buehler broke into the long-abandoned hospital and found thousands of negatives that documented patients when they were admitted and when they were discharged. Buehler presents these materials, and a few other related things, in a straightforward way, without pathos, and thereby creates one of the few conceptual/documentary photo exhibitions I've seen that's truly moving. Especially heartbreaking are the intake and discharge photos of young people.
Oliver Wasow: Studio Portraits, Theodore:Art (until May 11th).
Oliver Wasow, David, 2013; archival pigment print edition of 30 x 20 inches.
These are what I want to call "painterly photographs." This is not a new phenomenon – it goes back as far as the Pictorialists photographers at the turn of the twentieth century. But I notice that this type of photography is being shown a lot more lately.
Oliver Wasow's photos have a "painterly" quality for several reasons: the backdrops are literally taken from paintings, usually from Hudson River School paintings; the photos are easel-size; the color tonality and light is all-over; and the poses are quiet and contemplative, unlike stop-action photography.
A Selection of Chelsea Gallery Exhibitions:
The only good work I saw in Chelsea this time, or at least work that didn't offend me, was in the small and medium-sized galleries. Two photography shows in particular impressed me: Simone Kappeler, DE BUCK gallery, 545 W. 23rd Street (until April 15th),
Simone Kappeler, Elk City, Oklahoma Pool, 1981, Fuji-film color print, 19 ⅔ x 19 ⅔ inches.
and Sharon Ya'ari, at Andrea Meislin Gallery, 534 W.24th Street (until April 26th).
Sharon Ya'ari, Bridge with Flowers, 2013, 60 x 74 inches.
Both have glowing color and a sense of tactility that's more typical of painting than photography.
And, at the BravinLee Gallery is this painterly video:
From Katie Armstrong's Dark Spring, 2013, hand-drawn animation. Click here to watch a trailer.
It's hard to see any hand-drawn animation today without thinking of William Kentridge – but Katie Armstrong has very much her own sensibility and drawing style.
Two of Ryan Trecartin's hyperactive videos from 2009 can be seen at the Elizabeth Dee Gallery, 545 W. 20th Street (until April 26th). They're difficult to take because of the frantic antics of his wildly made-up actor/friends, the riotous soundtrack, and the vibrant graphics thrown at you at lightning speed. But his videos are personal and, until recently when his work spawned so many imitators, unique.
And there were even a couple of excellent painting shows in Chelsea:
Los Angeles artist Roy Dowell, at Lennon Weinberg, 514 W. 25th Street (until May 3rd).
Roy Dowell, Untitled #1057, 2014, acrylic on linen, 52 x 40 inches.
I used to think Dowell's art was too design-y until I saw his painted sculptures at the inaugural Made in L.A. biennial exhibition at the Hammer Museum in Los Angeles in 2012; and now, with this exhibition, Dowell is making some of the most delightfully eccentric paintings this side of Tom Nozkowski.
Rackstraw Downes at Betty Cuningham Gallery, 541 W. 25th Street (until May 3rd).
Rackstraw Downes, Study, Outdoor Dance Floor, Presidio, TX, from the Bandstand Looking South, 2008, oil on canvas, 13 x 39 1/2 inches.
They're not only beautifully painted but are endlessly interesting because of the vertiginous space, sparkling light, and mostly because of the haunting, desolate, subtly disturbing subject matter.
Artists Anonymous: Old Game New at Jonathan Levin Gallery's new ground-floor space, 557 W. 23rd Street (until May 3rd).
Installation view, Old Gamd New by Artists Anonymous, Jonathan Levin Gallery.
Artists Anonymous is a collective based in London and Berlin, showing in the United States for the first time in a new additional space the Jonathan LeVine Gallery opened on 23rd Street. Their art-making process is unusual (aside from being anonymous). They paint images in reverse colors, as if it were a negative, photograph them and print them in reverse. The result is something between photographs and paintings done in weird, acidic colors. Then the works are arranged to create an environment that, in this case, is like a life-size pop-up book.
Dan Witz: New York Hardcore at Jonathan Levin Gallery's original 9th floor space, 529 W 20th Street (until May 3rd).
Dan Witz, Agnostic Front Circle Pit, nd, oil and digital media on canvas, 48 x 82 inches.
Witz's new paintings are skillful in a typically Chelsea manner, but it would be hard to call them corporate because of the violent and chaotic mosh pits that are Witz's subject matter. It's interesting that in spite of the riotous subject matter, the paintings are carefully choreographed. It's as if the action is stopped and the figures are posing. It makes for a strangely otherworldly experience.
I fondly remember Dan Witz's inconspicuous little paintings of hummingbirds that he painted on walls all over Soho and the East Village in the early eighties; I wrote about them here. He certainly has come a long way from that – and so has Chelsea!
Dan Witz, Hummingbird from his "Birds of Manhattan" series, c. early 1980's, acrylic on sheetrock (photo © Jaime Rojo, from the Brooklyn Street Art website).
Posted by Charles Kessler at 3:34 PM No comments:
Italian Futurism at the Guggenheim


Special correspondent; New Delhi/Diphu, Jun 19: The District Rural Development Agency (DRDA) under Karbi Anglong Autonomous Council (KAAC) was given Award and Certificate of Appreciation by Minister of Rural Development, Panchayati Raj and Drinking Water & Sanitation Narendra Singh Tomar for outstanding performance under the category of Effective Implementation of MGNREGS for the financial year 2015-16, sources said.
The covetous award was received on behalf of the KAAC by its principal secretary Joyshree Daulaguphu at Vigyan Bhawan, New Delhi on Monday in presence of ministers and other dignitaries. The district was placed in the 2nd position in national level for its effective performance and execution of the works as per the guidelines given by the ministry.
Karbi Anglong districts has 11 development blocks dealing with MGNREGS aiming at enhancing the livelihood security of people in rural areas by guaranteeing hundred days of wage-employment in a financial year to a rural household whose adult members volunteer to do unskilled manual work.


text:
CHS girls dominate Grace Davis, Lathrop in water polo
• CHS boys secure split
Mariana Ramirez Cabrera (10) and Ceres High's varsity girls water polo team bested Grace Davis and Lathrop this past week. The third-place Bulldogs improved to 6-2 in the WAC standings. - photo by Dale Butler
Ceres High's varsity girls water polo team took over sole possession of third place in the Western Athletic Conference standings last week after dominating Lathrop and Grace Davis.
The Bulldogs improved to 6-2 in WAC play following Thursday's 12-4 win against Lathrop on Thursday in Ceres.
Ceres High showed mercy by resting its normal starters during the first half.
"The first time we played, we beat them pretty bad," head coach Stephen Dias said. "We didn't want to do that again."
Mariana Ramirez Cabrera led the Bulldogs with six goals.
Makayla Estermann and Mia Norstrom both contributed two goals.
Ashlyne Hott and Valerie Ramos each scored once.
Reserves Ramirez Cabrera, Estermann, Norstrom, Hott, Ramos and Teresa Dennis started the match.
They helped Ceres High build a 10-3 lead in the opening half.
"They did a fantastic job," Dias said. "It was fun to watch."
Ceres High pulled away for a 14-7 victory against Grace Davis on Oct. 1 in Modesto.
The Bulldogs and Spartans had identical records prior to competing.
"We were nervous going in because we didn't know what to expect," Dias said. "The (previous) scores didn't tell us a whole lot. They lost to the same teams we lost to and beat the same teams we beat."
Emily Wolff scored a game-high eight goals for Ceres High.
Elise Cannella added three goals.
Angelique Huerta-Alvarado had two goals.
Estermann had one goal.
Goalkeeper Savannah Bringazi limited the Spartans to just three goals in the first half.
"That's the best she's played this season," Dias said.
Ahead by three goals, Ceres High extended its lead to seven by outscoring Grace Davis 6-2 in the momentum-swaying third period. Wolff had three goals. Huerta-Alvarado, Cannella and Estermann all chipped in with one goal apiece.
"My girls knew it was an important game," Dias said. "They played as a team. When they're focused, they do a good job."
BOYS RESULTS
Ceres High's varsity boys water polo team cruised to a 10-2 win against visiting Lathrop on Thursday.
Seven different players scored for the Bulldogs.
Noah Avalos, Jeremy Kier and Cayden Jantz led Ceres High with two goals apiece.
Luis Alvarez, Brian Ayala, Nicholas Campbell and Nathaniel Pethyon all contributed one goal.
Ceres High won the first meeting, 27-1.
"I started the second string today and let them play most of the game," first-year head coach Stephen Dias said. "They did a great job. They had fun."
Ceres High (4-4) moved into a tie for fourth place in the Western Athletic Conference standings with Los Banos.
Beyer (8-0), Grace Davis (7-1) and Johansen (6-2) are battling for the WAC's three playoff spots.
"Realistically, we're playing for fourth place," Dias said. "Third is the hope. It's not out of the realm. We're going to have to beat Johansen and Los Banos."
Ceres High lost 16-3 at Grace Davis on Oct. 1.
"They didn't give up," Dias said. "They lost with dignity."
The Bulldogs competed without their starting goalkeeper.
Kier was home sick with the flu.
"He's a great goalie," Dias said. "It could have been a little different had he played. The outcome would have been the same."
Ayala accounted for two of the Bulldogs' three goals.
Campbell scored once.
The Bulldogs never recovered after falling behind 10-1 in the first period.
"Even when they're losing, they don't back down," Dias said. "They always give their all. We talked about it. This is a transition year for us."
Ceres will travel to Modesto tomorrow to compete against Johansen at 4:30 p.m.