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The toon turns out for Tyne's big fashion bash
Sales and footfall success of last year's debut event has promoted a nine-day extravaganza in Newcastle and Gateshead this time round
Something is stirring in Newcastle city centre. Northumberland Street has been transformed into a city-sized runway for the style savvy and the fashion police are patrolling - cameras poised for those dressed to kill.
Yes, we're coming up to Newcastle Fashion Week organised by NE1 and the hunt is on for the city's sleekest citizens via a 'Newcastle's Most Stylish' street-style competition. Hot on the heels of last year's success, the Geordie take on London and Paris is back with a whey aye – and it's set to be bigger and better than before. The fashion 'week' actually stretches over nine days from this Saturday 26 May and promises 'focused fashion fun with one major milestone event on each day'.
With practically the whole city involved, there's something for everyone – from 'Fashion Freaks and Film Geeks' night at the Tyneside Cinema to an eBay workshop at the city library and a lecture by veteran editor Elizabeth Walker at Newcastle University - fashionista or not, you won't be left out.
This year, the event will focus on more live action fashion with at least one catwalk show each day. Highlights include 'Frock and Roll' at Northumbria University, combining four top high street brands with four fantastic live music acts, a Tudor fashion show in the city library with costume designer Julia Soares McCormick, a charity shop chic show in St. Nicholas' Cathedral and 'Fashion's Day Out' in Eldon Square – an afternoon packed with catwalk shows and demonstrations.
Organiser Sandra Tang says:
We've tried to create the buzz of a major Fashion Week by staging a fast-paced timetable of catwalk shows at stores across Eldon Square. The idea is for people to hot foot it around the centre to catch the catwalk action throughout the day.
Newcastle's emerging talent will also be showcasing work, with Northumbria University's fashion design graduates presenting end-of-year collections at the Baltic, scene of last year's Turner Prize, and Newcastle College students showing off their designs at Grey's Monument.
For vintage-lovers and bargain hunters there's a 'Summer Swish' and a 'Make and Mend Market' fashion special in the Grainger Market – full of homemade retro treasures. There will also be a suit amnesty throughout the week where unwanted suits, belts, ties, shoes and general workwear can be donated to help homeless job seekers.
The week draws to a close with Gosforth-born former Burberry model Donna Air presenting the award for 'Newcastle's most stylish' to the coolest people spotted by the week's roving photographers. Fashion TV hosts the closing party at Tup Tup Palace.
Sandra describes Newcastle-Gateshead style as "eclectic" and says:
The fashion vibe belies the place's size – it may not be the largest city but it's got a wide range of street styles, well-serviced by an array of different retailers. There are designer names such as Vivienne Westwood and the brands stocked in Cruise and Fenwick through to vintage lovers and indie chic who are well catered-for by thriving independent boutiques and vintage stores across the city.
The high street is also well-represented and can provide fashion fodder for a wide range of street styles. It all helps to fuel a vibrant and very diverse fashion scene in the city.
Last year's debut fashion week was a major success, with an average footfall increase of 24% and average sales increase of 39% for companies involved. This year, NE1 have set the bar even higher with exclusive t-shirts designed by South Shields-based fashion house Barbour and necklaces from Lovebullets jewellery which caters to celebrities such as another local lass, Cheryl Cole.
In the midst of the economic downturn, the retail sector needs all the help it can get and Newcastle Fashion Week also helps to raise awareness of all the creativity on our doorstep. With many events free of charge or very reasonable, there's no excuse not to get involved and support our region's business community. Al info is here and on Facebook here and Twitter here.
Turner prize 2011
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The best shows, the biggest news – the year in art
From Ai Weiwei to Urs Fischer, Jonathan Jones looks back at 2011's biggest art stories – and sets out essential dates for your 2012 diary in our Art Weekly annual roundup
Top exhibitions of 2011
Leonardo da Vinci: Painter at the Court of Milan
This is not the definitive Leonardo da Vinci exhibition simply because there can be no such thing. It is a great show because it is passionate and honest – curator Luke Syson comes out from behind the mask of objective scholarship and champions the Leonardo he personally loves. It is a beautiful event that will inspire many people to look in new and rich ways at this supreme artist.
• At National Gallery, London WC2N, until 5 February 2012
Gerhard Richter: Panorama
There are some easy cliched views of this powerful modern painter. He debunks painting, he blurs photographic certainties, he rejects the metaphysical. None of those pat explanations of his art survive this brilliant retrospective that reveals the abundance and curiosity of his approach. It is simply a stupendous encounter with an exemplary artist of our time.
• At Tate Modern, London SE1, until 8 January 2012
The throwaway luxury of providing many-coloured marble stairs for drinkers and shoppers and tourists to tread on their way between Edinburgh's Old Town and Waverley Station is a daring piece of public art. So modest that it almost refuses to be art at all, and so generous that it serves as a utopian call for a better civic life, this is a radical and beautiful work.
• At the Scotsman Steps, Edinburgh
The Cult of Beauty
The stuffy old Victorians, you say? Actually they were hedonists, experimentalists and decadent subversives, according to this mind-changing revelation of 19th-century cultural daring. The V&A's resurrection of the Aesthetic Movement was a remarkable event that blew away the cobwebs from the age of Ruskin and Morris.
• At V&A, London SW7
In an excellent run of exhibitions at Tate Modern, this was a dazzling jewel of abstract energy. It strove to see Miró as a deeply political artist which is fair enough, but the glory of the exhibition lay in seeing his evolution from an intense visionary of his native Catalan landscapes to a free poetic dreamer of the minds's remote voids.
• At Tate Modern, London SE1
Twombly and Poussin: Arcadian Painters
It was not the perfect Twombly exhibit but this comparison of the great American painter's sensuous lyrics of misty pigment with the classicism of Poussin was fated to become a historic event. Cy Twombly died during its run and the show, in a gallery designed by John Soane that includes a mausoleum, gave those of us who loved his paintings a place to mark the passing of a giant.
• At Dulwich Picture Gallery, London SE21
The story of art in 2011
Ai Weiwei was detained in China, and fans came to his aid with money and nudity
Leonardo was a sold out showstopper, with Lady with an Ermine, two Virgins of the Rocks, winding queues and threats of staff strikes
Tanks and candlemen melting into eternity turned heads at the Venice Biennale
Martin Boyce took the Turner, and Charles Saatchi castigated the art world
Tracey Emin had a hit show looking back, and got a new job at the Royal Academy to look forward to
We lost some of the art world's biggest wave-makers – Lucian Freud, Richard Hamilton and Cy Twombly
Miró and Magritte brought fans of fine lines and floating bankers flocking to London and Liverpool
New art spaces were named after old stars – Hepworth and Turner – the Scottish Portrait Gallery reopened, and we celebrated 10 years of free museum entry
What to look forward to in 2012
Yoko Ono uploading the world's smiles for a summer Serpentine show
Seeing Lucian Freud's final portrait at the National Portrait Gallery
Two new Frieze weeks
English National Ballet taking up residence at the Tate alongside Picasso
Liverpool welcoming the Water Lilies to these shores
The Hayward getting hilarious with Jeremy Deller and David Shrigley
Seeing the Bigger Picture with David Hockney at Royal Academy
Damien Hirst's crystal skull filling the Tate Turbine Hall during the London Olympics
Frieze art fair 2011
Tate Liverpool
Turbine Hall
Tags: Art Turner prize 2011 Venice Biennale Leonardo da Vinci Tracey Emin Frieze art fair 2011 Damien Hirst Tate Britain Tate Liverpool Tate Modern Turbine Hall Lucian Freud Cy Twombly Martin Creed Scotland Gerhard Richter V&A National Gallery guardian.co.uk Editorial Art and design | tag_press link_compil expositions Ausstellungen survey2011 Überblick2011 20111231 2011Dec
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Turner prizewinner Martin Boyce: 'The tree just sort of blossomed' – video
Martin Boyce speaks to Charlotte Higgins about the inspiration behind his installation Do Words Have Voices
Alice Salfield
Tags: Turner prize 2011 Turner prize Martin Boyce Art and design UK news guardian.co.uk Editorial
Martin Boyce wins Turner prize 2011
Martin Boyce receives £25,000 award, confirming Glasgow's indelible importance to Britain's art world
Having sculpted a quietly atmospheric, lyrically autumnal installation as his entry for the 2011 Turner prize, Martin Boyce was on Monday presented with the £25,000 award at a ceremony at the Baltic Centre for Contemporary Art in Gateshead.
Boyce, 44, is the third successive Turner winner either brought up or educated in Glasgow, following Susan Philipsz last year and Richard Wright in 2009, and he confirms the city's now indelible importance to Britain's art world.
The artist was born in Hamilton, and was among the first students to graduate from Glasgow School of Art's now famous environmental art course. His year included Douglas Gordon, who won the prize in 1996, and Nathan Coley, shortlisted in 2007.
The prize was handed to Boyce by photographer Mario Testino at the Gateshead gallery. It is the first time the Turner prize has been shown outside the Tate family of galleries, and only the second time outside London.
Boyce created an installation for the Turner that has the feel both of an interior space and a mournful municipal park. Trees (in fact, the pillars that support the gallery ceiling) loom, their geometric aluminium leaves dappling the light that is cast over the space. On the ground are scattered more leaves, this time cut from paper, each of them of the same rebarbative, angular shape.
There is a madly angular park bin, too. But there is also a desk, based on a library table by French modernist designer Jean Prouvé, with letters scratched into it as if by a schoolchild. Much of the artistic vocabulary for Boyce's installation derives from a modernist garden – complete with concrete trees – created by designers Joel and Jan Martel in Paris in 1925.
The judges praised his "opening up of a new sense of poetry", while Sir Nicholas Serota, director of Tate, not a member of the jury, commented: "He is an extraordinarily strong artist who has been steadily maturing over the past seven or eight years. He made an extremely strong show for the Venice Biennale in 2009 – and I am surprised he was not shortlisted then. It is a strong choice.
"He has consistently reinvented the language of early modern art, and he is deeply engaged in that. But he makes work that does not depend on an understanding of early modern art: it is beautiful and arresting in its own right."
Boyce was the bookies' favourite for the prize, but many will be disappointed that George Shaw, 44, missed out.
Shaw, who is based in Devon, paints the estate where he grew up near Coventry, skirting dangerously close to kitsch with his deadpan, affectless depictions of dreary side roads, locked-up shops, littered half-urban woods and derelict pubs – the depressing but utterly recognisable edgelands of suburban England.
He had been nominated for a solo exhibition at the Baltic earlier this year.
Karla Black, 38, is another shortlisted artist who was educated at the Glasgow School of Art and is still based in the city. Nominated for an exhibition at this year's Venice Biennale representing Scotland, her sculptures for the Turner show are simultaneously delicate and on a huge scale. Here are giant, rolled-up balls of sugar paper chalked over in ice-cream colours, "bath bombs" from a high-street toiletries chain and painted polythene sheets made to dangle from the ceiling by sticky tape.
The final shortlisted artist was Hilary Lloyd, 46, based in London. Working with video, she creates works that are part film and part sculpture, revelling in the physical apparatus of her hardware's cabling and projectors, and showing images – of say a road bridge, a shadow on the floor, or the moon – that are deliberately unedited. She was nominated for an exhibition at the London gallery Raven Row. Judges for the 2011 Turner prize were Godfrey Worsdale, director of Baltic, and curators Katrina Brown, Vasif Kortun and Nadia Schneider. They were chaired by the director of Tate Britain, Penelope Curtis.
The prize returns to London and Tate Britain in 2012. It will be based in Derry in 2013, with the intention it should travel to cities outside London in alternate years.
The Turner prize was founded in 1984 and is awarded to a British or Britain-based artist aged under 50 for an outstanding exhibition in the preceding year.
Previous winners include Rachel Whiteread (1994), Damien Hirst (1995) and Grayson Perry (2003). The Turner exhibition continues until 8 January.
Charlotte Higgins
Tags: Turner prize 2011 Art and design Martin Boyce UK news Turner prize Culture The Guardian News
Does the Turner prize still matter?
This year's Turner prize winner is named next week. Artist and former winner Jeremy Deller, and writer and former judge Miranda Sawyer discuss art's biggest contest
On Monday the winner of the 2011 Turner prize will be announced. Founded in 1984, it is awarded to a British artist under the age of 50. Previous winners include Antony Gormley and Damien Hirst. Since it was established, it has stoked controversy about contemporary art, though in recent years it has been more notable for its lack of sensationalism. Emine Saner asks journalist and broadcaster – and one-time judge – Miranda Sawyer, and artist and winner of the 2004 prize, Jeremy Deller, if it still matters.
Miranda Sawyer: Who is the Turner prize for?
Jeremy Deller: It's for the public, it's for the artists who take part, it helps the Tate, it's for whoever wants it. It's for the appreciation of contemporary art. The fact it's going to be moving around Britain is a good idea [this year it will be held outside London for the second time, at the Baltic in Gateshead]. Every other year it's going to leave London, and I think it's really important. Apparently in Gateshead they had 5,000 on the first day [by the end of the week, 30,000 people had visited]. The hunger is there.
MS: You could argue that it's done its job – we all know who Damien Hirst is; the Tate Modern is there. It's still needed, because every time it comes around there's a debate about it. The thing I find difficult is that it tends to be a trivial debate – "why isn't there an unmade bed this year?" or "why isn't it something we can get upset about?"
Emine Saner: Is there an expectation that it's going to be shocking, and then when it isn't, like this year, it almost seems disappointing? Do you think this diminishes its popularity?
JD: I don't think it diminishes its popularity. The public and media are more used to contemporary art now. I think you're mixing the press reaction with the public reaction. When I won, I said you lot [journalists at the press conference] are 10 years behind the public, you're still in this era of "this is all a big con" or "this is rubbish". But you see people at the Turner prize walking around, and they are into it in a way you'd never expect, reading everything and looking at everything. The first question I got from a journalist after I won was: "Is the video camera the new pencil?" If you go in for the Turner prize, you have to be quite strong, because you are up for a massive destruction at the hands of the press if you are not careful.
ES: What did winning the Turner prize do for you?
JD: If you have won it, people are happy to meet you, work with you and do things with you. It's a shorthand for "this person is successful", so I can get access to people and situations. Within the art world, you get invited to dinners, but it's actually helpful outside the art world. It's much more highly regarded abroad than it is in the UK. Because it's been going on for so long, and the winners have been pretty good, they see it as having a legitimacy. If you don't make much money with your work and you get nominated, it's like you're being recognised finally, because you're not recognised by the market. Maybe that's why I did it – the need to be legitimised.
MS: I can't name another contemporary art prize that is as important, and that's amazing really, that it still has that status, and people will still react to it.
JD: One of the reasons we need it is because there are these big names in contemporary art who get the publicity, and yet there are all these other artists who deserve some appreciation. The big artists monopolise press attention and the public's consciousness of what art is. And yet someone like George Shaw [one of the nominated artists] has credibility within the art world, and for the public is a real discovery.
MS: I like the hoo-ha. If somebody really press-friendly wins, like Grayson Perry, he had a rollercoaster year, he loved it, he's now a kind of national treasure. It works when you get interesting art and an interesting personality. There's a lot of culture being fired at you from all sides and the Turner is one way of guiding people. There is still an intimidation aspect to contemporary galleries. Sometimes you can go to an east London gallery and there's one person there being really cool and you have to walk around looking at things feeling like a dick. If you go into a place like Tate Modern, it's like a public park under a roof – the atmosphere is "anyone can come, have a look". People feel they might not know anything about contemporary art, but they can walk in. It's the same with the Turner prize exhibition.
JD: The prize is about making people not feel stupid – the environment is very user-friendly, even if the art isn't. If you go to see it, you're part of something as well, which makes it quite exciting.
MS: I was on the Turner prize judging panel [in 2007]. It was the single most traumatic experience I've had judging anything, by miles. There are just four of you, and there's something about the prize that is incredibly intense. You're not judging the work that is shown to the public, you're judging a piece of work or exhibition that is not there. The year I judged it, Mark Wallinger won. He won for State Britain [Wallinger's recreation of peace campaigner Brian Haw's protest camp] – but that wasn't shown. He showed Sleeper [the artist filmed himself wearing a bear suit and walking around a German gallery], so everybody thought he won it for that, although Sleeper is a great work.
JD: That lack of clarity can be a problem.
MS: I love art, but I don't go to every private view, I don't go to Venice [Biennale, contemporary art exhibition]. You can't go and see all the art. It is possible, if you're judging the Mercury prize or the Booker, to listen to all the albums or read all the books, but with art, it's impossible. You have to go and have that experience, and it's not possible unless you're in the art world or you're paid to go and look at everything.
ES: How do you feel about the age limit?
MS: I don't think there should be one.
JD: I was a trustee until recently, and we discussed it. I felt it should have been changed, but not many other people did. They realised that for the first 10 years of the new Turner prize, they would be giving it to people in their 70s and 80s, catching up, giving it to these mega figures.
MS: Maybe the argument for having an age limit is that it will help people more when they're younger – but in that case, why not whack it down?
JD: Artists mature later. It's a slower burn.
MS: What could you do to the Turner prize to make it better?
JD: Probably have more of a budget for the judges and the artists. Do a better book, a lovely catalogue. Treat it with a bit more respect as a process. But this isn't the time to ask for bigger budgets for art exhibitions.
• For more coverage of this year's prize, including video profiles of all the nominees, click here
Emine Saner
Tags: Turner prize Turner prize 2011 Jeremy Deller Exhibitions Culture Grayson Perry The Guardian Comment Features Comment is free
'Art is a boxed-off space where we can behave like animals'
Video: Turner prize contender Karla Black explains the thinking behind her unorthodox, innovative sculptures
Jared Schiller
Tags: Karla Black Turner prize 2011 Sculpture Art and design Art Awards and prizes Culture guardian.co.uk Editorial
Turner prize 2011 contenders: George Shaw - video
George Shaw's The Sly and Unseen Day show is painted in Humbrol enamel, and depicts locations near his childhood home in Coventry
Tags: Turner prize 2011 Art and design Turner prize Awards and prizes Culture Art Painting guardian.co.uk Editorial
Adrian Searle: 'It's confusing. But it's the Turner prize'
Adrian Searle passes his verdict on the Turner prize 2011 in Gateshead, where Martin Boyce, Hilary Lloyd, Karla Black and George Shaw mix mediums to unsettling effect
Lindsay Poulton
Elliot Smith
Tags: Turner prize 2011 Turner prize Karla Black Martin Boyce Hilary Lloyd George Shaw Painting Installation Sculpture Exhibitions Art Art and design Awards and prizes Culture guardian.co.uk Editorial
Turner prize 2011 - review
Baltic, Gateshead; Hayward Gallery, London
George Shaw is an oddity in recent Turner prize history in that his paintings do exactly what they say on the tin. The tins in question are the little pots of Humbrol model paints with which he creates his meticulous one-size-fits-all scenes from the place he grew up, Tile Hill in Coventry. Eight of them are presented for his Turner prize 2011 show at the Baltic, four of which are new pieces. They quickly do away with arguments about sentiment and the limitations of simple depiction, and demand that you look.
If there is a soundtrack playing behind Shaw's compositions of the returned-to terrain of his 1980s adolescence it is the Specials' "Ghost Town". He finds traces of human occupation in his excavation of this recent past, like the shades of scrubbed-out graffiti on an end-of-terrace wall, but mostly this place is as emptied of life as Pompeii. He chooses his angles carefully. The places he dwells on, like his past itself, are boarded up and closed down to him. In the brick-built lock-ups of The Resurface even the ingrained child's-bike landscape of puddles and potholes, the gravelly contours of empty Sunday afternoons foregrounded in much of Shaw's painting, has been Tarmac-ed over.
Elsewhere, he can get only as close to the boxy houses of a new cul-de-sac as the wonky builders' fencing and rutted brownfield no man's land will allow. In The Assumption, his old primary school may have been razed but the gates remain stubbornly locked – one strut pulled out of true by some forgotten accident – along with the vestiges of the "Keep Clear" sign on the road.
Shaw's hobbyist's paints and Airfix eye for detail capture the diminished postwar reimagination of his corner of the city with an obsessive, metallic precision: the slowly accreted landfill mountain of black plastic sacks in The Same Old Crap; the brilliant comic incongruity of Landscape With Dog Shit Bin, an omphalos of council scarlet in the centre of a landscape leached of green by the drabness of the day and the neglected tiredness of verges and hedging.
Philip Larkin, another Coventry exile – Shaw now lives in north Devon – would have loved these paintings, but they are made with love as much as any kind of bitterness. They are also a hard act to follow.
The three other Turner nominees at the Baltic all make a strong fist of it, though. Martin Boyce is also much concerned with the interface between concrete and jungle. His work interrogates the implications of early modernist ideas of nature, in particular a photograph of four angular "tree" sculptures made by the artists Joel and Jan Martel in 1925.
He uses the leaf forms to create a kind of prefabricated ode to autumn; at ceiling height the stylised leaves become an elaborate lighting rig; flattened art deco versions of the pattern are adopted for ventilation grilles and a three-dimensional take becomes a waste bin. The floor is littered with paraffin-paper leaves artfully blown into piles.
Within this idealised municipal park, Boyce makes more personal statements; his angular forms are the basis of a self-invented hieroglyph typeface, etched into the school-desk surface of a work table inspired by an Eames design and referencing a Calder mobile. A utopian breeze from the 1920s seems to threaten to blow through these works and animate them – of nature and public spaces recrafted in harmony by the artist – but they remain as curiously inert and ghostly as George Shaw's shopping precincts.
Next door, there is creative nostalgia of a different kind in Karla Black's pastel swags and scrunched-up sugar paper hills and valleys which fill the room. The smells and colours are of a nursery school, and Black's make-believe landscape looks like a wilful return to more innocent artistic freedoms. She colours her polythene clouds by whacking them in a bin bag full of Early Learning Centre chalks until the colour sticks; pink bath bombs have part-exploded on her chalky hillsides. Beyond the sense of play there are primal psychologies at work, of a pure infant engagement with colour and material and form and, through adult eyes, all the loss of wonder it implies.
Hilary Lloyd's films are also hung up on barriers to wonder, especially the difficulties of looking itself. Moon is a pair of vertical screens on each of which 21 moving images of a full moon behind a clock tower outside the artist's window are projected. None will stay still for a moment; they flicker and bounce and move in and out of frame. You are reminded of the fragmentary rods and cones of vision, the way even the solidest of objects is pieced together from flickering fragments in the brain. Lloyd emphasises partiality – Shirt, a concentrated close up of a striped and spotted fabric, is a limited but smart illustration of how looking is as much to do with language as form – and you find yourself beginning to apply the same doubts to the complicated bridges and buildings that make up Gateshead through the adjacent window.
Going straight to the George Condo retrospective at the Hayward in London, after these discreet and concentrated slices of attention on Tyneside, is perhaps not the ideal juxtaposition. Condo's world is decidedly broad brush and translatlantic.
Having hung out with Keith Haring and Jean-Michel Basquiat in the heady New York of 1980, Condo has trademarked a personal purgatorial cartoon world that is one part Francis Bacon, two parts Bugs Bunny. His satirical objects are the perceived grotesques of our times – The Stockbroker a jug-eared knucklehead with his pants down, a limp rag doll standing in for his manhood, or The Executive, who is pictured, for comic effect, beneath a dangling carrot (the Queen, in nine versions, and Jesus, in two, come in for similar Looney Tunes treatment).
Much is made of Condo's internal menagerie of characters – as if this were unusual among cartoonists – and the speed at which he works. His more recent semi-abstractions tend to ape art history standards – harlequins in search of a Picasso or whatever; Old masters are recast with his speciality gurning faces, in the same spirit that the Chapman brothers defaced their Goyas, but without the sacrilegious questions raised.
Satire generally requires some specificity; Condo mines instead the archetypal – the homeless drunk woman with a windmilling drinking arm; the dinner-jacketed toff with an unhinged libido – and attempts to make it extreme enough to resonate.
It didn't, for me, as a rule. I liked his Uncle Joe not so much for the figure's post-coital leer and the champagne glass balanced on the upturned sole of his foot, but for the fact that his mad, staring eye was somewhat reminiscent of Steve Bell's Tony Blair and the visual echo seemed fitting. In this kind of context, Condo's portraits of Her Majesty, goggle-eyed in most, a carrot through her head in one, surprise principally for their laziness. Quite endearingly, the artist acts as his own cheerleader in the catalogue – though the unlikely duo of Will Self and Kanye West also tout his genius. "They may not be pretty," Condo explains of his portraits, "but I think we can all see ourselves in these pictures; they are so hideous and yet so utterly real." Speak for yourself, George.
Tim Adams
Tags: Turner prize 2011 Turner prize Art Art and design Exhibitions Culture George Shaw Karla Black Martin Boyce Hilary Lloyd Newcastle Jean-Michel Basquiat Painting Installation Sculpture The Observer Reviews
World of miseries
In the compact surrounds of Gateshead's Baltic gallery, George Shaw's miserabilist suburban brand of metaphysical painting marks him out as a strong contender for the 2011 Turner prize
The exhibition spaces given over to the four contenders for the 2011 Turner prize at Baltic in Gateshead are smaller than at Tate Britain, where the show usually takes place. This is no bad thing: the artists have to be concise.
When she represented Scotland at this year's Venice Biennale, Karla Black completely overdid her installation, and her Baltic show is much tighter, though still a joyous, childish mess. The way in is through a kind of airlock of dangling, paint-smeared polythene sheeting, like going into a spray-shed in a garage. Suspended precariously on bits of sellotape, you think the whole thing might collapse at any moment. Dried colour, poorly adhered to the plastic, sheers off in crumbly shards onto the floor.
Beyond are nests of scrunched-up cellophane and great wodges of torn and folded paper, painted in thin pinks and aqueous greens, the insipid tints of bath products and the poster paints kids use. A faint odour of deodorant and moisturiser hangs over Black's room-filling terrain of bulging, crinkled paper. It's like a kindergarten rockery. There's even a sort of grotto to rustle through.
Amid it all are Lush bath bombs, like little pastel cannonballs, and drifts and mounds of chalky pigment on the floor. I wish it were all more precise, or added up to something magical. I want more mystery and pleasure. I feel like mum, hands on hips, shouting: "Clear up all this mess NOW, or no TV for you!" This is painting or sculpture by other means, but it's all indeterminate abstraction, with its little formal niceties, the rips and folds and dustings of colour, the occasional finger-painted daubs. Black's work is fading on me, fast.
While Black attempts a sort of pre-linguistic, haptic play, Hilary Lloyd revels in a kind of techno-fetishism. Her room at the Baltic is alive with images, screens, trolleys and swanky suspension units. The ranks of projectors, the pole-mounted screens, the DVD players and monitors are as important as the hovering, flickering images they display. Images of part of a tower block shuffle about one screen, sheering and joggling against milky whiteness. Here they come, there they go. The rhythm of their passing is nice. In another work, the pistonlike movements of an unknown, silhouetted object – it could be a sink-plunger – thrust this way and that against a wooden floor.
The camera dwells on a patterned shirt, looking like an indoor landscape in a white room and, on a second screen, drifting off into static, or an inverted bleached-out after-image of the same thing. I am not really sure what I am looking at. Nor whether to sit and look, wander about, focus on the images, at the apparatus, even at my own shoes. All this drifting is the point, I think. One wall of Lloyd's space is a floor-to-ceiling window. Against it two screens, mounted one high above the other, display a fragmented, nocturnal London. Low-volume police sirens wail from the speakers. Big Ben hoves in and out of view. Is that the moon, or headlights in the night? The fragmentary images jerk and wallow around with a kind of rhythmic urgency, against the real, elevated view through the window, Newcastle and Gateshead going round a bend in the river. The real view wins.
Soon, all Lloyd's paraphernalia of projectors and DVD players, monitors and digital HD-branded hardware will look out of date. Later it will acquire a kind of redundant technology retro-chic. The images they display will be as inscrutable and inconsequential as they appear now, still swaying, going in and out of focus, still doing their thing, interminably as well as to no particular end. Paradoxically, that's when they might become interesting.
I like Martin Boyce's room very much. It feels like a place that's both real and fictional, present and past. From the decorative, fake ventilation grilles set low down in the walls to the suspended ceiling of flip-flapping white metal shapes hanging beneath the lights, casting a dapple of geometric shadows over the walls, it is a good place to be. The centrepiece is a library table, all canted angles, hidden over-slung lighting, solidity and frippery, confusing itself with a hanging mobile that dangles from above on a chain. Taking its inspiration from a library table by French designer Jean Prouvé, the table has a wood worktop inscribed with fragmentary letters and words, like an old school desk. It is an object you'd like to sit at, thinking complicated thoughts.
Boyce's installation is a play on modernist high style, with a twist. Most of all I like the geometric autumn leaves, made from waxy crepe paper, that drift and pile up in corners of the room. The whole installation is a play on insides and outsides, mental space and physical place. Look in the wonky rubbish bin and its binbag turns out to be woven, like an upturned, involuted jumper. I can't catch all the references to utopian modernist aesthetics, but just being here is pleasure enough. Perhaps Lloyd and Black want their installations to be places to be and linger in, too, places to sit and wait and ponder. But I guess the crowds won't allow that kind of meandering desultory contemplation.
George Shaw's paintings, on the other hand, depict places you want to escape from. You can take Shaw out of Tile Hill, Coventry, but you can't take the post-war housing estates out of Shaw. This is his perennial subject, with its abandoned 1950s follies, the Barratt homes and 60s semis, the scruffy woodlands and graffitied shop-fronts. Where Constable might paint a distant farmboy in a red shirt, to counterpoint all the bosky greenery, Shaw gives us a red-painted dogshit bin.
The feral woodlands, the brown field sites and the wanton atmosphere demarcate a familiar zone. Lucian Freud and Michael Andrews sometimes painted a similarly forlorn decrepitude, and, at his best, so did LS Lowry. Shaw records a perennial Sunday – or possibly Thursday – afternoon in indeterminate weather, and there's never anyone about. Shaw's paintings are always rendered in Humbrol enamel, the paint hobbyists and kids hard at it with their model plane kits use. Or did, before computer games took over.
Shaw has eight smallish paintings in the Turner show, some of which were shown in his immensely popular exhibition at the Baltic earlier this year, for which he was nominated. Shaw is popular because he speaks about his corner of England – though it could be anywhere – with a kind of melancholic truth. Shaw's art chimes in with an England of Tony Hancock and Philip Larkin, Orwell and Morrissey's Every Day is Like Sunday. Shaw's is a miserabilist suburban sort of metaphysical painting. The paint itself has a nothingy, curdled quality, like the place and the weather it depicts. It's all atmosphere, or the lack of one. And his art is always the same, everything just getting slowly worse and unloved and a little more embittered, just like England itself.
Should Shaw win? I prefer the hope I find in Boyce, whose elegant, astringent aesthetic appeals. There's hope in what he offers. But somehow I think Shaw should win, with his small miseries. He gives us the world we live in.
Tags: Turner prize 2011 Turner prize Art and design Painting Art Culture Awards and prizes Exhibitions George Shaw Martin Boyce Karla Black Hilary Lloyd guardian.co.uk Features Reviews
Turner prize, Frieze, Wilhelm Sasnal – the week in art
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Jonathan Jones's top shows to see this week
This year the north-east plays host to the most controversial and influential art prize in the world. A promising shortlist boasts George Shaw (yeah!), Hilary Lloyd, Karla Black and Martin Boyce.
• At Baltic, Gateshead, from 21 October until 8 January 2012
Crazy and to be honest, really fascinating American painter, schlocky and sensational, this show promises to one of the autumn's best surprises.
• At Hayward Gallery, London SE1, from 18 October until 8 January 2012
A powerful and haunting German modern painter – what, another? – exhibits eerily ambiguous works.
• At Whitechapel Gallery, London E1, from 14 October until 1 January 2012
Sound and vision resonate in this show by the Albanian film and video artist.
• At Serpentine Gallery, London W2, until 20 November
Kerry Tribe
Ghosts and space travel are among the themes of Kerry Tribe's Dead Star Light. Obviously not the real themes – it's about memory and time and stuff like that.
• At Modern Art Oxford until 20 November
Up close: five artworks in detail
Rodin, The Thinker, first cast 1902
A massive figure rests head on hand in an image of melancholy that goes back to medieval carvings such as the Queen in the Lewis Chessmen. Rodin first created his Thinker as a pensive witness to the sufferings of the damned on his swarming Gates of Hell, a vision of Dante's Inferno. Later, large versions were cast and it became the modern world's icon of introspection.
• At Burrell Collection, Glasgow
William Blake, Milton, c1800-1803
Blake wrote that Milton was of the devil's party but did not know it. He believed the real energy of the 17th-century republican's poem Paradise Lost lies in the rebellion of Satan. His portrait of Milton is the visionary communication of one great mind with another.
• At Manchester Art Gallery
Goya, Interior of a Prison, c1810-14
All the clawing anxieties that shape the mad universe of Goya's darkest paintings pervade the sepulchral depths of a prison in this sublime painting. Here is a glaring example of how Britain's art collections can be overlooked: this vision of cruelty and suffering would grace any museum in the world ... how fantastic that it glowers in County Durham.
• At the Bowes Museum, Barnard Castle, County Durham
Rembrandt, Portrait of Titus, c1658
The art of Rembrandt is as enduring as his life was fragile. Rembrandt suffered so much, including many bereavements. His son, portrayed here with such love, died before him. But in art, young Titus will live forever.
• At Wallace Collection, London W1
Manet, The Execution of Maximilian, c1867-8
Manet takes traditional genres and makes them new. His idea of modern painting is to deliberately, and constantly, reveal how modern life disfigures and traduces the old nobilities, as expressed in artistic tradition. In this great, damaged work he turns to the genre of history painting to show the brutality and cynicism of modern politics.
• At National Gallery, London WC2
Why Chloe Sevigny is encouraging us to "Never stagnate, never stop" – and perhaps to take up pole-dancing
Why a giant egg, peeking eyes, pecking pigeons and a Paramount Pictures peak have come together
How Adrian Searle and Sarah Lucas ended up in bed together
What David Hockney, Kristen Scott Thomas and Ed Vaizey's favourite artworks are
How a hermit crab made a Brâncuşi head his happy new home
Your Art Weekly
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Have you seen any of these shows? What have you enjoyed this week? Give your review in the comments below or tweet us your verdict using #artweekly and we'll publish the best ones.
Frieze art fair
Tags: Art Art and design Photography Painting Exhibitions Turner prize Turner prize 2011 Awards and prizes Frieze art fair Frieze art fair 2011 Culture guardian.co.uk Features
Muted masterpieces: contemporary art that does not need the wow factor
Richard Wilson's 'lake of oil' was the first artwork to give me a theatrical thrill. But there are quieter, more subtle artists on the march this autumn, such as Turner prize nominee George Shaw
What work of art first made you feel the wow factor? This does not mean just being impressed by, or loving, a work of art. I mean the particular theatrical vibe of contemporary art, that thrills, entertains, and diverts the spectator in a way that makes you just say ... "Wow."
The British modern art season is about to enter mad mode. With the new Tate Turbine Hall commission, the Turner prize, and the Frieze art fair all imminent, it is time to gargle and exercise your vocal chords ready to say ... "Wow." Or perhaps just say it in your head, and skim-read some art theory so you can mouth more impressive phrases. Or stay at home and watch television, or do the garden. Hey, I didn't have this bright idea of compressing a year's modern art into a week. Don't turn on me about it.
Anyway, the first work of art that brought the contemporary wow factor home to me was Richard Wilson's sleek and dark, reflective and apparently bottomless lake of oil, 20:50, which I first saw at the old Saatchi Gallery in Swiss Cottage. Walking for the first time down the narrow aisle between the two halves of the room-filling installation, with oil pressing against their edges, held in by molecular forces as it peeped over the steel walls, was awe-inspiring. The glassy reflections created a sense of floating in the air, so you felt at once menaced by oil and in danger of falling: as I write this I remember that strange sensation of both claustrophobia and vertigo.
Here we are, and you can still see that definitive work of contemporary art at the relocated Saatchi Gallery today. In the early 1990s, critics often carped that the taste for the wow factor was really the product of Saatchi's advertising sensibility. He even bought a pickled shark!
Now we know it was more than that. Something about the theatricality of today's art liberates and greases the pleasure principle. That thrill of going to a museum and getting a theme park ride is very real, and apparently universal.
Yet this autumn, among the rides, there are some imitations of a quieter art. The Tate Turbine Hall stole Saatchi's thunder long ago and is today the definitive arena of culture as spectacle. Yet this year's artist there is Tacita Dean. Her films, drawings, photographs and montages resist the wow factor. They make you think instead. She is truly serious, and in the best way mysterious, and her Tate piece promises to be a real event, not merely as spectacle but as sombre, subtle, complex art.
Similarly, in the Turner prize, the most fascinating contender is George Shaw, a painter of depth and passion. Shaw is a quietly miraculous artist. His paintings are eerie scenes of the ruinous edges of modern British life. Surreal and silent, they beckon your imagination. Nothing could be further from the culture of wow than the art of George Shaw. No one has ever seemed a more deserving candidate for the Turner prize.
So the real artistic wonders this autumn will leave the wow factor far behind.
Tags: Art and design Culture George Shaw Turner prize 2011 Turner prize Tacita Dean Turbine Hall Art Painting Exhibitions guardian.co.uk Blogposts
Karla Black: 'Don't call my art feminine'
In the Palazzo Pisani, Glasgow-based Turner prize contender sculpts cosmetics into peach and pistachio 'cave paintings'
In the 15th-century Palazzo Pisani, Karla Black has made the kind of work that whets the appetite for the Turner prize, the award she is tipped to win this December: boulder-size bundles of sugar paper chalked over in shades of peach and pistachio and bedecked with talcous mounds of plaster powder; sheets of paper sprayed with fake tan; and balsa wood painted with eyeshadow. In one series of rooms, the floors are scattered with soil on which sit industrial-size cubes of soap from toiletries chain Lush, a sponsor of the exhibition.
Don't, though, whatever you do, call this apparent onrush of girliness feminine. She finds this description of her art disgusting. "It is ridiculous and annoying," she says. "Why do people call it feminine? Because it is light, fragile, pale? Because it is weak, impermanent? When you start going to work on it you realise how ridiculous the description is. How can a work of art be feminine?"
It is certainly Black's year. Aside from being the insiders' favourite, neck and neck with painter George Shaw, to win this year's Turner prize, as Scotland's representative at the Venice Biennale she has been thrust on to the largest and most prestigious international stage for art.
Though not an official participating country – Mike Nelson represents the UK in the Biennale proper, eligible to win the Golden Lion for the best national exhibition – this is the fifth time Scotland has staged its own "collateral" show, an increasingly important platform for the nation's artists. Martin Boyce, fielded by Scotland in 2009, is also shortlisted for the Turner prize.
Her sculpture, Black says, is absolutely non-representational. "There is no image, no metaphor," she says. Rather, the point is the sculpture's sheer materiality, its heft and presence and fact of being in the world as it confronts the viewer. The use of materials gleaned from Boots' cosmetics counter, she explains, is not a kind of feminist critique of sculpture – "though I am a feminist". It is, she says, not as simple as that: "When I am spraying fake tan on paper I am actually thinking of people making cave paintings. They would hold the colour in their mouth and spit it out: that was the first spray paint."
This autumn, Black will be preparing for her Turner prize exhibition at the Baltic centre for contemporary art, Gateshead. Having been far from a household name, she will be pushed out into the public gaze, her work seen by thousands and pored over by the media. "I'm pleased," she said. "But I am keeping my head down. I have a lot of work to do and I am concentrating on it. Next year it will all be over, and it will be someone else's turn."
Karla Black is at the Palazzo Pisani (S Marina), Calle de le Erbe, Cannaregio 6103, Venice, from Saturday until 27 November
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Tags: Karla Black Sculpture Art Art and design Venice Biennale Culture Turner prize Turner prize 2011 Europe World news UK news The Guardian News
A new wave of serious artists
Tracey Emin is enjoying a retrospective at the Hayward, but the country's rising stars take a more practical approach
The reign of "the concept" in modern British art is finally over: long live "the object". As some of the former rebels of the notorious Young British Artist movement are accused of selling out to "the establishment", a new generation is taking their place, flaunting an altogether new aesthetic.
The freshest art on the contemporary scene appears to have turned its back on the ironic jokes and personal confessions epitomised by Tracey Emin's notorious unmade bed and Damien Hirst's dead floating shark. Emin's high-profile retrospective at the Hayward Gallery on the South Bank may be pulling in the London crowds, but she alienated many of her peers last week by confirming her Tory sympathies and backing the government's latest round of arts cuts. Damien Hirst also ruffled some liberal feathers by happily rubbing shoulders with billionaires at the last Davos summit.
And as the most famous and iconoclastic of the YBAs start to lose their shine as role models, the art world's best-known curators and commentators claim a new earnestness is sweeping the country's better art schools and informing the work of their successors.
One of the biggest names in contemporary painting is on the shortlist for the coveted Turner prize this year. George Shaw, at 44, is roughly the same age as both Hirst or Emin yet is one of the leaders of the emerging "serious" tendency. Shaw concentrates on the oddly beguiling nature of ugly cityscapes with his watercolours and enamel paint studies. He insists that his work is not a reaction to the tricksy habits of the YBAs, but art critics beg to differ.
With his show, The Sly and Unseen Day, opening on Tuesday at the South London Gallery, the Coventry-born artist says he is bemused to find himself the centre of attention: "My work was not done as a response. It was a conversation I was having with myself. Then I noticed other people were interested and I had to pinch myself."
Shaw originally intended to become a performance artist and studied installation, photography, video and sound, before discarding it all. "I realised a lot of stuff I was doing was just rubbish. I was just adopting the same sort of things that had gone on before. So I went back to what I used to think at college, which was that the most shocking thing you could do would be to make a watercolour of a tree." At that point Shaw felt "an installation with a dead baby in it" had become the new conformity.
Other coming stars are both younger and, for now, relatively obscure. On Wednesday last week the annual Catlin art prize, which celebrates promising new work, was awarded to 22-year-old Russell Hill from Rugby. Hill works with everyday objects to expose the hidden threats or contradictions lying dormant in apparently banal things such as air fresheners or an oil can.
"The main thing for me is to make my work as articulate as possible in terms of themes and messages," Hill said yesterday. "I always maintain the function of the object. That's important to me. If I change an oil can, then it's not an oil can. If there are elements of ambiguity when people see it, I have to accept that."
He uses juxtaposition to point up his ideas about objects. So the "DIY nostalgia" of an item such as an oil can is coupled with fabric softener then displayed in a deliberately "clinical, harsh setting – like a hospital product".
"It is a piece about two lubricants," he explains. "There is a real sense of exploitation in my work. I tend to strip back objects and make people more aware of the underhand nature of the things that we see around us."
Hill's influences, he claims, come from abroad rather than from famous YBAs, although he acknowledges a debt to Martin Creed, the Scot who won the 2001 Turner prize with his flickering light in an empty room.
Justin Hammond, curator of the Catlin show and editor of the prize's guide, who spotted the artist at his degree show in Wimbledon, has found that many young art graduates are focusing on objects in the world around them.
"There's a lot more serious work in the past couple of years, a lot less jokey one-liners and less frivolity," he said. "Instead, there's a lot of work with statistics now, for example, and there are more real objects being used in sculpture. Russell's work is so precise, so clinical and so clean. It was obvious someone had obsessed over it. He was the unanimous choice this year."
Joanne Hummel Newell, who will be exhibiting her work at a satellite show at the Venice Biennale next month, is another artist excited by the significance of objects. The 28-year-old uses found items in combination with collage to make intriguing sculptures.
And one of the stars of next week's prestigious sculpture show, The Shape of Things to Come at the Saatchi Gallery in south-west London, is also known for shedding new light on items of rubbish. David Batchelor makes installations from things he has found on the streets of the capital then turns them into brightly coloured light boxes. His work is a mission to prove that left-overs can be made beautiful.
"When I make works from light boxes, or old plastic bottles with lights inside, I hope the illumination suspends their objecthood to some degree, and makes the viewer see them a little differently – see them as colours before seeing them as objects," he has explained. At 55, Batchelor, who is Scottish, has blazed a trail for this kind of practical sculpture, while the YBAs experimented with conceptual ruses.
Not all emerging artists have turned away from the Concept. For the first time, the Catlin prize line-up for 2011 included a performance artist, Leah Capaldi. For the show Capaldi sprays two actors with a bottle of Chanel perfume each before they walk off around the Tramshed gallery in Shoreditch, East London. "The idea came from when I was at the British Museum a while ago looking at a statue and a woman walked past me wearing so much perfume it was unbelievable. I found it stifling and had a real physical reaction; I had to walk to the other end of the gallery to get out of that space," she recalls.
Visitors to the Catlin show can judge the impact for themselves at noon today when Capaldi performs for the last time before the exhibition closes at 6pm.
For Sarah Ryan, director of online gallery Newbloodart, the prospect of spotting emerging new trends is appealing. Her yearly task of visiting 100 summer degree shows is just beginning.
"We have just started with Oxford Brookes at the weekend and noticed a lot of integrated work that brings in all the sensory aspects, a more multi-discipline approach. This is immersive work, using sculpture and sound and performance. Maybe it has something to do with all the technical advances going on around us that make this easier to do."
Vanessa Thorpe
Tags: George Shaw Art and design Culture Turner prize 2011 Tracey Emin Damien Hirst UK news The Observer News


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Cilla's Sheridan Smith shares she named her baby son after her late brother
A beautiful tribute.
By Matilda Davies
David M BenettGetty Images
Cilla and Gavin and Stacey star Sheridan Smith has opened up about naming her son after her late brother Julian.
In a post on Instagram, the actress shared a photo of her late brother and a photo of her son, with the caption: "Today would've been my big brother Julian's 50th birthday, so I celebrated him with his beautiful nephew Billy 'Julian'."
Several fans pointed out the "family likeness" between Julian and Billy Julian, with one saying that he was the "spitting image" of his late uncle.
Smith and her ex-fiancé, insurance broker Jamie Horn, welcomed their son in May 2020 after getting engaged in 2018. The couple announced their split in July this year.
The West End performer previously opened up about her bereavement last year in her ITV documentary, Sheridan Smith: Becoming Mum.
Related: Harry Potter's Tom Felton speaks out following recent collapse
She explained that when she was eight years old, her brother passed away from cancer, aged 18. In the documentary, she shared: "I remember lots of happy memories of me and him. He was my big brother and I really looked up to him.
"That is why I think therapy could have been good," she added. "As you hold onto stuff from childhood."
Ken McKay/ITV/REX/Shutterstock
Related: Cheryl pulls out of Birmingham Pride performance following Sarah Harding's death
When her son was born last year, she took to Instagram to share the news with fans. She wrote: "Our little man has arrived! We are both completely overwhelmed with love."
She has since continued to use the platform to share updates on her life as a new mother, as well as showing her pregnancy and mental health journey within the ITV documentary too.
Last summer, she wrote: "So proud of my beautiful son Billy! He is the best thing to ever happen to me! A love like no other!"
The Cruse Bereavement Care Freephone National Helpline is staffed by trained bereavement volunteers, who offer emotional support to anyone affected by bereavement.
The helpline, 0808 808 1677, is open Monday-Friday at 9.30am-5pm (excluding bank holidays), with extended hours on Tuesday, Wednesday and Thursday evenings, when it is open until 8pm. You can also email helpline@cruse.org.uk.
Cruse Scotland can be reached on 0845 600 2227 or support@crusescotland.org.uk.
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redpajama_set_name: RedPajamaCommonCrawl


John Osborne writes books, poems and stories. He regularly performs at festivals including Latitude, Glastonbury and the Edinburgh Fringe, and has performed poetry on BBC Radio 1, Radio 3 and 6Music. He has written and performed six half-hour stories on Radio 4, most recently The New Blur Album and Don't Need the Sunshine, an adaptation of his non-fiction book of the same name. He co-wrote and created After Hours, a comedy drama for Sky One, directed by Craig Cash. He lives in Norwich and walks around with his shoelaces undone.
Read more on his personal website.
What does it mean to be homesick in 2015, and does technology help or hinder us when we move to a new place? John Osborne revisits his past to find out.
A recording of a show John wrote and performed for Radio 4.
A review of John's first book, Radio Head, which was published in 2009 and broadcast on Radio 4 as Book of the Week.
The cast announcement of After Hours, the sitcom John wrote with his friend Molly.
A poem from John's first collection, Most People Aren't That Happy, Anyway.
A review of John's first solo show, John Peel's Shed.


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Kythira has an area of 284 sq.km. It is part of the Ionian Islands group and geographically lies on the south of Peloponnese, which is why the history of Kythira is connected a lot to the history of the Greek mainland. The geography of Kythira is mountainous but it has quite fertile valleys and green canyons. The island is located at 12.5 nautical miles from Kavo Maleas.
The rugged terrain prevail winds coming from the sea. On the east coast, steep cliffs have been formed, interrupted by golden and isolated beaches. On the west side, huge rocks descend into the sea. 43 nautical miles of coastline are formed by many bays of diverse sizes and shapes.
In spite of the rocky terrain, most of the island is covered with rich vegetation and many olive trees. The sea surrounding Kythira is very rich, providing the inhabitants with fish and attracting a lot of professional and amateur fishermen from around regions. The main port of the island is Diakofti.
Kythira map View the map of Kythira with the main villages, beaches and sightseeing. Also, location of the port.


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All of my life I've tried be a "GOOD GIRL" for fear of not being loved or "good enough"! I was the kind of person who did not smoke or drink for fear of what those things would do to me! If Mom and Dad said "do it" I simply did it!
Jesus is the best friend I've ever had! He is a comfort, a Father, a Friend, a Counselor and everything I need! I ask you, if you do not know Him, let me introduce you to this friend of mine, JESUS!


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Who should be the 2020 Democratic presidential nominee?
Elizabeth Warren has "a plan for that".
Elizabeth Warren offers big, structural change
Elizabeth Warren is our best bet for a woman President
Bernie Sanders will introduce Medicare for All
Bernie Sanders addresses climate change in the Green New Deal
Bernie Sanders has inspired a movement
Joe Biden offers "a return to normalcy"
Joe Biden can reach across the aisle
Joe Biden offers the most experience
Buttigieg represents a combination of the old and new
Pete Buttigieg is an excellent fundraiser
Pete Buttigieg will get the rural vote.
Amy Klobuchar can reclaim the Midwest
Amy Klobuchar will tackle the opioid crisis and mental health
Tom Steyer puts his money where his mouth is
Tom Steyer is a political outsider
Andrew Yang will introduce Universal Basic Income
Andrew Yang understands the importance of tech
Michael Bloomberg gives to positive causes
Michael Bloomberg has led America's largest city
< (4 of 8) Next position >
Buttigieg has proved he can court both small and large donors with great success.
2020 US Election Pete Buttigieg
< (2 of 3) Next argument >
Fundraising is naturally a huge part of the campaign of any candidate. However, it also raises questions about the role of money in politics.
Buttigieg has a phenomenal fundraising track record in the primary campaigns. Starting from relatively low name recognition, in 2019 Buttigieg raised an estimated $76 million across 733,000 people and two million donations.[1] He successfully held both high-dollar and grassroots fundraising events, and can appeal to the full spectrum of donors. This speaks to his electability. While fundraising is not everything, there is a correlation between money raised and winning elections.[2] Buttigieg is quickly proving that he is a strong candidate for the Democratic nomination, by showing he can progressively build fundraising support across the monetary spectrum.
Buttigieg's fundraising does not automatically mean he would win in an election. While his money may come from both large and small donors, his courting of high profile donors shows he is not in touch with working class constituents. Most notably, his fundraiser in a 'wine cave' in December 2019 drew considerable criticism.[3] At the event, supporters could either spend $1,000 to have a photo taken with Buttigieg or $2,800 to participate in a dinner with him. This raises concerns about the role of access. While all voters may have the right to decide who they want to vote for and where they want to donate money regardless of amount, large donations buy access to Buttigieg in a way grassroots donations do not.[4] Buttigieg does not understand the insidious nature of money in American politics.
[P1] Buttigieg's fundraising efforts have proved extremely fruitful for him, despite beginning from low name recognition. [P2] This speaks to his wide appeal.
[Rejecting P2] Fundraising support does not necessarily lead to votes.
https://www.nytimes.com/2020/01/01/us/politics/pete-buttigieg-fundraising.html
https://fivethirtyeight.com/features/money-and-elections-a-complicated-love-story/
https://www.theguardian.com/us-news/2019/dec/19/wine-cave-pete-buttigieg-democratic-debate
https://theintercept.com/2019/12/23/wine-cave-buttigieg-warren/
Big Donors, Small Donors: Pete Buttigieg Has Courted Them All — Successfully
This page was last edited on Wednesday, 27 May 2020 at 18:51 UTC


A lovely post from one of most favorite companies, Merchant Home. This noteworthy company of the talented Alexandra Sklar, offers business insight that we have grow to depend on. I call her my ideas wrangler - although it doesn't begin to encapsulate all the Merchant Home has to offer. As a small company (and with my head mostly in the weeds, not the books), Alexandra's detailed eye for design, numbers, trends and business management is not only inspiring but vital. We have truly loved working with her and the MH team.
Did you see us in Gardenista? We are thrilled to be included in this shopper's guild to fabulous holiday finds! The Garden Apothecary shop is tiny, but mighty! It was a fun few hours hosting Michele and Mimi, with holiday music and champs!


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Home News Assassin's Creed Valhalla Will "Bridge" Templars and Assassins: Ubisoft
Assassin's Creed Valhalla Will "Bridge" Templars and Assassins: Ubisoft
Jake Bishop
Assassin's Creed Valhalla, the latest in the long-running franchise, will bridge the gap between Templars and Assassins. Speaking in the recent interview, narrative director Darby McDevitt shared some interesting facts about Valhalla.
Very early on in Assassin's Creed Valhalla, Eivor will meet an Assassin and starts to understand their goals and learn more about the Assassin's Brotherhood. Eivor also learns about the flip side of the coin, The Order of the Ancients aka Templars. McDevitt is one of the creators who worked on Assassin's Creed Black Flag, one of the few AC games that combined the exploration of a historical setting with the sci-fi lore that stitches the AC series together.
With Assassin's Creed Valhalla, McDevitt wants fans to be able to wander through the open world and almost at every turn really feel like they're discovering something new about the whole plot that spans across 11 gamers, Valhalla is the 12th main entry. Instead of shoehorning The Order of the Ancient (Templars) and The Hidden Ones (Assassins) in Assasin's Ceed Valhalla, Ubisoft seeded the lore into the open world for the players to discover at their own place.
It really feels like every discovery, every narrative discovery, has a kind of a grand purpose. Really like it just tickles you if you're an Assassin's Creed fan. Hopefully, there's quite a number of moments where your jaw drops because you're like, 'oh, that's how that connects to that. Okay, that's cool'
He went on to say that Assassin's Creed Valhalla will "bridge" the gap between The Order of the Ancients and The Hidden Ones. The sense of connection is key to Valhalla which is why they spent a lot of time and effort "filling the world with lore that has really meaningful connections to a lot of titles before and after." Assassin's Creed Valhalla will set the stage for things to come, said McDevitt.
Source: Extracted from the official PlayStation Magazine.
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An avid fan of the stealth-shooter genre, Jake is Respawnfirst's co-founder and Lead News Editor with over 5-years of experience. He prefers tactical-based shooters over mainstream titles and regards PS4 and PC as his choice of gaming platforms.


Providing complimentary holidays to carers and their families.
Offering free home delivery of products to carers who can't get out very often or easily.
CLC World Resorts & Hotels' charitable initiative – CLC World Charity Holidays – donates accommodation to those who need it most. They've been providing space at one of their resorts to provide unpaid carers with some well-deserved respite.
Carers registered with Carers Trust Network Partner Carers Support Centre Bristol and South Gloucestershire enjoyed a wonderful weekend at CLC Hustyns in Cornwall. The guests had full use of the 100-acre Hustyns site and all the amenities that can be found on the resort including the sauna, steam room, a fully-equipped gym, swimming pool… and even a crazy golf course!
Really enjoyed it, we also really needed it. The resort was better than we were expecting, very nice, calm and not too busy. It was a beautiful area . . . At home we have care [support workers] in a lot of the time so we never really get to relax or switch off."
Thank you to CLC World Charity Holidays for its generous donation which has helped carers to access a break to enable them to cope better with the challenges of caring.


Making the most of calm autumn conditions anglers sought out a wide variety of species.
Last week Corio Bay resembled a sheet of glass most mornings which in turn allowed anglers keen on flicking a soft plastic to encounter fantastic pinkie snapper. The western beach mornings were a great place to look with pinkie snapper densely schooling up. There was reports of the odd larger snapper making an appearance around the Western Beach moorings for those fishing lightly weighted pilchards. Structure such as the old tug boat wharf was another productive location with pinkies holding in tight against the wharf. The Grammar school Lagoon channel was a popular spot for a mixed bag with pinkies, flathead and the odd pike. Brad Mitchell ventured over to Bird rock at the entrance to Corio Bay last Friday, where he took ten nice whiting to 35cm. Brad mentioned he did have to pick through a few small whiting.
Over at Clifton Springs and the whiting were in better numbers but of around the same size. Anglers found the section of water in 7-8 meters out from the Old Dell to once again produce the best fish.
Squid were the focus of anglers fishing the entrance to Swan Bay with the last of the run in tide working the best. Size 3 jigs were perfect for the task when cast ahead of your drift. Around the corner Queenscliff proved to be the whiting capital once again with 40cm whiting common in bag limit captures. Gummy Sharks were another species taken out from Queenscliff during the week, big baits did the trick on gummy shark to 10kg along the deep channel edges.
Chris from Gone Fishing Charters guide his clients onto some beasty snapper out from Barwon Heads last week, with one of Chris's clients boating a beasty snapper of almost 8kg.
Inside the Barwon Estuary Elephant fish continued to be taken but not as commonly as past weeks. Juvenile whiting, salmon & trevally keep anglers busy this week with small baits such as pippie and prawn getting the job done.
Down the Western district and those fishing out from Portland & Port Fairy making the run to the continental shelf experienced world class Albacore fishing. Trolling skirted lures of around 6" worked well in avoiding the small albacore of under 10kg. Bluefin Tuna were also in excellent numbers at the shelf along with some large stripey tuna.
Tackleworld Geelong's Michael Moore headed down to Nelson last week to fish the Glenelg River. Michael experienced excellent fishing with plenty of Estuary Perch averaging 40cm and Mulloway to 60cm as well as a few Bream. Mick found the most effective lures to be the Atomic Hardz deep in the Ray Long 01 colour and pumpkinseed turtleback worms. The most productive areas were between the top of Taylors Strait through to the Caves.
Freshwater anglers flocked to Wurdee Blouc and with good reason. Last week numerous Redfin between 40-45cm graced anglers bags. A wide variety of techniques worked with those casting heavy lures like Nories Metal Wasaby & Fish Arrow soft plastics all accounting for fish. Tackleworld Geelong's Adam Van Der Luht was at it again last Wednesday night where he banked another brown trout of around 2.5kg casting a Daiwa TD 95 Minnow. Adam has found the larger profile lures to work extremely well at both first and last light on hungry brown trout & redfin. Danny Sparks made a day break start Tuesday morning at Wurdee Boluc. Persistence paid off for Danny with a 3.8kg brown trout in superb condition devouring his Daiwa TD 95 minnow. As a bonus Danny also banked a 1kg redfin a few casts later.
Lake Wendouree up at Ballarat although a little slow on the trout front saw anglers tangle with some impressive redfin. Josh Smith made the trek up this past Sunday where using hard body lures he caught a well-conditioned redfin of 47cm.
Back down the Western District and the Crater Lakes Purrumbete & Bullen Merri have seen dedicated anglers tangle with the odd Chinook salmon and trout. With the weather now starting to cool these lakes should really start to turn on.


Meet Austin's 100% blue agave 80-proof tequila brand, Playa Real.
Sparklers, American flag sunnies, s'mores. You've got all the party favors, now you need a cocktail to kick your 4th into full skyrocket mode. Bring a big bottle of Playa Real Tequila. The new Austin-based spirit launched by Matt Davis - hubby to Kendra Scott - is made of three triple-distilled tequilas conceptualized in Mexico. And, woah - two of them are fruit-infused with mandarin and pineapple. We toasted with the team and got a recipe for an Independence Day sip that will have you singing from sea to shining sea.
Directions: Shaken and served up in a martini or on the rocks. Garnish With a mini flag. Enjoy!
Playa Real Tequilla is sold locally at Twin Liquors and Spec's.


so my question is , is there any possible way to have it ?
even though i bought rezvani can i wait a day then use in regular mp?
I don't care if you do it offline but please don't do it online. You will be immediately put on the cheaterboard (which essentially means you cannot race in multiplayer). To get around this, just don't play asphalt 8 for a day.
Last edited by t69k on Wed Apr 17, 2019 11:46 am, edited 1 time in total.
I am so desperated for the v4.2.0 .CT hacks ! so, please! i just want to get the beast X. but you know, without unlocking the R&D labs it will be very hard to get this car and will cost me huge amount of tokens..
yeah you are right, just checked the version of the game and it has been updated. Any idea when the new cheats will be out?


Hi! Installed a new version, set everything up from the very beginning. Created a test mailing list, added 2 subscribers there. I create a New Company and after pressing the Start button of the New Company a blank page. After updating the page from 3 to 10 times appears form "1 step"
That's most likely a PHP Extension missing. Can you post the list of installed extensions?
Can you please check error logs?


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Macropinna microstoma, vrsta morske ribe iz sjevernog Pacifika batipelagičke zone, porodica Opisthoproctidae, red Argentiniformes. Živi od Beringovog mora do Japana i poluotoka Baja California. Znanosti je poznata od 1939 (Chapman). Karakterizira ju nekoliko bizarnih značajki, malena usta i tubularne oči koje može pokretati svako za sebe, rotirati njima i prikupljati svjetlost.

U eng. jeziku poznata je kao Barreleye. Izučili su je Bruce Robison i Kim Reisenbichler

Izvori

Opisthoproctidae

redpajama_set_name: RedPajamaWikipedia


text:
Kyrkgöl kan syfta på ett antal insjöar i Sverige:

Kyrkgölen, Småland, sjö i Alvesta kommun,
Kyrkgölen, Östergötland, sjö i Norrköpings kommun,

Listor över Sveriges insjöar baserat på namn


In November 2016, Paris Aéroport welcomed 7.1 million passengers, an increase of 6.2% compared to November 2015. 4.8 million passengers travelled through Paris-Charles de Gaulle (+4.5%) and 2.3 million through Paris-Orly (+10.0%). As a reminder, the events that occurred in Paris and St Denis on 13 November 2015 impacted passenger traffic at the Paris airports over the second half of November 2015, resulting in a decrease in traffic of around 6% over that fortnight, compared to the same period in 2014.
The number of connecting passengers increased by 1.0%. The connecting rate stood at 25.8%, down by 0.9 points compared to November 2015.
Since the beginning of the year, Paris Aéroport passenger traffic has grown by 1.3%, with a total of 89.5 million passengers. The number of connecting passengers has risen by 1.2%. The connecting rate remains stable at 23.8%.
Passenger traffic at TAV Airports, 38%-owned by Groupe ADP, rose by +1.6% in November 2016, and has risen by 2.0%(1) since the beginning of the year.
Passenger traffic at Santiago de Chile, 45%-owned by Groupe ADP, increased by 9.6% in November 2016, and has increased by 11% since the beginning of the year.
(1) TAV Airports began operating the international terminal at Milas Bodrum Airport in October 2015. To be compliant with TAV Airports presentations, the % change presented above does not take into account traffic at this terminal for 2015. Taking into account traffic at the international terminal of Milas Bodrum, on a like-for-like basis for 2015, total TAV Airports passenger traffic would have risen by 0.3% since the beginning of the year, and by 0.9% over the last 12 months.
(2) Groupe ADP and TAV Airports have,a shareholding of 21% and 15%, respectively, in Zagreb Airport. To be compliant with TAV Airports presentations, Zagreb Airport traffic figures are integrated into the TAV Airports group traffic figures.
(1) TAV Airports began operating the international terminal at Milas Bodrum Airport in October 2015. To be compliant with the TAV Airports presentations, the % change presented above does not take into account aircraft movements at this terminal for 2015. Taking into account aircraft movements at the international terminal of Milas Bodrum on a like-for-like basis for 2015, the total number of TAV Airports aircraft movements would have risen by 2.5% since the beginning of the year 2016, and by 2.8% over the last 12 months.


We've just arrived back at home. There have been some requests for T-shirts, so we're going to do another run. Here are some paypal buttons, and at the end of June we'll run a set for whatever we have orders for.
Wow! What a big day of racing! Cars and bikes alike delivered incredible performances! Unfortunately, we didn't manage to get internet connectivity yesterday. The scores are posted, and because of very late score posting, are provisional now. Inquiries will be accepted by email till noon tomorrow.
A very slight haze can't stop the moon from shining brightly in the sky this morning. The volunters are starting to get up and moving, and the faint sound of race engines is floating through the air. Race day!
Registration has now been completed. The recce went smoothly, the most surprising event there was a friendly pack of stray dogs who loped down stage one early in the morning.
The practice stage started on time and went very well, everyone got plenty of runs. One disappointment was a thrown rod for Micheal O'Leary, who made it to just within sight of the finish line of his first run, followed by a long sit down and subsequent withdrawal. Seamus Burke discovered that half-shaft length choice was critical, and that his current choice came up short. Linden machine shop to the rescue.
There was a Parc Expose following the shakedown around the County Courthouse. A fantastic historic backdrop for the high tech racing machinery and live country music put on by the Commodore. Local dignitaries stopped by with well-wishing for the racers.
The volunteer meeting got started at the Community Center with plenty of gusto. Lots of enthusiasm from the local fire departments, who get to start up the pumper trucks to fill the chicanes tomorrow. The radio group included some very experienced folks.
The cars rolled in to Parc Ferme and are locked away for the night. Cars and competitors both need to get as much rest as possible before race day early tomorrow!
The start order for tomorrow is available now.
Registration is still ongoing as teams are picking up their stage notes for the crack-of-dawn recce. Most of the motorcycles are in and teched already. The Novice Competitor Orientation has just completed, plenty of fresh faces are joining us for the tarmac attack.
The weather is looking fantastic for the event! Volunteers and competitors started arriving yesterday. The town is planning multiple concerts in conjunction with the event, only a couple blocks from registration. See you soon!
Welcome spectators and volunteers to Tennessee for the second event of the Atlantic Rally Cup! This is going to be a great event, as many rally team are raising their game and bringing serious tarmac-eating equipment to Linden!


Maybe, they will only confirm they are fakes, send them all back and then research they are obviously fakes if you know what to look for.
BTW are you back in HK?
Yes back since last week , you ?
I can only find this book available from US. Does anybody if this is available in UK or Europe?
The 1994 and 1996 are definitely wrong - compare the Temples with the pictures posted by @Frenchie.
I don't know about the 2005 - it is hard to see the detail in the photos because of the plastic and the capsule. With some coins the very fact of having both is a sign of a fake but I can't remember when the mint stopped doing the double wrapping.
It says au and not ag, or is it a goldpanda?
Did all coins come from the same dealer?
Agree with this assesment, also for info the mint stopped Double sealing at the 2005, however a few 2006s were sealed after a request from collectors, 20,000 I think from memory, ANY AFTER THIS DATE THAT ARE SEALED,PLEASE TREAT WITH EXTREME CAUTION..Oh sorry for shouting but it drives me mad when people ask for assistance, ignore it, take delivery,then ask again!


Image Title: Harbor House Chelsea Paisley 3 Pc Duvet Cover Set JCPenney Inside Comforter Design 13. Filename: harbor-house-chelsea-paisley-3-pc-duvet-cover-set-jcpenney-inside-comforter-design-13.jpg. Image Dimension: 600 x 600 pixels. Images Format: jpg/jpeg. Publisher/Author: Bo Quigley. Uploaded Date: Friday - April 06th. 2018 20:54:23 PM. Category: Bedroom. Image Source: homestyler.com.
Tap The Thumbnail Bellow to See Related Gallery of "Harbor House Chelsea Paisley 3 Pc Duvet Cover Set JCPenney Inside Comforter Design 13"


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Q: PIL.Image.open() gives IOError: cannot identify image file I'm trying to save a jpg image from a Flask app form. The following code works fine:
blob = request.files[canvas_key]
blob.stream.seek(0)
data = blob.stream.read()
string_io = cStringIO.StringIO(data)

string_io has type <cStringIO.StringI object at 0x10bf2bf10>.
Yet when I try: Image.open(string_io), I get this error: IOError: cannot identify image file.
Using stream.seek(0) seems to solve this problem for other people, but in my case it hasn't.

A: Thanks to @Mark, I changed the image type I capture from WebP to PNG.

redpajama_set_name: RedPajamaStackExchange


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Bob Hunter commentary: Winning on off night shows growth
Dec 17, 2015 at 6:27 AM Dec 17, 2015 at 11:06 AM
When Thad Matta was asked about his young Ohio State team's game with fourth-ranked Kentucky on Saturday, his answer went a long way toward explaining why he seemed so content with a 67-54 win over Northern Illinois on Wednesday that probably could have won an ugly contest.
'I just want to see growth,' the Buckeyes coach said. 'I want to see us play better than we played last Saturday and better than we played tonight.'
When your team is 5-5 after struggling to beat Northern Illinois at home and just a few days removed from absorbing a 20-point beating at Connecticut, it almost goes without saying that this young team is a work in progress. But progress is the point.
Against a Mid-American Conference team that lacked Ohio State's depth and talent, the Buckeyes slogged through the first half like they had run a marathon in the afternoon.
'It was like we were stuck in second gear,' forward Jae'Sean Tate said.
Whatever it was, it didn't look anything like progress. They missed a lot of easy shots in the first half " they shot 36 percent " and led 33-31, and had a difficult time pulling clear of the Huskies early in the second half even though they picked up the pace. Eight minutes into the second half, the score was tied at 44, but with a young team, growth isn't always visible on the scoreboard.
'For once tonight, Jae'Sean Tate was in a timeout and was very vocal,' Matta said, 'and I hadn't seen that before. I think that kind of energized us a little bit and connected us a little more.
'One thing we always talk about is ownership. Take ownership in the program and with your play. The dynamics on a new basketball team I pulled him aside afterward and said, 'That's who you are. That's who you need to be.' If you lead from the front, it can make you a better player, and I thought he was really, really good tonight.'
Tate, a 6-foot-4 sophomore, was the only Ohio State player who had a good night statistically " 6-of-13 shooting, 17 points, 10 rebounds, two assists, three steals " but he might have made a bigger contribution by getting a message through to his teammates. He made sure that even the media understood the difference between the Buckeyes team that struggled and the one that pulled away in the final 12 minutes.
'Energy,' Tate said. 'Getting on the ground for the loose balls, blocking shots, getting in the gaps " all that goes into when we play hard.'
Like a lot of young teams, the Buckeyes have trouble maintaining their defensive intensity. When they turn up the pressure on defense, they look pretty good, but they don't do it enough. They get beat on the perimeter " a lot " by players who don't have the skill level to get there that easily.
That was happening a lot more early in this game than it did later after Tate delivered his message.
'We played the last 15 minutes of the second half as active as we could be,' Matta said. 'We guarded the ball better, we got some steals, we got some deflections, we forced some turnovers where they threw it out of bounds because we were more active. We shoot 39 percent ... but guys ran back down and kept defending. That, for me, was the difference.'
Defense has been a consistent element in most of Matta's Ohio State teams, one reason they have often been able to win when they struggle offensively. On Wednesday, the defense gave the Buckeyes a chance to win, and when it counted down the stretch, they started hitting big shots.
The merger of the two elements represented the growth that showed on the scoreboard.
'From the standpoint of finishing this game off and making the plays we had to make,' Matta said, 'hopefully that's something we can build on.'
Besides, you can't be sure the growth will be as visible on Saturday against Kentucky.
Bob Hunter is a sports columnist for The Dispatch.
bhunter@dispatch.com
@dailyhunter


Thank you for planning to join us in Orlando. Your selection as a delegate to the National Pork Industry Forum is an honor. The 15 producer volunteers who serve as members of the Pork Checkoff Board of Directors appreciate the investment of your time.
As a Pork Act Delegate, you play an important role in shaping your Pork Checkoff. In today's production environment, we must have unity of purpose, and be innovative in practice. This noble work is demonstrated through our commitment to the We Care® ethical principles. Those values – put to paper more than a decade ago – continue to drive the work of both the National Pork Board and the National Pork Producers Council. In short, our principles define how we focus our work – from farm to table. They also underscore the commitment we have to provide direct benefit to our communities, our animals and the environment.
Your time is valuable and will help us to meet our vision to become the global protein of choice.


Woodbine Racetrack is a casino and horse racing track in Toronto, Ontario, Canada. It is the only horse racing track in North America which stages, or is capable of staging, thoroughbred and standardbred horse racing programs on the same day. It is owned by Woodbine Entertainment Group.
The track was opened in 1956. It has been extensively remodelled since 1993, and since 1994 has three racecourses.
Exterior of Woodbine Racetrack. The racetrack carries on the name of the original building, which operated east of the present racetrack.
The current Woodbine carries the name originally used by a racetrack which operated in east Toronto, at Queen Street East and Kingston Road, from 1874 through 1993. (While the Old Woodbine Race Course was at the south end of Woodbine Avenue, the current Woodbine is nowhere near it.) On June 12, 1956 the name was transferred to the new racetrack which would be known as New Woodbine Racetrack until 1963 when the "New" was dropped from the name. The old track was converted to a combined thoroughbred and standardbred track known thereafter as Old Woodbine or, for most of the rest of its history, as Greenwood Raceway (during standardbred meets) and Greenwood Race Track (during thoroughbred meets). The two thoroughbred and two standardbred meets conducted at Greenwood were transferred to the new Woodbine in 1994, which was until then exclusively devoted to thoroughbred racing. On July 4, 2010 Queen Elizabeth II visited the Racetrack as part of her state visit to Canada, viewing the 151st running of The Queen's Plate Stakes, as well as taking part in the presentation of trophies.
The track was the opening venue for the 1976 Summer Paralympics.
The Breeders' Cup was held at Woodbine in 1996. The Arlington Million was held at Woodbine in 1988.
The Woodbine facility is also home to the Canadian Horse Racing Hall of Fame.
In 2018, the track began using a GPS-based timing system.
Taylor turf course is an irregularly shaped racecourse.
The outermost E. P. Taylor turf course for thoroughbreds, completed in 1994, is 1.5 miles (2.4 km) long with a chute allowing races of 1.125 miles (1.811 km) to be run around one turn. It is irregularly shaped, the clubhouse turn departing from the traditional North American oval, and the backstretch is from 2.5 feet (76 cm) to 3 feet (91 cm) higher than the homestretch. The Taylor turf course and the main dirt course at Belmont Park on New York's Long Island are the only mile-and-a-half layouts in North American thoroughbred racing. In 2016, Woodbine will contest up to 40 turf races running clockwise (right-hand turns) in what are being billed as "EuroTurf" races.
Inside the Taylor course is the 1 mile (1.6 km) synthetic course for Thoroughbreds. As of 2016, the surface is Tapeta; it was Polytrack between 2006 and 2015, and a natural dirt surface prior to that. Two chutes facilitate races at seven furlongs [.875 miles (1.408 km)] and at 1.25 miles (2.01 km).
The innermost oval was originally a 7/8-mile [.875 miles (1.408 km)] grass oval until the E. P. Taylor turf course opened in 1994. It was then converted to a crushed limestone dirt course and was used for harness racing until April 2018. The oval is being converted back to a second turf course for the 2019 thoroughbred racing season.
Portions of the current E. P. Taylor turf course (the backstretch and far turn) originally formed part of a long turf chute that crossed over the dirt course to the inner turf oval at the top of the stretch. This was used for several major races, including Secretariat's final race in the 1973 Canadian International, until the entire E. P. Taylor course was completed in 1994.
Casino Woodbine contains over 200 electronic gambling tables, and over 3,500 slot machines. Table games include poker, blackjack, roulette and baccarat.
Woodbine has been a regular host for the Breeders Crown. Since the event changed to a one-night format in 2010, the facility has hosted three times—2011, 2012, and 2015.
Woodbine was also the host of the C$1,500,000 North America Cup for three-year old pacing colts and geldings from 1994–2006. That race along with the Elegant Image Stakes for three-year old filly trotters and the Good Times Stakes for three-year old colt and gelding trotters, have been moved to Woodbine's sister track, Woodbine Mohawk Park.
Starting in 2018, all standardbred racing has been moved to Woodbine Mohawk, as the 7/8 standardbred track is being converted into a 2nd turf course.
The record for most wins by a jockey on a single raceday at Woodbine is seven, set by Richard Grubb on May 16, 1967, and twice equaled by the legendary Canadian jockey Sandy Hawley, first on May 22, 1972 and then again on October 10, 1974.
Queen Elizabeth II attends the Queen's Plate in 2010. Founded in 1860, it is Canada's oldest thoroughbred horse race.
^ "EuroTurf Series launches in Woodbine's Friday opener" (Press release). Toronto, ON: Woodbine Entertainment. 2016-06-07. Retrieved 2016-06-07.
^ "Training begins on Woodbine's new Tapeta surface" (Press release). Toronto, ON: Woodbine Entertainment. 2016-03-18. Retrieved 2016-03-19.
^ "Woodbine Celebrates Milestone for New Turf Course" (Press release). Toronto, ON: Woodbine Entertainment Group. 13 June 2018. Retrieved 20 February 2019.
^ "Join Our Team". One Toronto Gaming. Retrieved November 6, 2018.
^ "Table Games". One Toronto Gaming. Retrieved November 6, 2018.
^ "Woodbine's new Turf Course on Track". Woodbine Entertainment Group. May 28, 2018. Retrieved February 27, 2019.
Clara Thomas Archives and Special Collections, York University – Archival photographs of Woodbine Racetrack from the Toronto Telegram fonds.


Brunch + Bloodys every day!
What better way to celebrate BRUNCH than with a toast! At Frothy Monkey we are known for our locally roasted coffee and for serving brunch every day until 5pm, but we also have one of the best Bloody Marys in town. Visit one of our 5 Tennessee locations: 12South, Downtown Nashville, The Nations, Downtown Franklin, and Southside Chattanooga!
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