text:
For other people named Richard Prince, see Richard Prince (disambiguation).
Prince in 2008
(1949-08-06) August 6, 1949 (age 70)
Panama Canal Zone, U.S.
photography, artist
richardprince.com
Richard Prince (born 1949) is an American painter and photographer. In the mid-1970s, Prince made drawings and painterly collages that he has since disowned.[1] He began copying other photographers' work in 1977. His image, Untitled (Cowboy), a rephotographing of a photograph by Sam Abell and appropriated from a cigarette advertisement, was the first rephotograph to be sold for more than $1 million at auction at Christie's New York in 2005. He is regarded as "one of the most revered artists of his generation" according to the New York Times.[2]
Starting in 1977, Prince photographed four photographs which previously appeared in the New York Times. This process of rephotographing continued into 1983, when his work Spiritual America featured Garry Gross's photo of Brooke Shields at the age of ten, standing in a bathtub, as an allusion to precocious sexuality and to the Alfred Stieglitz photograph by the same name. His Jokes series (beginning 1986) concerns the sexual fantasies and sexual frustrations of white, middle-class America, using stand-up comedy and burlesque humor.
After living in New York City for 25 years, Prince moved to upstate New York. His mini-museum, Second House, purchased by the Guggenheim Museum, was struck by lightning and burned down shortly after the museum purchased the House (which Prince had created for himself), having only stood for six years, from 2001 to 2007.[3] In 2008 the painting 'Overseas Nurse' from 2002 fetched a record-breaking $8,452,000 at Sotheby's in London. Prince now lives and works in New York City.
2.1 Rephotography
3 Patrick Cariou copyright infringement suit
4.1 Cowboys
4.2 Jokes, Gangs, and Hoods
4.3 Celebrities
4.4 Check Paintings
4.5 Nurse Paintings
4.6 Later works
5 Museum Exhibitions
Richard Prince was born on August 6, 1949,[4] in the U.S.-controlled Panama Canal Zone, now part of the Republic of Panama. During an interview in 2000 with Julie L. Belcove, he responded to the question of why his parents were in the Zone, by saying "they worked for the government." When asked further if his father was involved in the military, Prince responded, "No, he just worked for the government." The Wall Street Journal later reported that Prince's parents worked for the Office of Strategic Services in the Panama Canal before he was born.[5] Prince later lived in the New England city of Braintree, Massachusetts, a suburb of Boston, and Provincetown on Cape Cod. In 1973, he moved to New York[6] and joined publishing company Time Inc. His job at the Time Inc. library involved providing the company's various magazines with tear sheets of articles.[7]
Career[edit]
Prince was first interested in the art of the American abstract expressionist Jackson Pollock. "I was very attracted to the idea of someone who was by themselves, fairly antisocial, kind of a loner, someone who was noncollaborative."[8] Prince grew up during the height of Pollock's career, making his work accessible. The 1956 Time magazine article dubbing Pollock "Jack the Dripper" made the thought of pursuing art as career possible. After finishing high school in 1967, Prince set off for Europe at age 18.
He returned home and attended Nasson College in Maine. He describes his school as without grades or real structure. From Maine moved to Braintree, Massachusetts, and for a brief time lived in Provincetown. Ultimately he was drawn to New York City. Prince has said that his attraction to New York was instigated by the famous photograph of Franz Kline gazing out the window of his 14th Street studio. Prince described the picture as "a man content to be alone, pursuing the outside world from the sanctum of his studio."[9]
Prince's first solo exhibition took place in June 1980 during a residency at the CEPA gallery in Buffalo, New York.[10] His short book Menthol Wars was published as part of the residency.[11] In 1981 Prince had his first West Coast solo exhibition at Jancar Kuhlenschmidt Gallery in Los Angeles. In 1985, he spent four months making art in a rented house in Venice, Los Angeles.[12]
In late 2007, Prince had a retrospective at the Solomon R. Guggenheim Museum, a comprehensive show hung in chronological order along the upward spiraling walls. The show continued onto the Walker Art Center in Minneapolis. Maria Morris Hamburg, the curator of photography at the New York Metropolitan Museum of Art, asserted, "He is absolutely essential to what's going on today, he figured out before anyone else—and in a very precocious manner—how thoroughly pervasive the media is. It's not just an aspect of our lives, but the dominant aspect of our lives."
Prince has built up a large collection of Beat books and papers. Prince owns several copies of On the Road by Jack Kerouac, including one inscribed to Kerouac's mother, one famously read on The Steve Allen Show, the original proof copy of the book and an original galley, as well as the copy owned by Neal Cassady (the Dean Moriarty character in the book), with Cassady's signature and marginal notes.[13]
Describing his career and methodology in a 2005 New York magazine interview, Prince said, "It's about knocking about in the studio and bumping into things."
Rephotography[edit]
Re-photography uses appropriation as its own focus: artists pull from the works of others and the worlds they depict to create their own work. Appropriation art became popular in the late 1970s. Other appropriation artists such as Sherrie Levine, Louise Lawler, Vikky Alexander, Cindy Sherman, Barbara Kruger and Mike Bidlo also became prominent in the East Village in the 1980s. All of these artists were greatly influenced by the work of John Baldessari and Robert Heinecken, both of whom have worked extensively with found or readymade print photography since the 1960s, Baldessari working mainly with Hollywood film stills and Heineken mainly with magazine advertisements and print pornography. Both artists taught at UCLA and the California Institute for the Arts in Southern California throughout the 1970s, when many of these artists attended school there.
During the early period of his career, Prince worked in Time magazine's tear sheets department. At the end of each work day, he would be left with nothing but the torn out advertising images from the eight or so magazines owned by Time-Life. On the topic of found photographs, Prince said, "Oceans without surfers, cowboys without Marlboros…Even though I'm aware of the classicism of the images. I seem to go after images that I don't quite believe. And, I try to re-present them even more unbelievably."[14]
Prince had very little experience with photography, but he has said in interviews that all he needed was a subject, the medium would follow, whether it be paint and brush or camera and film. He compared his new method of searching out interesting advertisements to "beachcombing." His first series during this time focused on models, living room furniture, watches, pens, and jewelry. Pop culture became the focus of his work. Prince described his experience of appropriation thus:
At first it was pretty reckless. Plagiarizing someone else's photograph, making a new picture effortlessly. Making the exposure, looking through the lens and clicking, felt like an unwelling . . . a whole new history without the old one. It absolutely destroyed any associations I had experienced with putting things together. And of course the whole thing about the naturalness of the film's ability to appropriate. I always thought it had a lot to do with having a chip on your shoulder.[15]
Patrick Cariou copyright infringement suit[edit]
See also: Cariou v. Prince
In December 2008, photographer Patrick Cariou filed suit against Prince, Gagosian Gallery, Lawrence Gagosian and Rizzoli International Publications in Federal district court for copyright infringement in work shown at Prince's Canal Zone exhibit at the Gagosian gallery.[16] Prince was charged with wrongfully appropriating 35 photographs made by Cariou. Several of the pieces were barely changed by Prince. Prince also made 28 paintings that included images from Cariou's Yes Rasta book. The book featured a series of photographs of Rastafarians that Cariou had taken in Jamaica.[17]
On March 18, 2011, US District Judge Deborah A. Batts ruled against Prince, Gagosian Gallery, Inc., and Lawrence Gagosian. The court found that the use by Prince was not fair use (his primary defence), and Cariou's issue of liability for copyright infringement was granted in its entirety.[18] The court cited much case law including the Rogers v. Koons case of 1992.[18] On April 25, 2013, the US Court of Appeals for the Second Circuit reversed Judge Batts's ruling, stating that Prince's use of the photographs in 25 works was transformative and thus fair use. Five less transformative works were sent back to the lower court for review.[19] The case was settled in 2014.[20]
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Cowboys[edit]
Prince's series known as the Cowboys, produced from 1980 to 1992, and ongoing, is his most famous group of rephotographs. Taken from Marlboro cigarette advertisements of the Marlboro Man, they represent an idealized figure of American masculinity. The Marlboro Man was the iconic equivalent of later brands like Ralph Lauren, which used the polo pony image to identify and associate its brand. "Every week. I'd see one and be like, Oh that's mine, Thank you," Prince stated in an interview.[21]
Prince's Cowboys displayed men in boots and ten-gallon hats, with horses, lassos, spurs and all the fixings that make up the stereotypical image of a cowboy. They were set in the Western U.S., in arid landscapes with stone outcrops flanked by cacti and tumbleweeds, with backdrops of sunsets. The advertisements were staged with the utmost attention to detail.
It has been suggested[according to whom?] that his works raise the question of what is real, what is a real cowboy, and what makes it so. Prince's photographs of these advertisements attempt to prompt one to decide how real are media images.
The subjects of Prince's rephotographs are the photos of others. He is photographing the works of other photographers, who in the case of the cowboys, had been hired by Marlboro to create images depicting cowboys. Prince described his process in a 2003 interview by Steve Lafreiniere in Artforum. "I had limited technical skills regarding the camera. Actually I had no skills. I played the camera. I used a cheap commercial lab to blow up the pictures. I made editions of two. I never went into a darkroom."[22]
Jokes, Gangs, and Hoods[edit]
Prince's rephotographs led to his series known as the Gangs, which followed the same technique of appropriating images from magazines as the Cowboys did, but now the subjects moved from advertisements and mass media toward niches in American society. Prince in this series paid homage to "sex, drugs, and rock'n'roll" in American niches, seen through magazines. He depicted the bizarre in subcultures such as the motorcycle-obsessed, hot rod enthusiasts, surfers, and heavy metal music fans. These Gangs are recognized in his series Girlfriends, featuring biker girls. A motorcycle magazine he used featured photographs of motorcyclists' girlfriends, were sprawled on their boyfriends' bikes. Prince's Gangs works are single sheets of white paper covered with a grouping or "ganging" of 9×12, 35 mm photographs. Prince did not intend any distinct relationship between the "ganged" photographs. An example can be seen in such works as his 1984 Velvet Beach, twelve Ektacolor-printed photographs of massive waves, clearly from a surf magazine. Another example is his 1986 Live Free or Die, gathering nine images of loosely dressed women on motorcycles.
Prince's made his first Joke painting circa 1985, in New York, when he was living in the back room of 303 Gallery located on Park Avenue South. The first joke represented was about psychiatrists, a subject he later worked with often. Prince described the discovery of the idea for the Joke Paintings beginning when he posted a small 11 × 14 inch handwritten joke on paper. He realized that if he had walked into a gallery and had seen it hanging from the wall, he would have been envious. Prince's Jokes come in several forms. His first Jokes were hand written, taken from joke books. His jokes grew into more substantial works as he began to incorporate them with images, often pairing jokes with images that had no relevance with one another, creating an obscure relationship. An example of one of these peculiar combinations can be seen in his 1991 Good Revolution, which depicted black and white images of a male torso in boxing shorts set amongst doodles of a kitchen stove. These were set above the text "Do you know what it means to come home at night to a woman that will give you a little love, a little affection, a little tenderness? It means you're in the wrong home, that's what it means." Another one of Prince's most well-known Joke paintings is an 80s-style red canvas painting he did in 2004 that says, "Two psychiatrists, one says to the other: I was having lunch with my mother the other day and I made a Freudian slip. I meant to say, 'Please pass the butter,' and instead it came out, 'You fucking bitch, you ruined my life.'"
In the late 1980s, Prince, like his contemporaries Lorna Simpson and Barbara Kruger, as well as many of his Conceptual Art precursors, played with image and text in a strategy that was becoming increasingly popular. Prince put jokes among cartoons, often from The New Yorker. Prince described his early discovery of jokes and his sense of humor, as "I never really started telling, I started telling them over. Back in 1985, in Venice, California, I was drawing my favorite cartoons in pencil on paper. After this I dropped the illustration or image part of the cartoon and concentrated on the punch line."[23] Prince's jokes were primarily satirical one-liners, poking fun at topics such as religion, the relationship between husband and wife, his relations with women. The jokes are simple, often relying on a punch line: "I took my wife to a wife-swapping party, I had to throw in some cash" or "I never had a penny to my name, so I changed my name." Prince commonly repeats his jokes.
Jokes became the complete subject of his prints, set atop monochromatic backgrounds red, orange, blue, yellow, etc. These works range in size from 56 × 48 inches as seen in his 1994 Untitled, to 112 × 203.5 inches, as seen in his 2000 work Nuts. His early jokes were modestly sized, but as they caught on he executed larger pieces. These Monochromatic Jokes question the importance of the unique, in high art. What is it that set these jokes apart from one another, the background color, the color of the text, the jokes themselves? Compared to other Appropriation Artists working in the same time period, Prince has a distinct quality between works and series. Works are distinguishable from one another or identifiable as a particular artist, but with Prince's Monochromatic Jokes, we are presented with yellow text upon a blue background as in his 1989 Are You Kidding? Differing from Jeff Koons, for example, are not only technique and style, but also the significance given to making the artwork identifiable. In 1988 Koons was working with porcelain sculptures like his Michael Jackson and Bubbles and Pink Panther. These are two works produced in this year that are distinguishable. In the same year, 1988, are Prince's Fireman and the Drunk and his Untitled (Joke), which raise the serious question of what sets these two works apart.[citation needed] In a 2000 interview with Julie L. Belcove, Prince called the joke paintings "what I wanted to become known for." When asked to identify the artistic genre of his Jokes, Prince responded, "the Joke paintings are abstract. Especially in Europe, if you can't speak English."[22]
While developing his Gang photographs and Joke paintings Prince was also making sculptural facsimiles of muscle car hoods that merged muscle car culture as a particularly American state of mind with the transcendent claims of Hard-edge abstraction and Minimalism.[citation needed] Prince ordered classic vehicle car hoods from within custom car restoration networks and then used the hoods to cast Fiberglas molds which he washed in different colors.
Celebrities[edit]
Celebrities is a series that plays with the American obsession with movie stars. Following Warhol's lead, Prince would search out actors' headshots, promotional photographs which frequently lack copyright protection. Prince signed them himself, using the actor's name.
Check Paintings[edit]
The Check Paintings series is like the Celebrities. It was made possible by Prince's own interest in collecting. Prince began to seek out canceled checks from famous figures in history ranging from Jack Kerouac to Andy Warhol. He put these checks onto paint-covered canvases and often paired them with images of the individual they once belonged to.
Nurse Paintings[edit]
The Nurse Paintings are a series inspired by the covers and titles of inexpensive novels that were commonly sold at newspaper stands and delis (pulp romance novels). Prince scanned the covers of the books on his computer and used inkjet printing to transfer the images to canvas, and then personalized the pieces with acrylic paint. They debuted in 2003 at Barbara Gladstone Galleries, who along with Larry Gagosian, represents Prince.[24] They received mixed responses, not all selling at the asking prices of $50,000 to $60,000. Titles include Surfer Nurse, Naughty Nurse, Millionaire Nurse, and Dude Ranch Nurse, the books from which they were copied. Prince said, "The problem with art is, it's not like the game of golf, where you put the ball in the hole or you don't put the ball in the hole. There's no umpire. There's no judge. There are no rules. It's one of the problems, but it's also one of the great things about art: it becomes a question of what lasts." The Sonic Youth album Sonic Nurse used Nurse paintings, and included a song called "Dude Ranch Nurse".
In the series of paintings, the nurses all wear caps and their mouths are covered by surgical masks, although in some of the paintings the red lips bleed through the masks. The final presentations preserve the title and nurse image from each of the book covers, though almost all else is obscured. Titles include A Nurse Involved, Aloha Nurse, Bachelor Nurse, Danger Nurse at Work, Debutant Nurse, and Doctor's Nurse.
Later works[edit]
Prince's series of paintings from 2007 on appear to be a throwback to more traditional genres of figurative art, and a departure from the pulpy and kitchy content of the Nurse and Jokes series. They are pornographic ink-jet prints overlaid with acrylic paint in a style trying to imitate Willem de Kooning. Prince makes the most direct treatment to the faces, hands and feet, which are bulged and distorted. These works lack the obvious linguistic re-contextualizing of the Jokes series, opting instead for a purely visual idiom.
In 2007, Prince collaborated with the fashion designer Marc Jacobs on his Spring 2008 collection for the French label Louis Vuitton.[25] The collection was inspired in part by Prince's Nurse Paintings. In an interview for style.com Jacobs stated that after he asked Prince to collaborate with him for Louis Vuitton, Prince started to look to cheap paperbacks that were set in exotic cities "after dark." As Marc Jacobs put it, "[Prince] asked me, what about Louis Vuitton after dark?"[citation needed]
An untitled work consists of the body of a 1970 Dodge Challenger and high-performance parts such as a 660 hp Hemi engine, custom interior, black wheel wells, 14-inch tires in the front and 16 inch in the back, a pale orange paint job with a flat black T/A hood, as well as various decals and emblems. Another car sculpture, called American Prayer, is a 1968 Dodge Charger that has been completely emptied of any engine parts and interiors and is stripped of any paint and then powder coated. In place of the engine block there is a cement block.[3]
In Untitled (Covering Pollock), a series of 27 works made between 2009 and 2011, Prince printed black-and-white photos of Jackson Pollock taken by Hans Namuth on canvas and pasted grids of photographs showing Sid Vicious, Kate Moss, Stephanie Seymour and pornographic imagery on top. Prince adds his own Pollock-style gestures in paint around the grids.[26]
In 2014, Prince continued his appropriation theme with an exhibit of 38 portraits at the Gagosian gallery in New York City, entitled "New Portraits." Each image was taken from his Instagram feed and included topless images of models, artists, and celebrities. Underneath the images, Prince provided comments like, "Don't du anything. Just B Urself © ®", with the copyright and registered trademark symbols likely being references to his interests in authorship.[27][28] "Possible cogent responses to the show include naughty delight and sheer abhorrence", wrote art critic Peter Schjeldahl in The New Yorker. "My own was something like a wish to be dead."[29] As with previous appropriated Prince works, the Instagram prints draw attention to the intersection of art and copyright infringement; Prince has been challenged in courts but has so far won or settled his cases.[citation needed] Some of the unwilling subjects of his art, notably members of SuicideGirls, have started selling their own derivative works based on Prince derivative works of their original works.[30][31]
In 2015, Prince would repeat his exhibit from Gagosian with a new exhibit for the Frieze Art Fair in NYC. However, Prince would end up making headlines due to selling the portraits for profit—at the fair, Prince sold enlargements of his Instagram feed and comments for $90,000.[32][33]
In 2017, he generated controversy by returning a $36,000 payment he had received in 2014 for his portrayal of Ivanka Trump, claiming that he could not live with the idea of one of his works being in the collection of the Trump family.[2]
Museum Exhibitions[edit]
Prince has been the subject of major survey exhibitions, including the Whitney Museum of American Art, New York (1992); San Francisco Museum of Modern Art (1993); Museum Boijmans van Beuningen, Rotterdam (1993); Museum für Gegenwartskunst, Basel (2001, traveled to Kunsthalle Zürich and Kunstmuseum Wolfsburg); Solomon R. Guggenheim Museum (2007, traveled to the Walker Art Center, Minneapolis, 2008); and Serpentine Gallery, London (2008).[34] "Richard Prince: American Prayer," an exhibition of American literature and ephemera from the artist's collection,[5] was on view at the Bibliothèque nationale de France, Paris in 2011.[35] Prince's work has also appeared numerous group exhibitions, including in Bienal de São Paulo (1983), Whitney Biennial (1985, 1987, 1997, and 2004), Biennale of Sydney (1986), Venice Biennale (1988 and 2007), and documenta 9 (1992).
Personal life[edit]
Prince lives in New York with his wife, the artist Noel Grunwaldt.[7]
O'Brien, Glenn et al. Richard Prince. Solomon R. Guggenheim Museum. New York. October 1, 2007 ISBN 978-0-89207-363-4
Richard Prince Nurse Paintings. Distributed by Art Publishers. ISBN 0-9703422-1-7
Newman, Michael (2007). Richard Prince: Untitled (couple). The MIT Press. ISBN 978-1-84638-003-7.
Women. Hatje Cantz, 2004. ISBN 3-7757-1451-0. Book of photos.
American English. Verlag der Buchhandlung Walther Konig, 2003. ISBN 3-88375-717-9. Photos of American and English first editions.
4 × 4. Korinsha Press & Co., 1997. Reprinted by Powerhouse Books, 1999. ISBN 1-57687-034-0. Book of photos, also includes interview of Prince with Larry Clark.
Adult Comedy Action Drama. Scalo, 1995. ISBN 1-881616-36-3. Book of photos.
Prince, Richard. "Inside World." New York: Kent Fine Art, 1989.
Just Another Asshole
^ Smith, Roberta (February 9, 2007). "Tracing a Radical's Progression Without Any Help from Him". New York Times. Retrieved July 13, 2018.
^ a b Randy Kennedy, January 12, 2017, The New York Times, Richard Prince, Protesting Trump, Returns Art Payment, Retrieved January 14, 2017, "... he decided recently that he could no longer countenance a piece of his residing in the collection of the Trump family ..."
^ a b Domenick Ammirati (September 18, 2007). "Everyone Knows This Is Nowhere". Modern Painters. Retrieved April 28, 2008. Cite journal requires |journal= (help)
^ "Richard Prince at Gagosian". www.gagosian.com. Retrieved June 23, 2017.
^ a b Robert P. Walzer (November 26, 2011), An Artist Amasses a Rare Collection Wall Street Journal.
^ Richard Prince Archived February 19, 2014, at the Wayback Machine Solomon R. Guggenheim Museum, New York.
^ a b Steven Daly (December 2007), Richard Prince's Outside Streak Vanity Fair.
^ Richard Prince, June 1, 2000, Fairchild Publications
^ Nancy Spector, Richard Prince
^ Warren, Lynne (2006). Encyclopedia of Twentieth-Century Photography. New York: Routledge. p. 1298.
^ "Specific Object / David Platzker catalog". Retrieved July 13, 2018.
^ Hunter Drohojowska-Philp (April 10, 1993), De-Construction Worker: Richard Prince's 'First House' Launches Regen Projects Los Angeles Times.
^ Pendle, George. "Beats Art". Summer 2009, Modern Painters.
^ Heiferman, Marvin. "Richard Prince", "BOMB Magazine" Summer, 1988.
^ Kruger, Barbara & Richard Price, "Interview", BOMB Magazine Spring, 1982
^ "La photographie appropriationniste la fin du droit d'auteur? | PM". PM (in French). October 1, 2016. Retrieved November 13, 2016.
^ French Photographer Patrick Cariou on His Copyright Suit Victory Against Richard Prince BLOUINARTINFO.com
^ a b Walker, David (March 21, 2007). "Appropriation Artist Richard Prince Liable for Infringement, Court Rules". Photo District News.
^ Kennedy, Randy (April 25, 2013). "Appeals Court Ruling Favors Richard Prince in Copyright Case". New York Times.
^ Brian Boucher, "Landmark Copyright Lawsuit Cariou v. Prince Is Settled", Art in America, March 18, 2014.
^ New York, May 2, 2005.
^ a b Lafreniere, Steve (March 2003). "Richard Prince talks to Steve Lafreniere - '80s Then - Interview". Art Forum.
^ Modern Painter, Special American Issue, Autumn 2002
^ "Richard Prince Biography and Selected Exhibitions". artnet.
^ Mower, Sarah (October 7, 2007). "Review of Louis Vuitton Spring 2008 Ready to Wear Collection". Style.com.
^ Martha Schwendener (September 9, 2011), Re-envisioning Pollock, Paint-Spattered Cowboy New York Times.
^ "Johnson, Paddy: ARTNET "Richard Price Sucks"". October 21, 2014.
^ "Saltz, Jerry: VULTURE "Richard Prince's Instagram Paintings Are Genius Trolling"". September 23, 2014.
^ Schjeldahl, Peter (September 30, 2014). "Richard Prince's Instagrams". The New Yorker. Retrieved January 4, 2015.
^ Contrera, Jessica (May 25, 2015). "A reminder that your Instagram photos aren't really yours: Someone else can sell them for $90,000". The Washington Post. ISSN 0190-8286. Retrieved June 8, 2015.
^ Needham, Alex. "SuicideGirls respond to Richard Prince selling their Instagram posts as art". the Guardian. Retrieved June 8, 2015.
^ "Artist Richard Prince sells people's Instagram images for $100,000". May 22, 2015. Retrieved June 23, 2017.
^ "Des clichés volés sur Instagram vendus 100 000 dollars dans une galerie". May 22, 2015. Retrieved June 23, 2017.
^ Richard Prince: Cowboys, February 21 - April 6, 2013 Gagosian Gallery, Los Angeles.
^ Richard Prince, May 24 - August 27, 2011 Gagosian Gallery, Hong Kong.
Richard Prince: Official website includes biography, comprehensive collection of the artist's work, news and exhibition information
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Richard_Prince&oldid=936003437"
20th-century American painters
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People from Braintree, Massachusetts
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Plans being considered to increase capacity at three Portland middle schools from 1,650 students to 2,000 by early 1996 would involve expansions and renovations totalling $14.83 million, an amount that would be totally funded by city taxpayers. Details; list of school construction projects.
"Plans being considered to increase capacity at three Portland middle schools fro" (1993). Maine News Index – Portland Press Herald. 614.


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The "Romeo and Juliet" that opened Sunday at the Folger Theatre is gripping and painful -- wild with youthful frenzy yet mature in its dissection of tragic events. The production begins at the end, with actors gathering to ritually cleanse pools of blood off the stage. We know how this one winds up; what matters to director PJ Paparelli is how it happened -- how everything veered so badly out of control.
It's a documentarian's view, one Paparelli likely acquired as he researched "Columbinus," a drama about the shootings at Columbine High School in Colorado that will premiere this March at the Round House Theatre. Paparelli's "Romeo and Juliet" unfolds like a careful re-creation of a crime; the multi-actor Chorus offers community testimony, and a small projection over the stage provides the tick-tock of chronological information -- "Two Hours Later," "30 Minutes Before Dawn," etc.
It's astonishing how much feeling Paparelli can evoke in the first few moments of a show. (He managed the trick for "Corpus Christi" a few years back, too.) Shortly after he establishes his mournful, empathetic, earnest tone he shocks you with the tender age of some of the participants. The Capulet ruffians who first strut the stage look like mere middle-schoolers, and Nicole Lowrance is one of those rare Juliets who's a plausible 14, an age that has her mother reporting on suitors, her father fielding proposals, and her doting Nurse reminiscing. Gene Gillette's Tybalt and Michael Urie's Mercutio, the baddest bad boys of the feuding Capulets and Montagues, look somewhat older -- Gillette, in particular, has the bearing of a new military recruit -- but the raw energy of youth is inescapable.
Not that this is a shrill, puling modernization in tattoos and denim. Paprelli preserves a classical tone, from the swords and daggers to Miranda Hoffman's timeless costumes. (Her general scheme is simple loose gowns for the women, tights, pants and billowing white shirts for the men.) Tony Cisek's set almost leaves the Folger's Elizabethan Stage as is, only attaching scaffolding to a good deal of the existing architecture, even on the face of half the balcony. Actors scamper high and low, sometimes in battle, sometimes just out of sheer ebullience. The theater is a hive of hormone-driven activity, and the performance has the high keen of teenage anguish.
The young actors hurl themselves into Shakespeare's passionate language as if it were a dangerous but seductive current, and it's pretty much a white-water ride all the way. That results in a certain amount of huffing and puffing, but the far greater effect is one of roller-coaster emotions, the unchecked peaks and valleys of kids slamming against the grown-up world.
As Romeo, Graham Hamilton often crosses the line between deeply wrought and overwrought, but it's hard to fault him for, say, the all-out rant he delivers when Romeo is banished for slaughtering the ever-goading Tybalt. "Thy wild acts denote the unreasonable fury of a beast," says the Friar to Romeo, and in this production the comment is exactly right. Lowrance isn't any less restrained; her tightly wound affection and distress as Juliet are consistently persuasive.
But the performance that best captures how the show works is Urie's. As Mercutio, Romeo's swaggering motormouth friend, Urie seems trapped in a world of wannabe cool. He's louder and more physical than his friends, so he's easily their top dog, but he's also manic and excessive, like an insecure kid who shows off to fit in. There is an awkwardness to the performance that isn't always clearly intentional, that makes you wonder whether Urie is too unseasoned for this large, dashing role. But his relentless lewdness and rudeness ultimately create a portrait not just of an unfortunate loudmouth who gets beaten up by bullies but of a worrisomely troubled kid.
The adults who surround this cauldron of youth are all played with command, down to a very small, very funny turn by James Konicek as a dry, disapproving Capulet servant. The Friar, who acts as the lovers' well-meaning go-between, is compassionate and moving in Edward Gero's hands. Nancy Robinette corners like a sports car as the nattering Nurse swerves from comedy to dismay. As Juliet's parents, Andrew Long and Julie-Ann Elliot brilliantly depict an imploding family.
Beauties in the staging include a flashlight scene at the ball (with formal yet lively choreography by Septime Webre) and violence that is almost always sudden and impressively unhinged. (Paul Dennhardt is the fight director.) The show flattens out a little by the end -- we know what's coming, of course, and it's tough to sustain a fever pitch for three hours. But this familiar tale is never rote or rarefied, and it's uncommonly saturated in tragic feeling.
Romeo and Juliet, by William Shakespeare. Directed by PJ Paparelli. Lighting design, Dan Covey; composer/sound, Fabian Obispo. With Miles Butler, Christopher Luggiero, Bobby Booth Kogan, Matthew Schneck, Tyee Tilghman, Craig Wallace, John Lescault, Ian Lockhart, Michael Leibenluft, Saskia de Vries and Kate Siegelbaum. Approximately three hours. Through Feb. 20 at the Folger Theatre, 201 East Capitol Street SE. Call 202-544-7077 or visit www.folger.edu.


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Q: Champions with physical changes from items? Is there any other champions that changes their appearance from items/etc? Considering that such don't have/wear skins.
E.g Cho'g and Zac's size depends on their HP, that they grow large enough if they reach like 3k+ HP or something.
Another is Rengar who changes his appereance from gaining stacks on his Necklace (I don't know if this is true but I'm around 80% sure that he gains something new on his apperance from stacks).

A: Currently there are no champions that change their physical appearance depending on the Item they buy.
However there are some cases in which special audio or visual effects are triggered:
Primetime Draven
If you buy Different Items on Draven he will often use a quote:

*

*Infinity Edge: "Look out, Draven's got his Infinity Edge!"

*Phantom Dancer: "That's a Phantom Dancer on Draven!"

*Bloodthirster: "Draven has finished his Bloodthirster!"

*Trinity Force:  "Wow, that's tons o' damage!"

*Nashors Tooth: "Why would Draven get a Nashor's Tooth? Because Draven."

Shopkeepers on Howling Abyss
Sometimes buying an Item triggers a special Quote

*

*Shard of True Ice: "Be careful with that. True Ice is powerful stuff."

*Frozen Mallet: "I crushed my share of skulls with that one!"

*Seekers Armguard:  "The seeker was a respected leader of the Tribe, but some say she betrayed us..."

Items that have Visual effects
Now this is the same for all champions. As far as I know there are no Individual exceptions.

*

*Runaan's Hurricane: A small Orb (hurricane) flies next to the champion

*Every Aura Item: Usually shows a small indicator under the champion.

*Banshees Veil: White-Blue Bubble around the champion.

*Spellblades/Muramana: Hands of the champions glow if the effect will be applied

*Face of the mountain + Sub-Items: Fireballs that fly around the champion.

Champions that passively change their appearance
These Champions change their appearance passively according to Situation.

*

*Kha'Zix: Body changes on Spending Evolution Points

*Cho Gath: Size changes according to ultimate stacks

*Zac: Size changes depending on how much health he has

Now these may not be all the Items/Champions/Actions that there are in the game but if you take a look at the wiki, you will usually find some additional information to it. Also I'm pretty sure that Rengar doesn't change his appearance based on how many stacks he has (Can't find a reference and also from Personal experience).

redpajama_set_name: RedPajamaStackExchange


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Analysez vos vidéos
Analysez vos campagnes
Qui sommes-nous-1
In 2020, Split-Test Video
is no longer an option…
Fabrice Courdesses
Published on 15 mars 2020
Targeting performance KPIs implies an attitude and above all, an adaptive approach: it quickly seemed insufficient to launch video campaigns blindly by relying only on a single video « creative ». You might as well toss a coin in the air and hope it falls on the winning side…
It's commonly accepted practice to split-test the various banners you're using in your display campaigns. Why shouldn't it be the same for video ads campaigns?
The origins of our inspiration
We profess to have been largely inspired right from the beginning by an American video campaign, the first referred to as a best-case by YouTube, dating back 9 years ago to 2009, an eternity. YouTube US was only 4 years old!
That was the Orabrush company's video, which catapulted its business to success in less than a year, thanks to a superbly orchestrated YouTube campaign.
We had the opportunity to meet and work with the US teams behind this campaign, as well as their successors, such as PooPourri or SquattyPotty.
It quickly became clear that these business successes were largely built on pre-campaign engineering, based on multidimensional testing of ads variations, and that distribution was from now on as much as important as production.
The Video Split-Test: campaign performance indicator
When it comes to video advertising, brands have to invest much more money in their creatives than for a banner package.
As a result, unfortunately, like the TV model, production practices are limited to delivering only one video.
To generate better performance for our clients, we quickly requested, following the model of the best American cases, that the production studios deliver several ads variations of the same video, in particular for the introduction, the call-to-action, the duration, the sequencing, the soundtrack, the inlays, the catchphrases, the tone, etc…
It may seem to be a little more work for the studios but if these variations variants are anticipated from the writing phase ➔ their production is marginal ➔ the campaigns are more effective ➔ and the clients are more satisfied.
To illustrate and measure the immediate impact of these pre-campaign video Split-Tests, we calculate of a Worst-to-Best ratio.
Based on a given KPI (often conversions… but it can also be post-click visits, add to basket, clicks, views… ), we measure the performance gap between the worst and the best video variant.
After more than a dozen campaigns carried out under these conditions, we have observed discrepancies ranging from 70% to more than 600%!
This means that by launching a campaign with a single (blind) video, a brand would have seen its performance significantly impacted: the worst video could have generated a ROAS (Return On Ad Spend) of 1, for example, and the best one of 10.
The impact of Split-Test video in the success of a campaign is such that it's clearly no longer an option.
How does the Split-Test video work?
Initially, we organized our campaigns for Split Test videos « by hand," meaning that we did labor-intensive work consisting of setting upa bunch of Google Ads campaigns, each time with a different variant to be able to compare them and determine which variant impacted the campaign results the most.
So in 2016, for our first campaign for the Balinea brand, we set up 60 different campaigns, with the following variables:
> multiple different videos (intro, length, ending).
> multiple CTAs.
> multiple landing pages.
When we saw the impact of these tests on the success of the campaign and its Scale (+40% on sales), we inevitably sought to do better (and therefore more) for the next campaign.
For the second run, 100 sub-campaigns were set up with an even greater impact, and even more so at 150… by integrating more and more variables:
> different videos
> CTA
> Landing page
> Devices
> Audiences
… until the manual approach showed its limitations:
In terms of time spent – remember Google Ads and YouTube are two different platforms Google Ads is not initially designed to manage video campaigns. So we ended up spending whole days doing the setup manually for our tests.
In terms of statistical reliability: as the budget allocated to these tests was limited, making it essential to surpass a manual budget.
We therefore conceived and developed VideoRunRun, the first technology that maximizes video ads, based on Split-Tests on YouTube.
Today with just a few clicks, VideoRunRun allows the simultaneous launch of several thousands of sub-campaigns integrating all possible variants.
In a few days, our algorithm is be able to identify the best performing sub-campaigns on the brand's KPIs objectives, and then launch the scaling phase on the best performing variants.
VideoRunRun's ambition for brands
➔ Support digital brands and e-commerce in the field of video performance… by predicting the ROI of their video campaigns during the testing phase and then optimizing KPI acquisition during the resulting scaling phases.
➔ Significantly increase the ROAS of retail chains and advertisers who invest a lot on YouTube and don't always know which KPIs to measure… and thereby optimize them.
➔ Accompany creative studios and agencies in their transformation from audiovisual to digital.
Our ambition is to establish a new standard, a new way of understanding digital and social video by putting it (also) into performance service, thanks to Split-Testing.
Branding and performance are complementary, so why choose?
Le Slip Français:
how a high-performance YouTube campaign generates a 5.9 ROI
See how creative testing and campaign optimizations with VideoRunRun drove success during a hyper-competitive period of the year, Christmas.
Subscribe to receive updates on videorunrun and how video is making waves in the industry
VideoRunRun 2022. All rights reserved. Terms of service

redpajama_set_name: RedPajamaCommonCrawl


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Q: Spring Integration MappingMongoConverter write a list Hi I am new to Spring Integration and I was wondering if anyone knew how to work around an issue i am having. When I setup the mongo outbound-channel-adapter, I am receiving a list of objects in the custom MappingMongoConverter write method. Does anyone know how to write these to Mongo as individual documents? At the moment I can store them all in one document, but would prefer one document per object in the list.

Many thanks,
Regards.

A: Simply add a <splitter/> upstream of the outbound channel adapter (it only needs an input channel and output channel - the default splitter will split a Collection into its individual elements).


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