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Lilly Maria Rydström-Wickelberg, född 22 juli 1891 i Ramsjö, Hälsingland, död 14 november 1957 på Sjöryd, Grästorps köping, Skaraborgs län, var en svensk målare.

Hon var dotter till handlaren Albert Leopold Rydström och Julia Klingström och från 1917 gift med godsägaren Rudolf Wickelberg. Hon studerade vid Tekniska skolan i Stockholm 1908 och vid Althins målarskola 1909–1910, Wilhelmsons målarskola 1910–1913 samt för Henri Le Fauconnier och André Dunoyer de Segonzac vid Académie La Palette 1914 samt för Othon Friesz vid Académie Scandinave i Paris 1934.

Hon debuterade i en utställning tillsammans med Gabriele Münter på Gummesons konsthall i Stockholm 1915 och ställde ut tillsammans med Adina Tidlund på Konstnärshuset 1919. 1951 ställde hon ut i Lidköping tillsammans med Birgitta Flink, Inga Englund-Kihlman och Elsa Hansson-Winnberg. Hon medverkade bland annat i samlingsutställningarna Vårkonstsalongen på Konstnärshuset i Stockholm, Novemberutställningen på Liljevalchs konsthall och i utställningar arrangerade av Föreningen Svenska Konstnärinnor. Hon skrev en längre biografi om konstnären Gabriele Münter som publicerades i Konstrevy 1952. Hennes konst består av porträtt, stilleben, landskapsmålningar från Italien, Spanien och svenska Västkusten samt symboliska kompositioner med nakna figurer i landskapet.

Tryckta källor
Svenskt konstnärslexikon del IV sid 570-571, Allhems Förlag, Malmö.

Svenska målare under 1900-talet
Kvinnor
Födda 1891
Avlidna 1957
Personer från Ramsjö socken

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Edward Kirk Herrmann (July 21, 1943 – December 31, 2014) was an American actor, director, and writer. He was perhaps best known for his portrayals of Franklin D. Roosevelt in both the miniseries Eleanor and Franklin (1976) and 1982 film musical Annie, Richard Gilmore in Amy Sherman-Palladino's comedy-drama series Gilmore Girls (2000–2007), and a ubiquitous narrator for historical programs on The History Channel and in such PBS productions as Nova. He was also known as a spokesman for Dodge automobiles in the 1990s.

Herrmann started working in theatre on Broadway in 1972 with his debut in Moonchildren alongside James Woods. He received two Tony Award nominations winning for Best Featured Actor in a Play for his performance in Mrs. Warren's Profession in 1976. Herrmann received five Primetime Emmy Award nominations, winning for his performance in The Practice in 1999. He also received a Screen Actors Guild Award nomination with the ensemble for Oliver Stone's Nixon (1995). Herrmann became known as a character actor having appeared in various films such as Warren Beatty's Reds (1981), Woody Allen's The Purple Rose of Cairo (1985), Garry Marshall's Overboard (1987), Martin Scorsese's The Aviator (2004) and Chris Rock's I Think I Love My Wife (2007).

Early life
Edward Kirk Herrmann was born on July 21, 1943, in Washington, D.C., the son of Jean Eleanor (née O'Connor) and John Anthony Herrmann. Of German and Irish descent, Herrmann grew up in Grosse Pointe, Michigan, and graduated from Bucknell University in 1965, where he was a member of Phi Kappa Psi. He studied acting at the London Academy of Music and Dramatic Art on a Fulbright Fellowship.

Career

Theater
Herrmann began his career in theatre. One of the first professional productions he appeared in was the U.S. premiere of Michael Weller's Moonchildren at the Arena Stage in Washington, D.C., in November 1971. He moved with the show to New York City to make his Broadway debut the following year. Herrmann returned to Broadway in 1976 to portray Frank Gardner in the revival of Mrs. Warren's Profession. For his performance he won a Tony Award for Best Featured Actor in a Play.

Herrmann and Dianne Wiest collaborated as directors on the Williamstown Theater Festival in its 1985 offering Not About Heroes, playing Sassoon. Frank Rich praised the performance: "If Mr. Baker's Wilfred is a bit of an uncomplicated, foursquare boy scout and if Mr. Herrmann's stiff-upper-lipped Siegfried at first arouses deja vu, they form a passionate symbiosis as the darker clouds gather in Act II. Both actors also have a natural way with the rhetoric of their characters' respective canons." During 1988, Herrmann appeared in the New York production Julius Caesar as Gaius Cassius Longinus. Herrmann stated he had joined after becoming tired with constantly having to wear a suit in his prior roles and finding Cassius the most complex of the available roles. Frank Rich opined that Herrmann was the "liveliest of the leads by far" and that he would be better suited in the role of Brutus. In 1988–89, Herrmann starred with Alec Guinness in the London West End production of A Walk in the Woods. The play debuted at the Comedy Theater in November 1988, and was directed by Ronald Eyre. As the New York Times reported, "Mr. Guinness and Mr. Herrmann share the stage uninterrupted for some two hours. The fictional play is rooted in the real-life relationship between a Soviet diplomat and an American negotiator who broke protocol in 1982 and made a private limited arms control deal while taking a stroll in a forest outside Geneva."

Television

1970s

Herrmann was known for his portrayal of Franklin D. Roosevelt in the made-for-television movies, Eleanor and Franklin (1976) and Eleanor and Franklin: The White House Years (1977) (both of which earned him Best Actor Emmy Award nominations), as well as in the first feature film adaptation of the Broadway musical Annie (1982). Reflecting on becoming involved with Eleanor and Franklin, Herrmann reflected, "It was a gift. You never get a script that good. Or a cast that good, or a director that good, or a designer that good, or a sponsor that good. And all on the same project? It was just blessed." Joseph McAuley said of Herrmann's casting, "To a generation growing up watching television and the movies, Edward Herrmann was the personification of FDR. As an actor, he stood head and shoulders above everybody else (literally—he was 6'5") and he was an inspired choice to play the Depression era/World War II president for a generation who never knew the real man who had long since become an historical figure." Emily VanDerWerff wrote that while she found Annie to be a mediocre film, "Herrmann's warm charm as FDR shines through. He's a kind, compassionate fellow, in a film that's all about the power of positive feeling and kindness."

1980s
In 1980 Herrmann also starred in an episode of M*A*S*H as an army surgeon suffering from PTSD.
Also he played Max in the 1987 movie The Lost Boys.
He was nominated for a Tony Award for Plenty in 1983 and Emmy Awards in 1986 and 1987 for two guest-starring appearances as Father Joseph McCabe on St. Elsewhere. In 1984, Herrmann played Alger Hiss in the PBS docudrama Concealed Enemies. During a break from filming, Herrmann praised the production: "This is perhaps the most ambitious thing public television has ever done. They were a little nervous about it, because of the cost. But they shouldn't have worried. It smacks of the real thing."

1990s
Herrmann appeared in the 1994 television film Don't Drink the Water. Ken Tucker wrote, "In smaller roles, veteran character actors Austin Pendleton, Josef Sommer, and Edward Herrmann nail their lines like the seasoned pros they are." Herrmann portrayed Herman Munster in the Fox made-for-television film Here Come the Munsters, which aired on Halloween in 1995. Herrmann found the script "silly and funny" and wanted to play a clown again, though also admitting a lack of prior involvement with the original The Munsters: "I was way too old. I was out of college. I was going to be an actor. I have always admired Fred, but no, I wasn't swept up in Munstermania at all. I didn't have a lunch box." In observing the plot of Here Come the Munsters, Herrmann was reminded of American family values, seeing the production as parodying such beliefs: "In our screenplay, the Munsters arrive here as refugees. We resist attempts to kick us out of the country by a vicious politician who keeps saying, 'America for Americans!'"
David Flint and Nick Smithson positively commented on the accuracy of his likeness. He played Tobias Beecher's father on Oz. Herrmann earned an Emmy in 1999 for his guest appearances on The Practice. Also in 1999, Herrmann appeared as President Fellwick in the television miniseries Atomic Train. Ray Richmond commented that Herrmann "makes a swell U.S. President, reassuring and authoritative".

2000s
Herrmann portrayed Norman, a strikingly old intern, on ABC's Grey's Anatomy. From 2000 to 2007, he portrayed Richard Gilmore on The WB's Gilmore Girls. Series creator Amy Sherman-Palladino said Herrmann had been the first choice to play the character and came in to read the script despite his agent saying he would not: "We sat there in stunned silence as Ed opened the script and proceeded to read. And just like that, Richard Gilmore was sitting in front of us." The audition had taken place in New York City; casting director Jill Anthony said his audition and that of Kelly Bishop were vastly superior to others trying to procure the same roles. Bishop said she gained a friendship with Herrmann based on their similarities: "We, obviously, were older [than the rest of the cast]. But we were also New York actors, and we connected very well. We always did our crossword puzzles together in the hair-and-makeup room." Alexis Bledel, who portrayed his character's granddaughter, recalled Herrmann's extensive knowledge and habits during breaks from filming: "Ed was so knowledgeable about theater, TV, and film, and what I remember most is how he would share so much of this knowledge. He loved talking about it so we had those long Friday-night dinner scenes where we'd be sitting at a table all day, and he would share so much." Herrmann enjoyed the relationship between his character and that of Bledel, and was disappointed by the series finale. Caryn James assessed that Herrmann and Bishop succeeded in making their characters likeable while Sarah Schweppe wrote that Herrmann "was such a comforting presence on this show."

2010s
In October 2013, Herrmann made an appearance on How I Met Your Mother in the episode "Knight Vision", playing a minister.

Herrmann's death was written in via his character Richard in the 2016 revival of Gilmore Girls, Gilmore Girls: A Year in the Life. Lauren Graham, Herrmann's costar on Gilmore Girls, said, "He would have loved this [new series]. His death was just a loss for us personally. It's given the show a new complexity and depth. It's a nice tribute to him." Sherman-Palladino told Entertainment Weekly, "It's safe to say that the death of Richard Gilmore, the death of Ed Herrmann, looms large over everything." Scott Patterson, another costar, agreed with Sherman-Palladino: "[Herrmann's death] left a big void, but Amy honored it beautifully. He's throughout ... these stories. It's a wonderful homage to him as a person and to his character as well. It's nice to have him around." After concluding filming, Bishop said of Herrmann, "There was a space where he was supposed to be, so he certainly was with us, and he's very prevalent in the show so that will make everybody happy I think, who'll miss him, but I'm sorry he couldn't be with us."

Film
Herrmann's film career began in the mid-1970s, playing supporting roles including Robert Redford's partner in The Great Waldo Pepper, a law student in The Paper Chase, the idle, piano-playing Klipspringer in The Great Gatsby and opposite Laurence Olivier in The Betsy (1978). He again portrayed President Roosevelt in Annie.

Herrmann played the lead in the 1979 Kieth Merrill movie, Take Down, in the role as the high-school English teacher turned wrestling coach. Among Herrmann's better known roles are as the title character in another Kieth Merrill film, Harry's War (1981), the philandering husband of Goldie Hawn's character in Overboard, Reverend Michael Hill in Disney's The North Avenue Irregulars, one of the characters in the film-within-a-film in Woody Allen's The Purple Rose of Cairo, and as Max, the mild-mannered head vampire in The Lost Boys. In 1993, Herrmann appeared in Born Yesterday. He was offered praise for the role, Vincent Canby citing him as one of the four actors heading "the excellent supporting cast", and Malcolm Johnson writing Herrmann and Fred Dalton Thompson had the "most convincing performances". Herrmann appeared in the following year's Foreign Student, released on July 29, 1994. Kevin Thomas commented, "Edward Herrmann, so often a fine actor, emerges as a caricature of the tweedy, pipe-smoking professor". Herrmann portrayed Nelson Rockefeller in the 1995 film Nixon. Herrmann appeared in the 1998 film Better Living, a priest who becomes a family counselor. Oliver Jones wrote that Herrmann was in "a rare comic form" in the role.

Herrmann also had a supporting role as William Randolph Hearst in the 2001 film The Cat's Meow, starring Kirsten Dunst as Marion Davies. A. O. Scott praised Herrmann as performing "with remarkable emotional agility" while Kevin Thomas noted the resemblance Herrmann had to Hearst as being better than some of his costars. Herrmann had a small role as Joseph Breen in the 2004 film The Aviator, being assessed by Rich Drees as joining several actors in making "memorable moments" and cited by Roger Friedman of joining other featured actors in creating "lovely cameos". In March 2007, Herrmann had a supporting role in I Think I Love My Wife. Kirk Honeycutt lamented Herrmann, along with costars Chris Rock and Steve Buscemi, as character actors "wasted on such lightweight roles."

In 2011, Herrmann appeared in Bucky Larson: Born to Be a Star, playing a father whose son discovers his previous career. Robert Abele assessed Herrmann and costar Miriam Flynn as giving "aw-shucks performances". In 2012, Herrmann appeared in Treasure Buddies, portraying the film's antagonist. Herrmann took on the role due to the character being an English villain, allowing him to portray an antagonist with an accent, as well as being able to work with animals and make a film for children. The following year, Herrmann had a small role as a doctor in Are You Here. Herrmann's final appearance in a film was The Town That Dreaded Sundown, released in October 2014. Gary Collinson wrote that Herrmann and Veronica Cartwright both offered "solid support, although they are a little underused".

Voice work
Herrmann was known for his voluminous voice work for The History Channel and various PBS specials, including hosting a revival of Frank Capra's Why We Fight, and made appearances and did voiceovers in Dodge commercials from 1992 to 2001, and Rayovac batteries in the same timeframe. His voice work includes dozens of audiobooks, for which he won several Audie awards. He played Gutman in Blackstone Audio's Grammy-nominated dramatization of The Maltese Falcon and played Cauchon in Blackstone's audio version of Bernard Shaw's Saint Joan.  Herrmann provided the narration for the 2010 non-fiction book Unbroken: A World War II Story of Survival, Resilience, and Redemption by Laura Hillenbrand, Josh Schwartz praising Herrmann as doing "a great job", and Susan Rife assessing his narration as "urgent".

After his well-received portrayal of J. Alden Weir in the play My Dearest Anna at the Wilton Playshop in Wilton, Connecticut, he was a special guest of the Mormon Tabernacle Choir and Orchestra at Temple Square in their Ring Christmas Bells holiday concert in Salt Lake City, Utah, December 11–14, 2008. He reprised his role of Franklin Roosevelt in 2014, providing the voice of F.D.R. in Ken Burns' PBS series, The Roosevelts: An Intimate History. Herrmann received praise, Neil Genzlinger noting him as among the "top-drawer talent" of the voiceover cast.

His final work was as narrator for another Burns documentary, Cancer: The Emperor of All Maladies, which aired three months after Herrmann's death. Director Barak Goodman recalled Herrmann collapsing during the first day of his work on the project and explaining his illness of terminal brain cancer to the production crew of the documentary, Goodman furthering that by this point it was clear to Herrmann that he was not going to live despite receiving new forms of treatment: "He was confident he could do this, and felt it [was appropriate to] be his final project." Mary McNamara wrote that Herrmann delivered "a final performance, equal in breathtaking courage and beauty, that embodies precisely what allows Goodman to explore the staggering numbers and many defeats without ever falling to its knees as defeatist."

Personal life
Herrmann came from a prominent Unitarian family, based in Grosse Pointe, Michigan. He became a Roman Catholic as an adult.

Marriages
Herrmann was married twice and had two daughters, Ryen and Emma. In 1978, he married his longtime girlfriend, screenwriter Leigh Curran. The marriage ended in 1992. Prior to his second marriage, Herrmann's future second wife, Star (Hayner) Roman, filed a paternity suit against him after he fathered a child with her while filming Harry's War (1981). Roman and Herrmann eventually married, and the union lasted from 1994 until his death in 2014. Herrmann had one stepson, Rory Herrmann (né Rory Roman), Star Roman's son from a previous relationship who, as an adult, changed his last name from Roman to Herrmann in honor of his stepfather.

Automobiles
Herrmann was a well-known automotive enthusiast and restored classic automobiles. He was a regular master of ceremonies for the annual Pebble Beach Concours d'Elegance and hosted the television show Automobiles on The History Channel. He owned and restored several classics of his own, including a 1929 Auburn 8-90 Boattail Speedster and a 1934 Alvis Speed 20.

Legal issues
In December 2014, it was reported that Edward and Star Herrmann had filed a lawsuit against their accountants seeking $14.5 million that they alleged had been misappropriated. The suit was later dismissed.

Death
On December 31, 2014, Herrmann died from brain cancer at Memorial Sloan Kettering Cancer Center in Manhattan, at the age of 71.
The estate of Edward Herrmann has licensed his synthesized voice for audiobook narration through DeepZen.io from which the estate is granted royalties.

Acting credits

Awards and nominations

References

External links

Golden Voices Herrmann
Edward Herrmann(Aveleyman)

1943 births
2014 deaths
20th-century American male actors
21st-century American male actors
Alumni of the London Academy of Music and Dramatic Art
American male film actors
American male stage actors
American male television actors
American male voice actors
American people of German descent
American people of Irish descent
Audiobook narrators
Bucknell University alumni
Converts to Roman Catholicism
Deaths from brain cancer in the United States
Male actors from Michigan
Male actors from Washington, D.C.
People from Grosse Pointe, Michigan
Primetime Emmy Award winners
Tony Award winners
Fulbright alumni


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The employees and bosses who work at some of the nation's biggest tech companies have splurged big time on donations to left-wing Democrats.
Just ahead of the 2018 midterm elections, it has been revealed that the employees and bosses who work at some of the nation's biggest tech companies have splurged big time on donations to left-wing Democrats.
Top workers and administrators at Google, Facebook, and Twitter have opened their wallets wide for the far left for the coming elections.
"Employees of the tech giants have given a total of $2.4 million to House and Senate candidates, according to Federal Election Commission filings. Of that, only $176,000 – less than 8 percent – went to Republicans,: Fox News reported.
This news will not help defeat the perception that these tech giants are hopelessly biased against conservatives. How can anyone imagine that these companies will deal fairly with conservatives with this news?
These are the people who claim to be the gate keepers of truth. These are the people who claim they are sober enough and unbiased enough to decide for us what should be allowed on the Internet.


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You are here: Home / Arts / Review: Dracula by Chameleon Theatre Company
Review: Dracula by Chameleon Theatre Company
November 1, 2015 By Janet Williams 2 Comments
What happens when an amateur theatre company needs props that they don't have?
They ask a friends, ask a neighbour, or ask local residents.
A while ago Nick Coleman and Liz Strevens from the Chameleons Theatre Company went public to borrow a violin (for their production, The Ladykillers), and a white patio table (for their production, Relatively Speaking).
In their gothic drama Dracula this week, the Chameleons needed a coffin.
However, Director Liz Strevens didn't have any trouble finding a coffin, because Hursley Road is full of them!
Nigel Guilder, Chandler's Ford's family-owned Funeral Directors, kindly lent the Chameleons a light oak veneered coffin, with brass effect handles. This type of coffin is suitable for cremation.
Jonathan Harker (played by Paul Jones) approaching the coffin, in Dracula, the Chameleons' production.
It was both a glamorous and ominous evening. At Ritchie Memorial Hall, we were greeted by members of the Chameleons, who were all smartly dressed in black with a touch of red.
Director Liz Stevens was definitely the epitome of glamour of the evening!
Director Liz Strevens
Now the Chameleons also have a licensed bar for those who enjoy something stronger. I enjoyed my cup of tea in a disposable cup with plastic handles.
In the summer audience could also watch their shows in more comfort, thanks to the introduction of air conditioning in the Ritchie Memorial Hall.
Marilyn Dunbar and Mike Morris very busy at the bar.
During the interval, the new Chairman Sheila Hardiman encouraged the audience to support Chandler's Ford Good Neighbours.
In their recent AGM, the Chameleons have chosen Chandler's Ford Good Neighbours to benefit from their fund raising efforts from 2015 – 2016.
Review of Dracula
This is the most 'serious' play produced by the Chameleons I've ever seen. In previous productions such as Fawlty Towers and The Vicar of Dibley, the audience simply chillax.
Dracula is different.
There is a sense of urgency in Dracula. Lucy Westonra (played by Jennifer Prior) has died, and the tension is building up. Then Mina Harker (played by Lisa Dunbar) is critically ill. The audience is very involved in every step of new developments.
Lisa Dunbar (left) plays Mina Harker, and Jennifer Prior plays Lucy Westonra.
The play uses a minimalist design: a pair of doors, some chairs / bench / block, and the coffin is possibly hidden behind the doors. The simplicity of the stage forces the audience concentrate on characters more.
The ensemble is brilliant in moving the story forward. They are ably played by Matthew Meehan, Sian Hayden, Abby Brine, and Shirley Bateman.
The use of multi-roles is clever. Matthew Meehan is a storyteller in the ensemble, and emotionally tortured as Renfield, and later as a sailor.
Similarly, Sian Hayden ably plays a maid and in the ensemble. Abby Brine's talent is not wasted. She plays in the ensemble and is the most seductive vampire.
Count Dracula, played by Simon Grey, displays a sinister and cold character. His height, body language, and superb make-up, makes him a commanding role. His accent in the style of Bela Lugosi is successful.
The sinister, chilling Count Dracula is brilliantly played by Simon Grey.
The play is narrative-heavy. Lots of information is given and the tension is slowly building up. The middle part of the show is particularly exciting.
Dracula – lots of scene changes and narratives. (Left to right): Jonathan Harker (Paul Jones), Mina Harker (Lisa Dunbar), Prof. Van Helsing (Wayne Bradshaw), and Doctor Seward (Stuart Wineberg).
The play has a strong technical team led by Lionel Elliott, who has been training young people to work backstage with him. A Toynbee student, Rebecca Nye, helps with the sound system. Sam Hemley and Ben Williams were also helping and learning.
Technical team: (from left to right): Lionel Elliott, Rebecca Nye, Sam Hemley, and Ben Williams.
Interview with an audience
My son Ben is probably one of the youngest audience. I conducted an interview with him, and here is his review of Dracula.
1) What's the most impressive / the most memorable scene to you?
I find the final fight against Dracula very effective as the lighting and music was in sync with the action. The build-up was also very well timed and it made the final fight great to watch. The whole second act escalates magnificently.
2) Is Dracula meant to be a comedy? Does the show make people laugh / scared?
Some of Van Helsing's lines I think were supposed to be funny but the majority of the play is serious. However sometimes the audience would laugh at a scene which was supposed to be serious, which I don't understand. One scene is where Harker is about to kill Dracula and Dracula's hand pops out to grab the stake and Harker screams. Because I was helping backstage during rehearsals I knew the scene was supposed to be creepy, but the audience laughed. Very strange.
Some scenes are serious. Jennifer Prior in her Lucy Westonra role. Arthur is played by Matt Martin (right).
3) What do you think of the stage, sound, and lighting?
The sound and lighting all complemented the story very well. It was a gothic setting and the lighting was different for different scenes. For Dracula's castle the lighting sometimes went red while for the asylum it went green.
4) What is Dracula about? Is it a common theme in fiction?
It is a gothic story about the supernatural and the unknown. It utilises many different gothic conventions. The original book used a real life Hungarian count called Vlad Dracula as the basis for the vampire Dracula. The story is arguably an early example of science fiction, as the medical details in the plot were new and the story gets scientific at times.
5) Who's your favourite actor/actress and why?
My favourite characters were Van Helsing (played by Wayne Bradshaw) and Renfield (played by Matthew Meehan). Renfield was very creepy and suited the horror and psychological aspects of the story. Van Helsing was awesome and had great stage presence. When he confronts Dracula he is not afraid of him and he exudes leadership. It's obvious why he is the one in charge of taking down Dracula. Bonus points for having a bow tie and tweed, the dress code of the Eleventh (and best) Doctor.
(Left to right): Renfield is played by Matthew Meehan, Prof. Van Helsing by Wayne Bradshaw, and Doctor Seward by Stuart Wineberg.
6) Overall what is your verdict of this show?
I thought it was very well made and produced considering the budget restraints on the show. The atmosphere and acting were appropriate to the dark tone of the play. There is a lot of dialogue. I don't know if this production was intentionally meant for the Halloween period but it certainly fits this time of year well.
7) Is this a children-friendly (or oldies friendly) show?
Unlike the Chameleons' other performances I've seen, this one is probably not appropriate for younger children because of the subject matter and often violent scenes (there's no blood but the actions are still violent). However I still think the play will be enjoyable for adults who can understand the original story's themes and ideas.
The cast – Dracula by The Chameleon Theatre Company.
Coming to Town: Fawlty Towers by Chameleon Theatre Company Review: Fawlty Towers by Chameleon Theatre Company Review: Relatively Speaking – Chandler's Ford Chameleon Theatre Company Another Triumph for Chameleon Theatre Company Review of Aladdin by Chameleon Theatre Company
Tags: arts and crafts, Chameleon Theatre, Chandler's Ford, Chandler's Ford Good Neighbours, community, entertainment, event, Hursley Road, local interest, review, Ritchie Memorial Hall
Francisco says
It was my first attendance to Chameleon Theatre, and I am sure it will not be the last one.
Well done to all the company, performance, technical support and organisation teams.
Review: All My Sons - Chameleon Theatre Company 2016 - Chandler's Ford Today says:
[…] such as his role as Professor Marcus in The Ladykillers, and the emotionally tortured Renfield in Dracula. Matthew Meehan could practically stop you breathing the moment he comes on stage. As a versatile […]

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Cheap flights from Robin Hood to Los Angeles
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2003 Roland-Garros champion & world No. 1
How does a candidate get elected into the Hall of Fame?
The ITHF Player Voting Group, comprised of approximately 140 tennis journalists, historians, and Hall of Famers, will submit their vote.
The top 3 vote getters in the Fan Vote will receive bonus percentage points on their result from the Voting Group.
To be elected, a candidate must receive an affirmative vote in 75% or higher of ballots submitted from the Voting Group or a combined total of 75% or higher from their Voting Group result and Fan Vote bonus percentage points.
So, if a candidate gets 80% in the ITHF Voting Group and wins the Fan Vote, their total vote will be 83%. Because this is higher than 75%, they will be elected to the Hall of Fame. If a person received 74% affirmative votes in the ITHF Voting Group and comes in second place in the Fan Vote, they'll get a 2% bonus, bringing their total vote to 76% and they will be elected to the Hall of Fame.
Fan Vote Bonus Added to Overall Score
Class of 2023: Wheelchair Tennis Category
In addition to the annual induction of the sports' greatest players, every four years the International Tennis Hall of Fame presents tennis' ultimate honor to the greatest wheelchair tennis players by induction in the Wheelchair Tennis Category. Candidates must have demonstrated a distinguished record of competitive achievement at the highest international level. Consideration will be given to integrity, sportsmanship, and character.
The year ahead will be a Wheelchair Tennis Category induction year and there are two candidates on the ballot:
The Wheelchair Tennis Category will not be part of Fan Voting, but will be decided upon only by the Official Voting Group, which is comprised of wheelchair tennis experts, media, historians, and Hall of Famers.
Preserve. Celebrate. Inspire.
Being voted into the International Tennis Hall of Fame is the ultimate honor for a tennis player. It represents the sum of their career achievements as being among the greatest in tennis history.


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«Я тот, кто я есть!» — первый студийный альбом хеви-метал-группы Чёрный кузнец, выпущенный в 2009 году.

История
В апреле 2008 года, после прихода нового бас-гитариста Павла Сацердова и директора Александра Сидорова, началась запись дебютного, студийного альбома группы, который впоследствии получил название «Я тот, кто я есть!». Запись проводилась в Санкт-Петербурге с апреля 2008 по май 2009 года.

10 мая 2009 года в клубе «Арктика» города Санкт-Петербурга состоялась презентация диска, на которой в составе группы дебютировал барабанщик Евгений Снурников, заменивший ушедшего Сергея Курнакина. Однако, на альбоме партии ударных были записаны именно Сергеем Курнакиным. Альбом «Я тот, кто я есть!» был выпущен на лейбле «Redestruct music».

Критика
Портал MuzArea.ru положительно оценил альбом, отметив вокал и технику исполнения, особенно отметив тексты из второй половины альбома.

В то же время, журнал Dark City критически оценил альбом, поставив 3 звезды из пяти:
<…> Главный же минус — традиционный до избитости, скучноватый мелодик-хэви-метал и не самый выдающийся саунд, из-за чего альбом утомляет уже к середине, а при наличии внушительного количества аналогичного материала возвращаться к «Я тот, кто я есть!» во второй раз уже и не особо захочется…

Список композиций

Участники записи

Группа Чёрный кузнец

Приглашённые музыканты

Дополнительная информация
 Аранжировки, программирование, оркестр — Николай Курпан
 Запись — Николай Курпан (бас-гитара, гитары, клавишные, вокал, на студии «Sound Loundry»);
     — Дмитрий Розе (ударные, на студии «RP-Studio»)
 Мастеринг — Cutting Room (в мае 2009 года в Стокгольме, Швеция)
 Художник — Лео Хао
 Оформление буклета, фотографии — Любовь Подольская
 Продюсирование — Николай Курпан, Михаил Нахимович, Николай Барбуцкий
 Саунд-продюсирование, сведение — Дмитрий Розе (RP-Studio)
 Директор группы — Александр Сидоров
 Диск сопровождается 12 страничным буклетом.

Примечания

Ссылки
 Альбом и тексты песен на официальном сайте группы Чёрный кузнец
 Видеоролик об альбоме  на сайте YouTube

Альбомы группы «Чёрный кузнец»
Альбомы хеви-метала
Альбомы пауэр-метала
Дебютные альбомы 2009 года
Альбомы России
Альбомы Redestruct music


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All Careers & Internships
Current Job Openings and Internships
Win Without War is a diverse network of activists and organizations working for a more peaceful, progressive U.S. foreign policy — and that's put us on the forefront of the fight against some of the most frightening and inhumane foreign policies of the past two decades.
We're leading campaigns to end U.S. support for the Saudi- and Emirati-led war in Yemen — helping pass an unprecedented bipartisan congressional rejection of Trump's policy. We're working with allies on the Hill to pass legislation that'll block President Biden's unnecessary cash handouts to weapons contractors and the Pentagon. And we're a leading voice in a powerful coalition campaign to make sure the United States avoids war with Iran, and instead returns to the path of diplomacy.
We believe that by democratizing U.S. foreign policy and providing progressive alternatives, we can build a more peaceful, just world where all people — regardless of race, nationality, gender, religion, or economic status — can feel secure and find and take advantage of opportunity equally, equitably around the globe.
It's a big, ambitious agenda, but our team is small and mighty: organizers, advocacy and issue experts, political strategists. Every day we bring our activists into Washington's foreign policy debates and support a network of partner organizations as we advance progressive solutions. We'd love you to join us.
Herbert Scoville Jr. Peace Fellowship
Share Position


the problem comes when I copy this line at the bottom to integrate 'remove php extension' on blog posts (o.php) and visit /perch/.
Does anyone know how I could integrate that rule with my current .htaccess?
Have you looked to see what line 40 in your page is? That might give you some clues.
I don't think this really sounds like a Perch issue.


Atack Ltd has been at the forefront of the Autodisplay market for over 30 years.
Arthur Atack first sold to the automotive industry in 1961 and all his experience and knowledge is still a large part of Atack Ltd. Arthurs son Andrew himself has been with the business for 28 years.
At Atack Ltd we pride ourselves on giving a friendly personal service.
Our large range of stock items are produced in bulk to give you the best possible value for money.
We have been supplying the Automotive industry with personalised goods such as Keyrings, Rear Window Stickers, Flags, Pricing sets etc. since the 1970s, we believe our indepth product knowledge enables us to deliver excellent customer service.


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SpaceX to lay off 10% of its workers
Posted 11:05 am, January 13, 2019, by CNN Wire
A project aimed at improving satellite communications with Earth is one launch away from completion.
(CNN) – SpaceX is laying off 10% of its 6,000-person workforce as it tackles two hugely expensive projects.
Elon Musk's rocket company said its finances are healthy, but that it needs to make cuts so its most ambitious plans can succeed.
"To continue delivering for our customers and to succeed in developing interplanetary spacecraft and a global space-based Internet, SpaceX must become a leaner company," the company said in a statement. "Either of these developments, even when attempted separately, have bankrupted other organizations. This means we must part ways with some talented and hardworking members of our team."
"We are grateful for everything they have accomplished and their commitment to SpaceX's mission," the company said. "This action is taken only due to the extraordinarily difficult challenges ahead and would not otherwise be necessary."
The layoffs were reported earlier Friday by the Los Angeles Times.
SpaceX has a booming business conducting uncrewed resupply trips to the International Space Station through contracts with NASA. The company also delivers satellites to orbit through contracts with the US military and commercial firms. SpaceX, along with competitor Boeing, are supposed to start flying astronauts to the ISS for NASA sometime this year.
The company earns tens of millions of dollars per launch. SpaceX was recently valued at $30.5 billion after initiating a $500 million equity sale in December. The company also took on about $250 million in debt last year in its first loan sale, according to the Wall Street Journal.
But SpaceX's new products are expected to cost billions to develop.
In September, Musk estimated SpaceX would spend between $2 billion and $10 billion developing an ultra-powerful spaceship and rocket system, recently renamed Starship and Super Heavy.
SpaceX plans to use the technology to fly tourists to space and, potentially, one day send humans to Mars. Musk said last year that Japanese billionaire Yusaku Maezawa made a "non-trivial" — but undisclosed — deposit to one day take himself and six to eight artists on a trip around the moon. Musk predicted that trip could occur as soon as 2023.
SpaceX is also developing a constellation of satellites that could one day beam high-speed internet down to the Earth. SpaceX Chief Operating Officer Gwynne Shotwell said during a TED Talk last year that she expects the satellite constellation to cost about $10 billion to deploy.
The company has already made headway on both projects.
Two Starlink demo satellites were deployed last year, and SpaceX intends to deploy the first operational satellites — to eventually join a constellation of thousands — sometime in 2019.
And Musk recently shared images of an operational model for Starship that he plans to use to conduct short "hop" test flights this year at a facility in Texas.
SpaceX launches first batch of 60 internet satellites in landmark mission
SpaceX will launch its first 60 satellites to deliver internet from space
SpaceX Falcon Heavy: Elon Musk's rocket company launches its 'most difficult' mission to date
SpaceX's Falcon Heavy rocket launches first paid mission and lands all three boosters
NASA is renting out a piece of historic Huntsville property to Jeff Bezos' rocket company
Frozen sperm can survive space travel, preliminary study suggests
NASA estimates it will need $20 billion to $30 billion for moon landing, administrator says
It's not just Quest: LabCorp says it was hacked too
Pepsi to reduce plastic waste by selling water in a can
Target expands childcare and paid family leave benefits as retailers battle for talent
NASA invites social media users to attend June Falcon Heavy launch
Chobani has paid off an Idaho school district's lunch debt


The American Montessori Society (AMS) describes Montessori children as to be more independent and unusually adaptable. It focuses on the distinguishing characteristics that make Montessori education different from the Traditional education.
Early in the twentieth century, Dr. Maria Montessori, Italy's first woman physician, developed educational philosophy, materials and methods based on her scientific observations of young children's behavior.Dr. Montessori's study about the learning process of children brought her to the conclusion that children teach themselves based on what they find in their environment. Her developed philosophy, methods, and materials eventually became known as the Montessori approach of education.
Dr. Montessori designed the materials that invite the children to do purposeful activities in a prepared environment. Her goal was to provide an environment to the child where he has the freedom to explore and learn through movement and materials. Each activity and every task performed by the child takes him to the next level eventually leading him to acquire a specific skill. All equipment used in Montessori classroom have sequence and interrelation in order to deliver a specific concept to the child, fulfilling the utmost goal of development of his potentials to its fullest.
The Montessori philosophy is based on personalized and individualized approach of education. The basic objective of providing Montessori environment to the children is to respond to their natural tendency to work and aid their task of inner construction as they grow from childhood to maturity.


Since last speaking with Jackie McLean nearly a year ago, she and her partner, Shawn Strack have grown tremendously as musicians. They are known as Roan Yellowthorn – an indie pop rock duo. Shawn, who had never been involved in musical production before, is the main engineer and instrumentalist on the upcoming album, Indigo, which is set to be released later this month.
Their latest single, "Talk About It" is their audience's first sneak peek as to how the album will sound. This song is a beautiful take on an unresolved relationship as it winds you through a journey both lyrically and melodically. It has a catchy chorus that will remain in your head long after listening to the song.
My last discussion with Jackie McLean touched on many of the overarching questions regarding her musical influences and the power of a song. This time around, we delved a bit deeper into her artistic development and how this is reflected in her upcoming project. Read more about Jackie and Shawn's journey below.


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Re:Collection: Sophia Pennex on Rita Hammond
February 3, 2020 /in News, Re:Collection /by Staff
Visitors to our website are invited to explore thousands of photographic works and objects from the Light Work Collection in our online database that expands access of work by former Light Work artists to students, researchers, and online visitors. To coincide with the our collection website launch, we're introducing a series on our blog called Re:Collection, inviting artists and respected thinkers in the field to select a single image or object from the archive and offer a reflection as to its historical, technical, or personal significance.
Today we're sharing a reflection on Rita Hammond's Images of a Girl series from Sophia Pennex. Pennex is a freshman in Syracuse University's Maxwell School of Citizenship and Public Affairs and Renée Crown Honors Program.
Rita Hammond's photography series, Images of a Girl (1967), emphasizes the unguarded emotions of her subjects, caught unaware. Like many in the series, this image is raw and powerful, with a quality of suddenness. The organic and candid emotions of the young girl and the blurriness of the gentlemen in the background both attract the viewer's attention. Co-author of the definitive book about Hammond's work as well as her friend, Gina Murtagh told me that this image reminds her of a Martin Scorsese film. The men surrounding the girl create a sense of danger, yet she has a slightly defiant look on her face. Murtagh describes the face as young and impressionable.
But the street photography qualities of this image make it hard to tell what is actually happening in this scene. Murtagh described street photography as always trying to catch something and this image embodies this idea. The girl in the front—who is, in fact, one of Hammond's long-time friends, Lynn Moser—is the only subject in focus. The setting of a busy street, likely 42nd street, and the background of people in motion, give the photograph an overall rushed tone. The juxtaposition of Moser's in-focus face and startled expression with the rushing, blurry background crowd, provokes our speculation about what may just have happened and what the emotions on Moser's face actually mean. This image makes us feel a personal connection to Moser. The interesting thing about such identification with Moser is that this experience—a momentary glimpse of a stranger in passing—is not new to us, yet how often do we develop these connections and interests in others? Others constantly surround us—at least if we occupy an urban environment—but how often do we actually look at each other?
We walk by other people many times in a day. Whether we are in a city or on campus, we are almost always near other people, but constant proximity is not the same as constant human contact. Sure, we may smile or wave to a friend or neighbor, but greeting a stranger is uncommon. As I walk through campus, I see many stone cold and dismissive faces. Everyone seems so engrossed in their own thoughts that I start to feel invisible.
This image captures the experience of escalating mutual invisibility. Our constant, self-absorbed hustle deadens our curiosity about the lives of others. Yet without our attention, other people may start to feel unseen too, turning ever more inward. This is a vicious cycle. However, Rita Hammond encourages us to break this cycle. Her images seize us abruptly and demand we look at one another and makes us realize that we are not alone in this chaotic world.
Find more of Rita Hammond's work online here.
Explore the Light Work Collection online at http://collection.lightwork.org
https://www.lightwork.org/uploads/Re-Collection_RitaHammond.jpg 999 1500 Staff /uploads/LightWork.png Staff2020-02-03 13:06:362020-02-18 12:02:44Re:Collection: Sophia Pennex on Rita Hammond
Re:Collection: Aaron Turner on Gerald Cyrus
September 10, 2019 /in News, Re:Collection /by Staff
https://www.lightwork.org/uploads/Re-Collection_GeraldCyrus_03.jpeg 989 1500 Staff /uploads/LightWork.png Staff2019-09-10 22:38:152019-09-11 10:22:40Re:Collection: Aaron Turner on Gerald Cyrus
Re:Collection: Pacifico Silano on Robert Benjamin
May 6, 2019 /in News, Re:Collection /by Staff
Visitors to our website can now explore thousands of photographic works and objects from the Light Work Collection in a new online database that expands access of work by former Light Work artists to students, researchers, and online visitors. To coincide with the our new collection website launch, we're introducing a series on our blog called Re:Collection, inviting artists and respected thinkers in the field to select a single image or object from the archive and offer a reflection as to its historical, technical, or personal significance.
Today we're sharing a reflection on Robert Benjamin's Jaiya, 1984 from 2016 Light Work in-residence, Pacifico Silano.
If you've ever taken a Photography 101 class, you're familiar with the cardinal rule: no pictures of babies or dogs. There's something about how everyone likes them, and so that deems them "unserious" subject matter. And yet many photographers, over the course of their careers, will, at one point or another, break the rules and turn their camera to the family pet. We love to be disarmed by these images as they bring us a sense of levity in an increasingly divided and hostile world.
Robert Benjamin's 1984 photograph, Jaiya, is a gentle reminder of the unconditional love we receive from our devoted, four-legged friends. A bed of grass fills the frame, the dog laying against it in the sun, with a glimpse of the photographer's foot appearing in the lower right-hand corner. It's an image that tells us of the simple pleasures in life like laying outside in the summer and briefly forgetting our troubles. We want to be as carefree and content as a dog, to not have to stress, worry, or live in fear for the future.
Find more of Pacifico Silano's work online here.
https://www.lightwork.org/uploads/Re-Collection_RobertBenjamin.jpg 948 1200 Staff /uploads/LightWork.png Staff2019-05-06 15:30:092019-05-07 11:32:36Re:Collection: Pacifico Silano on Robert Benjamin
Re:Collection: Robert Benjamin on Lawrence McFarland
April 9, 2019 /in News, Re:Collection /by Staff
Today we're sharing a reflection on Lawrence McFarland's Untitled image from Robert Benjamin, Lab member and 2014 Light Work artist-in-residence.
Special note: Robert Benjamin: River Walking is on view in the Kathleen O. Ellis Gallery March 18 – July 27, 2019
At times photographs can feel too substantial, anchored to the hard, physical realities of our world. Here, in McFarland's beautiful photograph, even the road seems to evaporate into the almost weightless atmosphere. The black top and fence posts remain vague markers, while light and space emerge as the true subjects―as in a dream or vision.
I find myself wondering if Mr. McFarland has still to travel down this expanse to nowhere, or has he successfully and gratefully left the worst behind? The icy tire tracks don't answer the question, only confirming a passage has occurred.
Of course, the happy news is that he made it home again, and has stopped long enough to hear the quiet, smell the snow, felt the small mystery―and brought it back for us to share.
https://www.lightwork.org/uploads/Re-Collection_LawrenceMcFarland.jpg 744 1200 Staff /uploads/LightWork.png Staff2019-04-09 09:30:512019-04-09 10:28:29Re:Collection: Robert Benjamin on Lawrence McFarland
Re:Collection: Marvin Heiferman on Toby Old
March 7, 2019 /in News, Re:Collection /by Staff
Today we're sharing a reflection on Toby Old's Diving Mule, Orange County Fair, from Loose Games Series, 1991 from Marvin Heiferman, Faculty, International Center of Photography.
Square photographs, like snow globes, are classically balanced and seem to offer up perfect little worlds, at least until their contents get shaken up a bit. Think Vivian Meier, Diane Arbus, Peter Hujar or Robert Mapplethorpe, Larry Fink, and even Robert Adams. Think Toby Old, too, who, since the 1970s, has been drawn to various spectacles in, and the fleshiness of, everyday life. Trained as a dentist―a field that, like photography, demands a forensic eye for detail―Old went on to picture disco revelers, boxers, strippers and their audiences, and public events, all with an appreciation for both localized cultural values and the more generalized ways of the world. In this photograph, a silhouetted mule, hurtling headlong into a swimming pool at a state fair, hints at mythology, Muybridge, and danger, while rapt observers underscore Old's fascination (and ours) with extraordinary things we can see when we're receptive, patient, or maybe just lucky enough.
https://www.lightwork.org/uploads/Re-Collection_TobyOld.jpg 1187 1200 Staff /uploads/LightWork.png Staff2019-03-07 11:49:182019-03-07 12:33:51Re:Collection: Marvin Heiferman on Toby Old
Re:Collection: M. Neelika Jayawardane on Zanele Muholi
February 14, 2019 /in News, Re:Collection /by Staff
Today we're sharing a reflection on Zanele Muholi's Lerato (Syracuse), 2015 from M. Neelika Jayawardane, Associate Professor at SUNY Oswego and Light Work board member.
Zanele Muholi's work has always focused on telling stories that were rarely incorporated into the national narrative, or South Africa's celebration of itself as a newly democratic nation. As a "visual activist," Muholi's portraits provide the foundation for her remarkable, long-term cartographic project, Faces and Phases. This portrait series, created between 2007 and 2014, maps, "commemorates and celebrates the lives of the black queers" Muholi met during journeys that spanned rural and urban South Africa. The project also collects first-hand accounts that bear witness to the schizophrenic experience of living in a nation where LGBTI people are often the targets of violence—this despite the fact that South Africa's progressive constitution specifically protects the rights of Lesbian, Gay, Bisexual, Transgender, and Intersex (LGBTI) people. Having realised that not having photographic evidence of her maternal or paternal grandparents resulted from a "deliberate" erasure, Muholi remembers feelings of "longing, of incompleteness, believing that if I could know their faces, a part of me would not feel so empty." That knowledge of deliberate, systematic erasure from the nation's historical records is so acute that she is driven now to "project publicly, without shame."
We recognize, today, that ethnographic and tourist photographs serve the function of aiding Western visitors' creation of subjectivity—as superior, perhaps benign, socially, intellectually, and geographically mobile, and participating in the flows of modernity. That project of European modernity required that the African subject remained firmly "fixed," immobilized in time and place. Given that history, Muholi's image of Lerato Dumse, a writer who documents their travels together for this project, reminds us of the significance of black portraiture photography—photographs of black subjects by black photographers—in the twentieth and twenty-first centuries. As with W.E.B. du Bois'American Negro installation for the 1900 Paris Exposition—which organized 363 images into albums—Muholi uses photography and portrait-making as powerful political tools that contribute to one's self-perception, as well as to the ways that others visualize who you are, as an individual or as a social group. Muholi's work also signifies an older tradition of African studio photography, in which it is plain that those within the frame—people who colonial administrators and contemporary travelers from the geo-political West often misrepresented and caricatured—are no longer satisfied with remaining as simple "subjects."
Today, there is a proliferation of photographs of black people, and in particular of black, African people, by white photographers. It is not just an "absence" of images that Muholi's work helps counter, but an over-abundance of a problematic gaze that has its roots in white supremacist ideologies. As photography scholar John Edwin Mason recently wrote on Twitter, "White people like to look at photos of black people. There's a seemingly insatiable demand [for] photos of black folks. Part of the reason is that photos give us permission to stare." Though we "all like to stare," he argues, audiences in the geo-political West have historically liked "to stare at the racial other." Whilst some of that looking can be borne of somewhat benign curiosity, and even accept and celebrate the challenges that Muholi, and other black women and non-cis-gendered photographers pose, much of what we continue to reward in portrayals of African people is what Mason calls a "safe" gaze. That photographic gaze allows the "looker" who is geo-politically situated in the West to remain in a comfortable, traditional role—wherein they are entitled not only to look, but to penetrate, and to impose. It does not "disrupt established ways of seeing—and, thus, knowing—black and brown people," or "take viewers outside of their comfort zones." Because of the "safety" that such portraiture affords white viewers, especially, Mason concludes, it does little to challenge or change ways "of seeing and knowing that are the product of societies in which white supremacy is a given." Though such photographs are often attractive (mostly because they meet stereotypical expectations we have been trained to imagine as "African"), and technically and compositionally expertly-made, they also fail us by presenting our world in solely heteronormative terms.
That failure of imagination is what this remarkable photograph by Muholi—and Lerato Dumse's seemingly simple, direct look-back at us—counters. Here, Dumse is a powerful, playful co-creator of their portrait. They are self-styled, moving between phases in mood, in dialogue with the photographer and potential audiences.
The photograph gives us permission—perhaps even invites us—to stare back at Dumse's lovely, symmetrical face, and their choice of slightly oversized check-pattern jacket, paired with an unlikely shirt patterned with bold, vertical stripes. But we know that we are not driving their narrative, or simply instrumentalising the person in the frame of the photograph as an "other" to further our own subjectivities. Rather, we commune with them with a respect and an understanding that this person is able to powerfully fashion themselves and how they wish others to see them. They are in dialogue with us, looking back and pushing back against the narrow possibilities that hegemonic culture made us all believe is all we have. This portrait gives us—all of us— the courage to ask for far more.
Find more of M. Neelika Jayawardane's work online here.
https://www.lightwork.org/uploads/Re-Collection_ZaneleMuholi-1.jpg 1200 796 Staff /uploads/LightWork.png Staff2019-02-14 13:22:522019-02-15 15:32:28Re:Collection: M. Neelika Jayawardane on Zanele Muholi
Collection Connection: Dean Kessmann
May 6, 2011 /0 Comments/in Re:Collection /by Shane Lavalette
Washington D.C. based artist Dean Kessmann shares his experiences during his residency at Light Work in July 2009, which culminated in a generous gift to the Light Work Collection.
Nearly two years ago, I arrived at Light Work ready to start printing a nearly completed series titled A Year at a Glance. Once those prints were complete, I quickly went to work on a second project, Art as Paper as Potential: Giving/Receiving, which was in the middle stages of production. After I made sufficient progress on the second project, I turned my attention to a third project, which is still untitled, and, unfortunately, unfinished. My goal was to complete A Year at a Glance, make significant progress on Art as Paper as Potential, and get at least one test image done for the third project. I'm happy to say that I achieved my goal; it's amazing how much work you can get done when you have the support of the awesome Light Work staff.
Art Forum (front cover) 2007, Art Forum (back cover) 2007, from A Year at a Glance
Prior to receiving the residency at Light Work, A Year at a Glance was precariously close to being placed on the eternal back burner of ideas that never see the light of day. The worst part was that this project was nearly finished; I simply had not had the time to focus my attention on it once it reached a critical stage in the process. Other projects and other exhibitions were, for various reasons, taking precedence over this one, so A Year at a Glance kept being postponed. When I received the call from Mary Goodwin at Light Work telling me that I had been selected as an Artist-in-Residence, she asked whether the project that I had included in my application, A Year at a Glance, had been completed. Feeling somewhat embarrassed because my application had been submitted over a year earlier, I sheepishly answered, no. To my surprise, this answer was warmly received; Mary was very enthusiastic about having me work on this series when I arrived.
Art Papers (front cover) 2007, Art Papers (back cover) 2007, from A Year at a Glance
Artists-in-Residence are not required to work on any specific project while in Syracuse, which is one of the great things about Light Work. However, after thinking about my options, I decided that I should pull this project off the back burner and make it my first priority. Once the sixteen diptychs that make up A Year at a Glance were completed, I felt a weight lifted off my shoulders, a huge sense of satisfaction, and very thankful to Light Work for believing in this project. As mentioned above, I went on to make significant progress on a second project and headway on a third. In the end, I was able to accomplish more during the month in Syracuse than I generally get done in an entire year. This was the gift given to me by the staff at Light Work.
Blind Spot (front cover) 2007, Blind Spot (back cover) 2007, from A Year at a Glance
Most Light Work Artists-in-Residence donate a print or two to the permanent collection at the end of their residency. I could have submitted a single diptych from this series; however, I wanted Light Work to have the entire series. The fact of the matter is that this work may not have been done had I not been awarded a residency. Furthermore, I may not have bothered to complete A Year at a Glance had Mary not told me how excited she was about this series when I talked to her for the first time.
Art in America (front cover) 2007, Art in America (back cover) 2007, from A Year at a Glance
A Year at a Glance presents a snapshot of the art world through the front and back covers of sixteen art magazines. Even though a single diptych encompasses a year of arts coverage from the perspective of one magazine, it provides a somewhat narrower picture than the entire set. While the entire series of prints is not an exhaustive typology by any means, it does provide a slightly wider angle of view. Light Work made it possible for me to complete this project; therefore, it only seemed right that I donate an entire edition of this series to the collection, which I happily did. —Dean Kessmann
Dean Kessmann teaches photography at The George Washington University in Washington, D.C. His work has been exhibited at a wide variety of venues, from appearances at Aqua Art Miami and PULSE New York to several shows at Conner Contemporary Art in Washington, D.C. For more information about Kessmann and his work, visit his website at www.deankessmann.com.
https://www.lightwork.org/uploads/kessmann_art_forum_21.jpg 240 500 Shane Lavalette /uploads/LightWork.png Shane Lavalette2011-05-06 10:30:272013-03-26 10:59:00Collection Connection: Dean Kessmann
Students explore the Light Work Collection for curating ideas
February 9, 2011 /0 Comments/in Re:Collection /by Shane Lavalette
We received the following note from Syracuse University graduate student Lily Betjeman, who is enrolled in the Goldring Arts Journalism Program at the school. As part of the coursework, the program asks their students to curate an exhibition from the Light Work Collection, which they do online. Lily writes in to share her experiences looking for exhibition ideas in the Collection:
When Amei Wallach, an art critic and filmmaker who is a visiting scholar for my course, asked us to curate an exhibition from the Light Work Collection, it felt unwieldy at first. After all, where do you start if you have over 3,000 works to draw on? The task proved much more fluid than I had thought, however, once I let myself respond to a couple works and associate from there. I have a feeling this experience may be common for people interested in art.
While reading about Light Work's history on their website, an image called Cheers, from Standards of Perfection (1999) by Linda Adele Goodine stuck out. The work features a grid made out of wedding cakes interspersed with pictures of young female cheerleaders. The images of the girls look like they are taken from a yearbook, preserved moments of rigid good humor.
Often associated with ambitious if not repressed females, perfectionism can take a powerful hold of people. Goodine's work shows both the allure and the falsity inherent in notions of female perfection. But I wanted to explore more artists' visions of perfection.
Enter the search term "perfect" into the online Collection database and more than 700 images show up. The term "perfection" in contrast yields 30 images. I decided to look through the "perfect" images first to have a broader range to choose from. Rita Hammond's Architecture: Resort Series was haunting and felt related to Goodine's work. The series of black and white images capture resort culture in central New York. Absent in the photographs, however, are people. One work, Untitled (track and stands of Saratoga Race Track), shows the deserted track, so lively during the summer months. I felt an inkling of a theme developing: Notions of Perfection in Americana.
I have much more searching to do, and I'm really excited to see where my instinct takes me. The process is about looking at art but also about forming connections, another kind of creative process. The show I end up with may desert my initial idea entirely, but I'm sure the exploration will lead somewhere revealing. — Lily Betjeman
We're looking forward to seeing the results of the Goldring students' research, and we'll be featuring a selection of their exhibitions on this blog in April.
https://www.lightwork.org/uploads/LightWork_Logo_1000px.jpg 1000 1000 Shane Lavalette /uploads/LightWork.png Shane Lavalette2011-02-09 15:18:232013-03-26 10:59:01Students explore the Light Work Collection for curating ideas
Organizing the Light Work Collection
January 13, 2011 /0 Comments/in Re:Collection /by Shane Lavalette
In 1985 we put together an exhibition from our collection titled Light Work: Photography Over the 70s and 80s. The exhibition opened at the Everson Museum of Art in Syracuse and then traveled to several locations throughout the state for the next two years. Most of the work in the exhibition was donated to us by artists who had participated in our Artist-in-Residence program (AIR).
We started the AIR program in 1976, and it continues today as our most important contribution to the field. We currently invite 12-15 artists per year to participate in the program with the goal of giving artists the opportunity to do what they do best—make new work. Each artist comes to Syracuse for a month and is provided housing, a private darkroom or computer workspace, 24 hour access to our lab and a $4,000 artist fee. Their only obligation is to work on the project of their choice without any distractions or additional requirements. At the end of their residency each artist is asked to donate a few examples of their work to our collection, and we publish a selection of their work in a special annual edition of our journal Contact Sheet. (Image: Gary Metz, from the series Quaking Aspen, Populous Tremuloides.)
When we did the retrospective exhibition in 1985 we realized that we had a unique collection that would continue to grow along with our AIR program. So in 1992 when we began to catalogue and digitize the collection. Our goal was to make the collection accessible and searchable from a number of different perspectives. In 1992 the database technology, and especially the image data base technology, was nothing like it is today. There was no Internet, and the founders of Google were in grade school. We were able to digitize the work in the collection using Kodak's Photo CD service where you sent Kodak 100 slides and they sent you back a CD filled with digital files. Kodak also had an image database program called Shoebox, and we used that as our first database.
We created a number of fields in the database to help us organize the work with obvious functions like artist's name, dates, titles, catalogue numbers, and where the print was located in the collection. Because it was a collection of images, we also wanted to try and develop a way to search the collection in order to find works that might relate to one another. One way to do that was to use a keyword field that might include general descriptions of the image like, portrait, landscape, abstract, etc. We thought that this system was too limited for a number of reasons, including the general nature of the descriptions, and the objectivity of whoever had the task of assigning keywords to each image.
In the original Shoebox database there was a long text field where we could add essays about the artists, artists statements, or just about any kind of description about the artist or the image. We had already been writing essays about each artist for publication in Contact Sheet, so we could easily add these essays to each record in the database and make the entire essay searchable. While this wasn't a perfect solution it seemed like a good way to search the collection that might turn up unexpected and also useful results. Now that the entire collection in online in a searchable database we want to encourage our audience to use this flexible search capability to make their own connections with the collection. (Image: Hank Willis Thomas, Branded Chest.)
As I am writing this I am looking out over a very snowy January Syracuse landscape, so I decided to type "winter" into the search box in the collection. The search produced 42 matches including work by Peter Finnemore, Hank Willis Thomas, and Gary Metz. I've just included the images here along with the caption information and would be very interested to have your comments about the results.
—Jeffrey Hoone, Executive Director
Image: Peter Finnemore, Mad about the Cow.
https://www.lightwork.org/uploads/LightWork_Logo_1000px.jpg 1000 1000 Shane Lavalette /uploads/LightWork.png Shane Lavalette2011-01-13 15:38:102013-03-26 10:59:02Organizing the Light Work Collection
Birth of the Light Work collection
December 14, 2010 /0 Comments/in Re:Collection /by Shane Lavalette
The Light Work collection is an important collection of contemporary photography and at the same time serves as a record of how Light Work has accomplished its mission to support artists working in photography since 1973.
The collection was started by accident rather than by design and as a byproduct of listening to and meeting the needs of artists. Shortly after Light Work was founded as the programming arm of Community Darkrooms, a public access photography lab at Syracuse University, we began to engage the larger community of photography through a series of exhibitions, lectures, and workshops. Our workshops were fairly typical for the time where we would invite photographers from across the country to Syracuse to conduct short two or three day workshops where they could share their expertise and knowledge with photographers from our area. After a few years of conducting workshops led by Larry Fink, Les Krims, Charles Harbutt, Melissa Shook, Linda Connors, and others, a simple conversation changed how we were to provide support to artists for years to come. No one seems to agree on which artist the conversation took place with, but it played out something like this. When either Phil Block or Tom Bryan was taking one of the artists, who had just completed a workshop, to the bus station for the trip back home they were doing a general debrief of how the workshop went. The artist remarked that he thought things went well and that it seemed like the students got a lot out of the experience. After a slight pause the artist offered a candid reflection by saying, "But I'm not so sure what I got out of the experience. You have such a great lab facility, and what I could really use is just the time to come and make new work without any distractions or obligations."
So a light bulb went off and we realized that a core need that most artists have is to be able to have the time, support, and access to facilities to do what they do best, which is make new work.
Synapse, an alternative video organization that shared the same building with us, had been inviting artists to Syracuse to produce new video works, so we asked to share their artist apartment and invited Charles Gatewood as our first Artist-in-Residence in August 1976. The deal was very simple—we gave him a place to stay, a private darkroom, keys to the facility, and $1,000 and told him that his only obligation was to do his own work. It was probably our good fortune and the good fortunes of the 350 artists who followed Gatewood in our residency program that his initial stint as a visiting artist was so successful and productive. During his residency Gatewood printed in the darkroom and also made new photographs at the New York State Fair, which is held annually in Syracuse at the end of the summer. Although we only invited him for a month, he stayed for six weeks and to show is appreciation he gave us a half-dozen prints he made during his time in Syracuse. Shown here is Human Punctuation, New York State Fair.
We were very pleased with Gatewood's gift and decided to make it a requirement of each future Artist-in-Residence to ask for a donation of a few prints from their residency in order to have a trace of what they worked on in Syracuse. After just a few years the donations from visiting artists began to accumulate into an impressive collection, and it would take us several more years to organize this great asset and make it available to the public. We will talk about that process in upcoming articles and encourage you to explore the collection online.
https://www.lightwork.org/uploads/gatewood1.jpg 475 318 Shane Lavalette /uploads/LightWork.png Shane Lavalette2010-12-14 17:41:372013-03-26 10:59:02Birth of the Light Work collection


Are you sick of putting a lot of hard work into preparing your auditions only to feel let down when you thought you did well but didn't get a callback?
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Highly Competitive Audition Skills Are Non-Negotiable If You Want To Be A Consistently Working Professional Actor.
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Are your audition skills competitive enough?
Have you ever gotten the sides and felt unsure as to the best way to approach them because of a difficult piece of business, or emotion written into the material?
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text:
package com.hazelcast.multimap.impl.operations;

import com.hazelcast.multimap.impl.MultiMapContainer;
import com.hazelcast.multimap.impl.MultiMapDataSerializerHook;
import com.hazelcast.multimap.impl.MultiMapService;
import com.hazelcast.spi.impl.operationservice.BackupAwareOperation;
import com.hazelcast.spi.impl.operationservice.Operation;
import com.hazelcast.spi.impl.operationservice.PartitionAwareOperation;
import com.hazelcast.spi.impl.operationservice.MutatingOperation;

public class ClearOperation extends AbstractMultiMapOperation implements BackupAwareOperation, PartitionAwareOperation,
        MutatingOperation {

    private transient MultiMapContainer container;
    private transient boolean shouldBackup;

    public ClearOperation() {
    }

    public ClearOperation(String name) {
        super(name);
    }

    @Override
    public void beforeRun() throws Exception {
        container = getOrCreateContainer();
        shouldBackup = container.size() > 0;
    }

    @Override
    public void run() throws Exception {
        container = getOrCreateContainer();
        response = container.clear();
    }

    @Override
    public void afterRun() throws Exception {
        ((MultiMapService) getService()).getLocalMultiMapStatsImpl(name).incrementOtherOperations();
        if (shouldBackup) {
            container.update();
        }
    }

    @Override
    public boolean shouldBackup() {
        return shouldBackup;
    }

    @Override
    public Operation getBackupOperation() {
        return new ClearBackupOperation(name);
    }

    @Override
    public int getClassId() {
        return MultiMapDataSerializerHook.CLEAR;
    }
}

redpajama_set_name: RedPajamaGithub


text:
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